Relevant bibliographies by topics / Video Game Production

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Video Game Production'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Video Game Production"

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Charrieras, Damien, and Nevena Ivanova. "Emergence in video game production: Video game engines as technical individuals." Social Science Information 55, no. 3 (July 9, 2016): 337–56. http://dx.doi.org/10.1177/0539018416642056.

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This article is interested in the creative practices in video game production. More specifically, the research focuses on the ways in which the use of game engines – a toolkit that offers a set of functionalities to automatize the handling of a range of processes (graphics, sound, game physics, networks, artificial Intelligence) – make possible or impossible certain forms of emergences in video games production. The manipulation of objects in these game engines is done according to a certain programming paradigm. Two main programming paradigms currently govern the internal design of game engines: object-oriented/inheritance-based deep-class hierarchical design and component-based data-driven design. We will describe how different programming paradigms lend themselves to certain affordances to explore the ways in which game workers can interface with game engines. We will use the framework developed by Gilbert Simondon on the artisanal and industrial stage or mode of production. This will enable a better understanding of the technogenesis of different kinds of game engines and the ways in which they can be conceptualized as technical individuals enduring through their associated milieus. This way of describing game engines emphasizes non-anthropocentric forms of creativity and specific modalities of emergent techno-human processes that are too often underestimated in various accounts of cultural production processes.
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Roinioti, Elina. "Caught in the war against gambling: A critical analysis of law history and policy making in video games in Greece." Journal of Greek Media & Culture 6, no. 2 (October 1, 2020): 261–78. http://dx.doi.org/10.1386/jgmc_00016_1.

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The advent of the video game industry brought about new cultural policies in both the national and international levels. In particular, incentives and flexible funding programmes for the production of video games have become a key pillar of support for small, domestic, but also global game companies. In Greece, video game policy history has followed the developments and legal entanglements of gambling regulation, with serious national and international consequences. From the Royal Decree of 1971 to Law 3037/2002 that banned all games in public and private places until the most recent Law 4487/2017, which established a cash rebate scheme for audio-visual productions, this article aims to analyse Greece’s video game policy-making as captured through scattered laws, media articles and personal testimonies.
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Yuwono, Ardian Indro, Gabriel Roosmargo Lono Lastoro Simatupang, and Aprinus Salam. "The Unconscious Self in Role Playing Video Game’s Avatar." Jurnal Ilmu Komunikasi 16, no. 2 (May 1, 2019): 115. http://dx.doi.org/10.31315/jik.v16i2.2687.

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In the world of digital video games, human players are present through surrogates. Surrogates in the video game is a character which also called by the term avatar which is a self-representation of real players. The presence of avatars in role playing games are formed through a process of creation by the gamer. The production of avatars cannot be separated from the unconscious mind of the players, the unconscious desire, ego and ideology. This avatar creation process continues ongoing, following the progress of the video game story. The decision, the path, and the act that the player take in completing the story are gradually reshaping the avatar. In the end, the avatar eventually became a manifestation and reflection of the unconscious minds of the video game players. This research conducted using ethnography and Jacques Lacan psychoanalysis theory.
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Chądzyńska, Dominika, and Dariusz Gotlib. "Maps in video games – range of applications." Polish Cartographical Review 47, no. 3 (September 1, 2015): 137–45. http://dx.doi.org/10.1515/pcr-2015-0011.

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Abstract The authors discuss the role of the map in various game genres, specifically video games. Presented examples illustrate widespread map usage in various ways and forms by the authors of games, both classic and video. The article takes a closer look at the classification and development of video games within the last few decades. Presently, video games use advanced geospatial models and data resources. Users are keen on a detailed representation of the real world. Game authors use advanced visualization technologies, which often are innovative and very attractive. Joint efforts of cartographers, geo-information specialists and game producers can bring interesting effects in the future. Although games are mainly made for entertainment, they are more frequently used for other purposes. There is a growing need for data reliability as well as for some effective means of transmission cartographic content. This opens up a new area of both scientific and implementation activity for cartographers. There is no universally accessible data on the role of cartographers in game production, but apparently it is quite limited at the moment. However, a wider application of cartographic methodology would have a positive effect on the development of games and, conversely, methods and technologies applied by game makers can influence the development of cartography.
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Cotton, James, Daniel Mayes, Florian Jentsch, and Valerie Sims. "The Relationship between Video Game Characteristics and Player Ability." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 45, no. 13 (October 2001): 945–47. http://dx.doi.org/10.1177/154193120104501310.

