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1
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
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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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Biercewicz, Konrad, Mariusz Borawski, and Jarosław Duda. "Method for Selecting an Engagement Index for a Specific Type of Game Using Cognitive Neuroscience." International Journal of Computer Games Technology 2020 (August 18, 2020): 1–19. http://dx.doi.org/10.1155/2020/2450651.
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The popularity of video games means that methods are needed to assess their content in terms of player satisfaction right from the production stage. For this purpose, the indicators used in EEG studies can be used. This publication presents a method that has been developed to determine whether a person likes an arcade game. To this end, six different indicators to measure consumer involvement in a video game using the EEG were compared, among others. The study was conducted using several different games created in Unity based on the observation (n=31) of the respondents. EEG has been used to select the most suitable indices studied.
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Torres-Toukoumidis, Angel, Juan Pablo Salgado Guerrero, Sheila Peñalva, and Paola Carrera. "Global Game Jam in Latin-America, a Collaborative Videogame Learning Experience." Social Sciences 9, no. 3 (March 11, 2020): 28. http://dx.doi.org/10.3390/socsci9030028.
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Videogame production events, particularly the Global Game Jam (GGJ), is an activity par excellence aimed at the development of the world’s largest games, enhancing the form of personal expression, critical thinking, and appropriation of new media through collaborative work. The general objective is to explore the development process within the context of the GGJ, calculating the correlation between level of education and source of inspiration, the correlation between level of education and purpose of the game to be designed in the Global Game Jam and the correlation between level of education and skills. The main source of inspiration is defined by game genre, game mechanics, or other video game, in addition the purpose of the game is mainly due to learning a technical skill, enjoy doing it, and generate satisfaction in the players. Finally, the skills that prevail are 2D Design, Programming, and 3D Design. People with a high level of knowledge have the same passion as those who have just started in the multidisciplinary field of the development of video games motivated by creating an original game that has a good script and provides them a life experience.
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McDaniel, Rudy, and Peter Telep. "Game Design Tactics for Teaching Technical Communication in Online Courses." Journal of Technical Writing and Communication 51, no. 1 (December 11, 2020): 70–92. http://dx.doi.org/10.1177/0047281620977163.
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This article describes an interdisciplinary, partially online honors course entitled Video Game Theory and Design. The article reviews the literature surrounding video games and technical communication and then outlines the learning objectives for the course. The authors describe individual and team-produced assignments and suggest game design techniques for motivating students. We explain how we assess different projects, including oral game pitches and the complex technical Game Design Documents that are students’ final deliverables. Finally, we discuss how game design techniques provide new perspectives on writing and generate new possibilities for technical communication assignments. We close by proposing three tactics that are useful for teaching technical communication students in hybrid and fully online courses: (a) nonlinear association for creative thinking; (b) team-based assignments for writing and editing using game-based tools; and (c) iterative prototyping and playtesting for multimodal production. Each tactic is contextualized using examples drawn from the field.
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Johnson, Mark R., and Jamie Woodcock. "The impacts of live streaming and Twitch.tv on the video game industry." Media, Culture & Society 41, no. 5 (December 20, 2018): 670–88. http://dx.doi.org/10.1177/0163443718818363.
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This article explores the growing importance of live streaming, specifically on website and platform Twitch.tv, to the games industry. We focus not on live streaming as a form of media production and consumption, but instead explore its newly central role in the contemporary political economy of the whole video games ecosystem. We explore three cases: streaming newly released games and the attendant role of streaming in informing consumer choice; the visibility and added lifespan that streaming is affording to independent and niche games and older games; and the live streaming of the creation of games, shedding light on the games industry and subverting ordinarily expensive or highly competitive game-design courses, training and employment paths. To do so, we draw on empirical data from offline and online fieldwork, including 100 qualitative interviews with professional live-streamers, offline ethnography at live-streaming events, and online ethnography and observation of Twitch streams. The article concludes that live streaming is a major new force in the games industry, creating new links between developers and influencers and shifting our expectations of game play and game design, and is consequently a platform whose major structural effects are only now beginning to be understood.
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O'Donnell, Casey. "The Nintendo Entertainment System and the 10NES Chip: Carving the Video Game Industry in Silicon." Games and Culture 6, no. 1 (August 11, 2010): 83–100. http://dx.doi.org/10.1177/1555412010377319.
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This essay makes the argument that the numerous ‘‘networks’’ or ‘‘inter/intranetworks’’ that structure the video game industry have lived local effects for those involved in the production of video games. In particular, this is most visible in the realm of console video game development but is visible in many other contexts as well. It uses the Nintendo Entertainment System (NES) as an index into this complex and highly structured world that frequently disappears from developers perception. The essay uses largely historical data drawn from patent filings, Securities and Exchange Commission (SEC) filings, and court cases to analyze these networks. The essay argues that these inter/intranetworks, as constructed, have been instrumental in the way that the game industry now finds itself structured and that as the industry has ‘‘matured,’’ the networks have become less accessible and less interoperable.