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Video game production has grown into a multi-billion dollar industry. While consumer demand for video games remains strong, an explanation for the demand is not so clear. It is likely, however, that a user's degree of “engagement” with the game is relevant. An Engagement Questionnaire (EQ) was recently introduced to capture those dimensions that determine a user's engagement while playing a video game. The goal was to develop a metric that could be applied to a broad range of games and players. The focus of the present study was to determine to what extent there were systematic differences between gamers of high-and low-ability with respect to the way they rated their most and least favorite video games. Specifically, we were interested in identifying whether ratings along the five factors of the EQ were related to self-reported video-game ability. The results of the analyses indicated that difference scores between favorite and least favorite games on four of the five factors predicted self-reported ability. The findings allow us to define more clearly what high- and low-ability gamers think is important in video games.
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Hayot, Eric. "Video Games & the Novel." Daedalus 150, no. 01 (October 2020): 178–87. http://dx.doi.org/10.1162/daed_a_01841.

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In the last sixty years, the video game industry has grown from quite literally nothing to a behemoth larger than the film or television industries. This enormous change in the shape of cultural production has failed to make much of an impact on the study of culture more generally, partly because video games seem so much less culturally important than novels. No one has ever imagined the Great American Video Game. But video games have more in common with novels than you might think, and vice versa. Anyone trying to understand the combination of neoliberal individualism and righteous murderousness that characterizes our world today will do well to pay them some attention.
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Wilson, Jason. "Indie Rocks! Mapping Independent Video Game Design." Media International Australia 115, no. 1 (May 2005): 109–22. http://dx.doi.org/10.1177/1329878x0511500111.

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Though many video games scholars and journalists tend to train their sights on ‘big gaming’, there is a vibrant and varied sector of independent game design, production and distribution. Indie gaming is not a unitary field and, as well as producing a diverse range of games, indie designers occupy a range of positions vis-à-vis mainstream video gaming. Therefore, while this article gives examples of this diversity, it is by no means an exhaustive account. Industry watchers and events are together suggesting that low-cost, independent modes of production will become increasingly important and prevalent in the immediate future. Scholars and practitioners alike will do well to understand the historical trajectories of indie design, and to keep pace with its present and future diversity.
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Ortiz, Luz, Héctor Tillerias, Christian Chimbo, and Veronica Toaza. "Impact on the video game industry during the COVID-19 pandemic." Athenea 1, no. 1 (September 25, 2020): 5–13. http://dx.doi.org/10.47460/athenea.v1i1.1.

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This work presents trends and comparisons that show a change in the consumption and production of video games in times of confinement due to the health emergency. The video game industry has modified its philosophy and adapted its products to the new requirements and trends of consumers who see in this activity a way to appease the psychological and social impact due to quarantine and isolation. There is evidence of a 65% increase in the use of online video games, which has broken a world record. Products that have new aspects and considerations never before proposed by this great industry have been developed and offered, such as thematic games related to the COVID-19 pandemic. Keywords: Video game, pandemic, online games, confinement. References [1]M. Olff, Screening for consequences of trauma–an update on the global collaboration on traumatic stress.European Journal of Psychotraumatology, 2020. [2]Z. Li, China’s Digital Content Publishing Industry: The 2019 Annual Report on Investment Insights and Market Trends. Publishing Research Quarterly, 2020. [3]R. Agis, An event-driven behavior trees extension to facilitate non-player multi-agent coordination in video games, Expert Systems with Applications, 2020. [4]O. Wulansari, Video games and their correlation to empathy: How to teach and experience empathic emotion. Advances in Intelligent Systems and Computing, 2020. [5]C. Bachen, Simulating real lives: Promoting Global Empathy and Interest in Learning Through SimulationGames. Sage Journal, 2012. [6]S. Fowler, Intercultural simulation games: A review (of the united states and beyond). Sage Journals, 2010. [7]G. Chursin, Learning game development with Unity3D engine and Arduino microcontroller. Journal ofPhysics: Conference Series, 2019. [8]K. Hewett, The Acquisition of 21st-Century Skills Through Video Games: Minecraft Design Process Modelsand Their Web of Class Roles. Sage Journal, 2020. [9]R. Bayeck, Exploring video games and learning in South Africa: An integrative review. Educational TechnologyResearch and Development, 2020. [10]K. Hewett, The 21st-Century Classroom Gamer. Games and Culture, 2021.
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Bulut, Ergin. "One-Dimensional Creativity: A Marcusean Critique of Work and Play in the Video Game Industry." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 16, no. 2 (June 4, 2018): 757–71. http://dx.doi.org/10.31269/triplec.v16i2.930.

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Creativity is at the heart of the video game industry. Industry professionals, especially those producing blockbuster games for the triple-A market, speak fondly of their creative labour practices, flexible work schedules, and playful workplaces. However, a cursory glance at major triple-A franchises reveals the persistence of sequel game production and a homogeneity in genres and narratives. Herbert Marcuse’s critique of one-dimensionality may help to account for this discrepancy between the workers’ creative aspirations and the dominant homogeneity in game aesthetics. What I call ‘one-dimensional creativity’ defines the essence of triple-A game production. In the name of extolling the pleasure principle at work, one-dimensional creativity eliminates the reality principle, but only superficially. One-dimensional creativity gives game developers the opportunity to express themselves, but it is still framed by a particular technological rationality that prioritises profits over experimental art. One-dimensional creativity negates potential forms of creativity that might emerge outside the industry’s hit-driven logics. Conceptually, ‘one-dimensional creativity’ renders visible the instrumentalisation of play and the conservative design principles of triple-A game production – a production that is heavily structured with technological performance, better graphics, interactivity, and speed. Multi-dimensional video game production and aesthetics, the opposite of one-dimensional creativity, is emerging from the DIY game production scene, which is more invested in game narratives and aesthetics outside the dominant logics of one-dimensionality in triple-A game production.
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Styhre, Alexander, and Björn Remneland-Wikhamn. "The ambiguities of money-making." Qualitative Research in Organizations and Management: An International Journal 15, no. 3 (October 18, 2019): 215–34. http://dx.doi.org/10.1108/qrom-02-2019-1733.

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Purpose Indie developers are part of the creative fringe of the video game industry, fashioning an identity for themselves as a community committed to the development of video games as a cultural expression and art form. In playing this role, money-making is ambiguous inasmuch as economic return is honorable if such interests remain unarticulated and execute minimal influence on the development work process, while the possibility of producing a successful commercial video game is simultaneously one of the primary motivations for new industry entrants. The paper aims to discuss this issue. Design/methodology/approach The paper reports on the empirical material drawn from a study of indie video game developers in Sweden, a leading country for video game development. Findings To reconcile tensions between video game development in terms of being both cultural/and artistic production and business activity, easily compromising the perceived authenticity of the subject in the eyes of audiences (e.g. hardcore gamers), indie developers distinguish between monetary motives ex ante and compensation ex post the release of the game. Indie developers thus emphasize the metonymic function of money as this not only indicates economic value and currency but also denotes a number of business practices that indie developers have otherwise avoided in their career planning as they believe these practices would restrain their creativity and skills. Originality/value The study contributes to the scholarship on video game development, the literature on creative industries, and the economic sociology literature examining the social meaning of money and how social norms and values are manifested in professional ideologies and practices.
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Dissertations / Theses on the topic "Video Game Production"

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Thayer, Alisha Lynn. "High Noon : a video game production pipeline for Chico State Game Studios /." [Chico, Calif. : California State University, Chico], 2009. http://hdl.handle.net/10211.4/105.

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Warden, James. "Senses, Perception, and Video Gaming: Design of a College for Video Game Design and Production." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1116113863.

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Betts, Thomas. "An investigation of the digital sublime in video game production." Thesis, University of Huddersfield, 2014. http://eprints.hud.ac.uk/id/eprint/25020/.

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This research project examines how video games can be programmed to generate the sense of the digital sublime. The digital sublime is a term proposed by this research to describe experiences where the combination of code and art produces games that appear boundless and autonomous. The definition of this term is arrived at by building on various texts and literature such as the work of Kant, Deleuze and Wark and on video games such as Proteus, Minecraft and Love. The research is based on the investigative practice of my work as an artist-programmer and demonstrates how games can be produced to encourage digitally sublime scenarios. In the three games developed for this thesis I employ computer code as an artistic medium, to generate games that explore permutational complexity and present experiences that walk the margins between confusion and control. The structure of this thesis begins with a reading of the Kantian sublime, which I introduce as the foundation for my definition of the digital sublime. I then combine this reading with elements of contemporary philosophy and computational theory to establish a definition applicable to the medium of digital games. This definition is used to guide my art practice in the development of three games that examine different aspects of the digital sublime such as autonomy, abstraction, complexity and permutation. The production of these games is at the core of my research methodology and their development and analysis is used to produce contributions in the following areas. 1. New models for artist-led game design. This includes methods that re-contextualise existing aesthetic forms such as futurism, synaesthesia and romantic landscape through game design and coding. It also presents techniques that merge visuals and mechanics into a format developed for artistic and philosophical enquiry. 2. The development of new procedural and generative techniques in the programming of video games. This includes the implementation of a realtime marching cubes algorithm that generates fractal noise filtered terrain. It also includes a versatile three-dimensional space packing architectural construction algorithm. 3. A new reading of the digital sublime. This reading draws from the Kantian sublime and the writings of Deleuze, Wark and De Landa in order to present an understanding of the digital sublime specific to the domain of art practice within video games. These contributions are evidenced in the writing of this thesis and in the construction of the associated portfolio of games.
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Mimoun, Arnaud. "What are the pressures affecting game students during a game production course? : A qualitative research conducted over a small population of undergraduate international game students." Thesis, Uppsala universitet, Institutionen för speldesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-420948.

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The game industry is modern and as such in constant evolution, therefore it needs information on how to better its work practices either it be on a professional level or at a training level. This thesis focuses on game education, specifically on the game students partaking in such education and developing a game as part of a game-based development course. The study investigated what kinds of pressure might be afflicting game students at Uppsala University during their game production courses and what are the effects of such pressures on the work/life balance of the concerned game students. To conduct the data collection, a survey with close and open-ended questions was used to gather information on focused topics but also get the opinion of the respondents on the matter. As a result of the research, it was possible to learn that the game students are pushing themselves to adopt overworking tendencies during their game production course. This behavior would be motivated by the different pressures affecting them during their game production course like the pressure to produce high-quality work. The conclusion reached is that the pressures affecting game students during their game production courses are related to the lack of healthy work habits of game students when working independently on their game productions. The pressures have impacts on the work/life balance of the affected students who often end up sacrificing their well-being in favor of work. This decision can have the opposite effect as work/life balance conflicts can hinder a game student's chances of academic success. To address this issue this thesis recommends game schools to support game students who are working independently by leading them to adopt healthy work habits and helping them to cope with the pressures of their environment.
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Gançarski, Pierre. "Le controle de l'interactivite et du temps dans la production d'animation." Université Louis Pasteur (Strasbourg) (1971-2008), 1988. http://www.theses.fr/1988STR13217.

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Etude des concepts entrant dans la definition d'un systeme destine a realiser des animations simples a scenario interactif. L'idee de base consiste a associer un acteur a chacun des intervenants d'une animation et a conserver le scenario dans son integralite. Ce scenario est un programme qui gere l'ensemble des evenements reconnus par l'animation ainsi que certains types de liens entre acteurs ou de contraintes appliquees a ceux-ci. Ce programme est mis sous forme d'un systeme reactif. La structure du systeme realise, ses differents composants et son implantation sont decrits en esterel et c**(++)
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Nichols, Randall James. "The games people play : a political economic analysis of video games and their production /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3201695.

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Thesis (Ph. D.)--University of Oregon, 2005.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 225-252). Also available for download via the World Wide Web; free to University of Oregon users.
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Schweizer, Bobby. "Representations of the city in video games." Thesis, Atlanta, Ga. : Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/28251.

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Thesis (M. S.)--Literature, Communication, and Culture, Georgia Institute of Technology, 2009.
Committee Chair: Pearce, Celia; Committee Member: Do, Ellen Yi-Luen; Committee Member: Knoespel, Kenneth; Committee Member: Nitsche, Michael.
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Vinçotte, Edouard. "Serious Games, une analyse par les scripts de coproduction de service. Le cas des activités de soins dans les hôpitaux." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLED081.

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La coproduction de service est un aspect essentiel de la production de service, plus encore avec l’avènement de la customisation de masse et de la notion de client/employé partiel. Les scripts, et plus précisément les scripts de services, sont l’un des outils qui permettent aux organisations d’influer sur la coproduction de services. Un des pans des recherches menées sur la coproduction de service se penche sur la formation du client afin que l’organisation sache ce qu’elle peut attendre de lui et réciproquement. Ces recherches sont notamment menées dans le secteur de la Santé à propos de la coproduction de soin. Parmi les outils à disposition des organisations se trouve les serious games, des jeux-vidéo à but informatif et pédagogique. Nos travaux cherchent à savoir selon quelles propriétés et dans quels contextes les serious games peuvent être des véhicules pour les scripts de soins à destination des patients, en amont de leur prise en charge comme lors de celle-ci.Pour ce faire, nous proposons une grille d’analyse basée sur les scripts pour montrer comment les serious games peuvent traduire et encapsuler des objectifs managériaux, en nous appuyant sur l’étude et l’analyse de 4 cas représentant chacun une facette de la coproduction de soins
Service co-production is an essential aspect of service production theories, even more with the advent of mass customization and the notion of customer as a partial employee. One of the tools that allows organizations to influence the co-production of services are the scripts and more specifically the service’s scripts. Some of the researches carried out in the field of co-production of service focus on the client’s training so that the organization knows what it can expect from him and vice versa. This research is particularly carried out in the health sector and the co-production of care. Among the tools available to the organizations, we focus on the serious games, which are video games for informative and pedagogical purposes. Our work questions the properties and the contexts in which serious games can be vehicles for the scripts of care to the patients, before and during their nursing and treatment.To do so, we offer a comprehensive script-based analysis grid to show how serious games can translate and encapsulate managerial goals based on the study and analysis of 4 cases each representing a specific aspect of co-production of care
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Grossard, Charline. "Evaluation et rééducation des expressions faciales émotionnelles chez l’enfant avec TSA : le projet JEMImE Serious games to teach social interactions and emotions to individuals with autism spectrum disorders (ASD) Children facial expression production : influence of age, gender, emotion subtype, elicitation condition and culture." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUS625.

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Le trouble du Spectre de l’Autisme (TSA) est caractérisé par des difficultés concernant les habiletés sociales dont l’utilisation des expressions faciales émotionnelles (EFE). Si de nombreuses études s’intéressent à leur reconnaissance, peu évaluent leur production chez l’enfant typique et avec TSA. Les nouvelles technologies sont plébiscitées pour travailler les habiletés sociales auprès des enfants avec TSA, or, peu d’études concernent leur utilisation pour le travail de la production des EFE. Au début de ce projet, nous retrouvions seulement 4 jeux la travaillant. Notre objectif a été la création du jeu sérieux JEMImE travaillant la production des EFE chez l’enfant avec TSA grâce à un feedback automatisé. Nous avons d’abord constitué une base de données d’EFE d’enfants typiques et avec TSA pour créer un algorithme de reconnaissance des EFE et étudier leurs compétences de production. Plusieurs facteurs les influencent comme l’âge, le type d’émotion, la culture. Les EFE des enfants avec TSA sont jugées de moins bonne qualité par des juges humains et par l’algorithme de reconnaissance des EFE qui a besoin de plus de points repères sur leurs visages pour classer leurs EFE. L’algorithme ensuite intégré dans JEMImE donne un retour visuel en temps réel à l’enfant pour corriger ses productions. Une étude pilote auprès de 23 enfants avec TSA met en avant une bonne adaptation des enfants aux retours de l’algorithme ainsi qu’une bonne expérience dans l’utilisation du jeu. Ces résultats prometteurs ouvrent la voie à un développement plus poussé du jeu pour augmenter le temps de jeu et ainsi évaluer l’effet de cet entraînement sur la production des EFE chez les enfants avec TSA
The autism spectrum disorder (ASD) is characterized by difficulties in socials skills, as emotion recognition and production. Several studies focused on emotional facial expressions (EFE) recognition, but few worked on its production, either in typical children or in children with ASD. Nowadays, information and communication technologies are used to work on social skills in ASD but few studies using these technologies focus on EFE production. After a literature review, we found only 4 games regarding EFE production. Our final goal was to create the serious game JEMImE to work on EFE production with children with ASD using an automatic feedback. We first created a dataset of EFE of typical children and children with ASD to train an EFE recognition algorithm and to study their production skills. Several factors modulate them, such as age, type of emotion or culture. We observed that human judges and the algorithm assess the quality of the EFE of children with ASD as poorer than the EFE of typical children. Also, the EFE recognition algorithm needs more features to classify their EFE. We then integrated the algorithm in JEMImE to give the child a visual feedback in real time to correct his/her productions. A pilot study including 23 children with ASD showed that children are able to adapt their productions thanks to the feedback given by the algorithm and illustrated an overall good subjective experience with JEMImE. The beta version of JEMImE shows promising potential and encourages further development of the game in order to offer longer game exposure to children with ASD and so allow a reliable assessment of the effect of this training on their production of EFE
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Pineault, Yann. "Créer ou produire un jeu vidéo? Étude ethnographique d’un milieu de production vidéoludique montréalais." Thèse, 2014. http://hdl.handle.net/1866/11652.

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Le jeu vidéo est un produit qui ne cesse de gagner en popularité alors que les expériences ludiques tendent de plus en plus à se diversifier. Les recherches académiques sur l’objet vidéoludique se sont multipliées dans les dernières années afin de comprendre les particularités du nouveau média, surtout en ce qui concerne l’analyse du produit lui-même et sa réception, mais laissant peu de place à sa créa-tion et sa production. Montréal est un lieu idéal pour étudier le médium : en peu de temps, l’industrie du jeu vidéo est devenue l’un des fleurons industriels québécois. La présente étude s’est intéressée aux développeurs de Montréal, ville où se situe la plus grande partie des studios au Québec, afin de connaître leur perception du produit vidéoludique et de l’industrie. Au travers d’une perspective phénoménologique, un séjour ethno-graphique a été effectué dans un studio de production vidéoludique où plusieurs développeurs ont été observés et interviewés. Ce travail s’inscrit dans une anthropologie du travail et rend compte de la com-plexité qui émerge lorsqu’un travail essentiellement créatif vient se heurter à des motifs de production strictes. Plus encore, il rend compte d’un paradigme opposant directement la création et la production dans un milieu qui se présente comme une avenue prometteuse pour une jeunesse désirant vivre d’un travail créatif. Cette condition est attribuable à la nature du jeu vidéo lui-même qui se situe, selon Kline, Dyer-Witheford et De Peuter (2003), à mi-chemin entre la culture, la technologie et les visées commerciales (marketing). Les développeurs se trouvent donc entre deux eaux : d’un côté ils sont influencés par la culture du jeu, relevant de leurs pratiques, leurs préférences et des commu-nautés de développeurs et, de l’autre côté, par l’industrie qui dicte les façons de faire et viennent selon eux minimiser leur potentiel créatif.
The video game is increasing in popularity as the ludic experience is diversi-fying. Within the last few years, it became the research field of many academics trying to understand the new media either by studying the game itself or its recep-tion. However, they put aside its creation or production which is an important part of the cultural product. Montreal is an ideal place to study the video game since it rapidly became one of the most valued sectors in Quebec’s industry, and because most of the studios are in Montreal. This research focus on Montreal’s game developers and their vision of the product and the industry by using a phenomenological approach. Data were collected through an ethnographical fieldwork where many developers were ob-served and interviewed. This study inserts in an anthropology of work and focus on the complexity that emerges when creative work encounters productive work. We elaborate a paradigm opposing creativity and productivity in a workplace that is seen to be essentially creative for a youth wanting to be creative. The video game’s nature can explain this situation since it is directly influenced, as Kline, Dyer-Witheford et De Peuter (2003) argued, by culture, technology and marketing. Developers occupy a space that is primarily influenced, on the one hand, by their culture, practices, and the developers’ community but, on the other hand, they need to subscribe to the industry’s constraints and way to do a game that dimin-ishes their creative potential.
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Books on the topic "Video Game Production"

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Sotamaa, Olli, and Jan Svelch, eds. Game Production Studies. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725439.

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Video games have entered the cultural mainstream and now rival established forms of entertainment such as film or television in terms of economic profits. As careers in video game development become more common, so do the stories about precarious working conditions and structural inequalities within the industry. In Game Production Studies, an international group of researchers takes a closer look at the everyday realities of video game production, ranging from commercial studios to independent creators. Across sixteen chapters, the authors deal with issues related to labour, production routines, or monetization, as well as local specificities. As the first edited collection dedicated solely to video game production, this volume provides a timely resource for anyone interested in how games are made and at what cost.
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Bethke, Erik. Game development and production. Plano, Tex: Wordware Pub., 2002.

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Lavroff, Nicholas. Behind the Scenes at Sega: The Making of a Video Game. Rocklin, CA: Prima Publishing, 1994.

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Case, Stevie. Daikatana. Roseville, California, United States of America: Prima Games, 2000.

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Maura, Kennedy, ed. Make your own music videos with Adobe Premiere. New York: Hungry Minds, 2002.

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Little, John R. Bruce Lee: A warrior's journey. Chicago: Contemporary Books, 2001.

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Guynes, Sean, and Dan Hassler-Forest, eds. Star Wars and the History of Transmedia Storytelling. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462986213.

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Star Wars has reached more than three generations of casual and hardcore fans alike, and as a result many of the producers of franchised Star Wars texts (films, television, comics, novels, games, and more) over the past four decades have been fans-turned-creators. Yet despite its dominant cultural and industrial positions, Star Wars has rarely been the topic of sustained critical work. Star Wars and the History of Transmedia Storytelling offers a corrective to this oversight by curating essays from a wide range of interdisciplinary scholars in order to bring Star Wars and its transmedia narratives more fully into the fold of media and cultural studies. The collection places Star Wars at the center of those studies’ projects by examining video games, novels and novelizations, comics, advertising practices, television shows, franchising models, aesthetic and economic decisions, fandom and cultural responses, and other aspects of Star Wars and its world-building in their multiple contexts of production, distribution, and reception. In emphasizing that Star Wars is both a media franchise and a transmedia storyworld, Star Wars and the History of Transmedia Storytelling demonstrates the ways in which transmedia storytelling and the industrial logic of media franchising have developed in concert over the past four decades, as multinational corporations have become the central means for subsidizing, profiting from, and selling modes of immersive storyworlds to global audiences. By taking this dual approach, the book focuses on the interconnected nature of corporate production, fan consumption, and transmedia world-building. As such, this collection grapples with the historical, cultural, aesthetic, and political-economic implications of the relationship between media franchising and transmedia storytelling as they are seen at work in the world’s most profitable transmedia franchise.
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bbt. Diary of a Wimpy Kid : Double Down: To jeff,. Diary of a Wimpy Kid Virtually Live Event.: puffin bokks, 2016.

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Irish, Dan. Fundamentals of Game Production. Pearson Education, Limited, 2005.

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Global Games: Production in the Digital Game Industry. Routledge, 2017.

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Book chapters on the topic "Video Game Production"

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Styhre, Alexander. "Passionate Production in the Shadow of the Market: The Prospects of Innovation-Led Growth." In Indie Video Game Development Work, 219–43. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45545-3_8.

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Johnson, Robin. "Technomasculinity and Its Influence in Video Game Production." In Masculinities in Play, 249–62. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90581-5_14.

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Nichols, Randy. "Who Plays, Who Pays? Mapping Video Game Production and Consumption Globally." In Gaming Globally, 19–39. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137006332_2.

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Schoenau-Fog, Henrik, Lise Busk Kofoed, Nanna Svarre Kristensen, and Lars Reng. "Developing Production-Oriented, Problem-Based and Project-Work Courses - The Case of Game Development in a Video Conference Setting." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 363–73. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-06134-0_40.

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Sobociński, Maciej D. "QUALITY OF VIDEO GAMES: INTRODUCTION TO A COMPLEX ISSUE." In Quality Production Improvement - QPI, edited by Robert Ulewicz, 487–94. Warsaw, Poland: Sciendo, 2019. http://dx.doi.org/10.2478/9783110680591-066.

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Sánchez, Raquel Echeandía, Nelson Zagalo, and Sara Cortés Gómez. "Creative Process of Pre-production of Video Games." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 198–211. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73426-8_11.

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Huntemann, Nina B. "Women in Video Games: The Case of Hardware Production and Promotion." In Gaming Globally, 41–57. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137006332_3.

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Sotamaa, Olli, and Jan Švelch. "Introduction: Why Game Production Matters?" In Game Production Studies. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725439_intro.

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In the introduction, the editors of this collection argue for the importance of game production studies at a point when the public awareness about the production context of video games has, arguably, never been higher. With so many accounts of video game development permeating player and developer communities, the task of game production studies is to uncover the economic, cultural, and political structures that influence the final form of games by applying rigorous research methods. While the field of game studies has developed quickly in the past two decades, the study of the video game industry and different modes of video game production have been mostly dismissed by game studies scholars and requires more attention.
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Kerr, Aphra. "Before and After: Towards Inclusive Production Studies, Theories, and Methods." In Game Production Studies. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725439_after.

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In the afterword, Aphra Kerr revisits the early works of production-oriented research about video games, including her own ethnographic study of a small game development studio in Ireland. From a firsthand perspective, Kerr describes the first academic conferences that pioneered this direction of scholarly inquiry. Besides looking back at the foundations of game production studies, the afterword thematizes the recent developments in video game industries, such as datafication, the environmental effects of production, surveillance capitalism, and toxic game cultures, suggesting the future directions for more inclusive game production studies.
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Ter Minassian, Hovig, and Vinciane Zabban. "Should I Stay or Should I Go? The Circulations and Biographies of French Game Workers in a ‘Global Games’ Era." In Game Production Studies. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725439_ch03.

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The video game industry has experienced profound socio-technical changes during the last decade: a significant demographic growth, production of games as service, democratization of game design know-how and tools, and extended access to globalized markets due to dematerialization of distribution networks. Based on a large ongoing survey, including 40 in-depth interviews, our chapter discusses the current situation of video game production in France. A narrow labour market is here combined with a very high turnover, probably due to early career exits, and with a paradoxically overwhelming training offer. By looking at career trajectories, our biographical approach explores the circulation of game workers in the intertwining of local and global, national and international, mainstream and indie game production worlds.
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Conference papers on the topic "Video Game Production"

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Quiroga, Julian, Henry Carrillo, Edisson Maldonado, John Ruiz, and Luis M. Zapata. "As Seen on TV: Automatic Basketball Video Production using Gaussian-based Actionness and Game States Recognition." In 2020 IEEE/CVF Conference on Computer Vision and Pattern Recognition Workshops (CVPRW). IEEE, 2020. http://dx.doi.org/10.1109/cvprw50498.2020.00455.

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Honda, Jason, Harry H. Cheng, and Donna D. Djordjevich. "Mobile Agents and Related Features for Real Time First Responder Training Systems." In ASME 2009 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2009. http://dx.doi.org/10.1115/detc2009-87450.

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This article discusses how mobile agents and scripting technology can play an important role in first-responder training simulations. From a training perspective, the power of mobile agents can greatly improve the training experience if they are easy to use and integrate and have the necessary power. Certain features should be available to mobile agents in applications such as this. As opposed to traditional mobile agent applications, supplementing a real-time training system with a mobile agent system requires many features so that agents integrate appropriately with the running application. Mobile agents with the ability to interface with the running binary application and with the features discussed in this paper can be very effective and valuable. This paper looks at the features that are necessary. We implement these features into a mobile agent system, Mobile-FIRST, and then examine its use in a first responder training video game currently in production. Using a system with these principles, integration of mobile agents becomes simple and intuitive, and can greatly improve the application in many different ways.
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Veeder, Jane, Paul D. Lewis, Bob Zigado, Robert Stein, and Craig Upson. "New developments in animation production for video games (panel session)." In the 22nd annual conference. New York, New York, USA: ACM Press, 1995. http://dx.doi.org/10.1145/218380.218523.

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"The use of Visualisations and Video Productions in Online Game-Based Learning." In 18th European Conference on e-Learning. ACPI, 2019. http://dx.doi.org/10.34190/eel.19.094.

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