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Perks, Matthew E. "How Does Games Critique Impact Game Design Decisions? A Case Study of Monetization and Loot Boxes." Games and Culture 15, no. 8 (August 1, 2019): 1004–25. http://dx.doi.org/10.1177/1555412019865848.
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Games critics arguably influence the form games take, identities of players, and identities of game developers. However, very little work in Game Studies examines how critical games journalism, games, developers, and independent actors intersect. This article argues that pragmatic sociology of critique, developed by Luc Boltanski, can act as a theoretical framework to aid in understanding these processes of critique. Utilizing a theoretical lens such as this helps us better understand the function of games critique within the video game industry. Applying this framework to a case study of monetization and “loot boxes,” this article emphasizes the role and power of journalistic critique in shaping gaming cultures, and the consumption and production of media more generally.
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Aleman, Ezequiel, and Larysa Nadolny. "Integration of Video Games To Support the FCS Education Food Production Standards." Journal of Family & Consumer Sciences 113, no. 2 (April 1, 2021): 46–49. http://dx.doi.org/10.14307/jfcs113.2.46.
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Digital games can provide fun, motivating, and challenging experiences for students in the classroom. Recent research on educational games has shown that game play can positively influence academic achievement, engagement, and 21st century skills (Abdul Jabbar & Felicia, 2015; Qian & Clark, 2016). When playing games, students solve problems, collaborate with peers, and practice new skills—all within a digital environment. There are multiple games that simulate preparing and serving food. Generally, players are tasked to prepare food based on the requests of customers. Ingredients are processed on different tables or appliances, and final dishes are delivered to customers. Players who fail to complete recipes correctly or take too long during preparation may negatively influence customers' expectations. Although games vary in quality and applicability to the classroom, many address components of the Food Service and Production standard to "integrate knowledge, skills, and practices required for careers in food production and services" (National Association of State Administrators of Family and Consumer Sciences [NASAFACS], 2018, p.1).
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Murphy, Christian, Sudhir Mudur, Daniel Holden, Marc-André Carbonneau, Donya Ghafourzadeh, and Andre Beauchamp. "Artist guided generation of video game production quality face textures." Computers & Graphics 98 (August 2021): 268–79. http://dx.doi.org/10.1016/j.cag.2021.06.004.
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Retnowati, Nurcahyani Dewi, Yenni Astuti, and Supri Ermanto. "ANIMASI 3D PENDUKUNG SIMULASI FUNGSI FLIGHT CONTROLS DAN LANDING GEARS SUPRI SUKHOI SUPERJET 100." Conference SENATIK STT Adisutjipto Yogyakarta 1 (December 1, 2013): 93. http://dx.doi.org/10.28989/senatik.v1i0.43.
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Animations are one of multimedia technology which can accelerate the perspective about something, including the aircraft flight controls and landing gears function. Production process of animation on 3 Dimensional Aircraft model Supri Sukhoi Superjet 100 using NURBS Modelling method. Production process of animation on 3 Dimensional Aircraft model Supri Sukhoi Superjet 100 using Pre Production, Production and Post Production, that the result can be presented in the form of simulation video, Flash game, and Powerpoint game. The special effect that added into model, video and game make it more attractive. The Results are tested on number of respondents who are Experts in the Aircraft Engineering. The Data showed that Almost to 100 percent of the components and fuctions of the aircraft.
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Ozimek, Anna M. "Outsourcing Digital Game Production: The Case of Polish Testers." Television & New Media 20, no. 8 (May 29, 2019): 824–35. http://dx.doi.org/10.1177/1527476419851088.
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This article investigates the experiences of digital game testers working in external quality assurance departments in Poland. As compared with video game developers, testers have received relatively little attention in game labor studies, and there is a particular gap in the scholarship with respect to testers within firms that perform work that is outsourced from game developers and publishers. Drawing on in-depth interviews with Polish game testers, my research reveals that outsourced game testing is characterized by sharp tensions between self-realization and self-exploitation. The article explores three aspects of testers’ response to these tensions, including enduring precarious working conditions, seeking better career prospects, and engaging in resistance in the workplace. I examine testers’ work through the conceptual lens of hope labor, which designates undercompensated work carried out in the hope of gaining more stable and rewarding employment opportunities in future.
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Venegas Ramos, Alberto. "Aesthetic uses of the past and limits in the reconstruction of historical spaces inside a videogame." Culture & History Digital Journal 9, no. 1 (September 11, 2020): 004. http://dx.doi.org/10.3989/chdj.2020.004.
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Along the last years we have assisted to the release of a great number of videogames set in the past as, for example, Assassin’s Creed: Origins (Ubisoft, 2017). This game offered the player the possibility to tour the city of Alexandria during the first century before Christ. My intention in this text is to develop the use of the past in the reconstruction of urban digital spaces through three video-game sagas, BioShock (Irrational Games y 2K Marin, 2007 – 2013), Uncharted (Naughty Dog, 2006 – 2017) and Assassin’s Creed (Ubisoft, 2007 – 2017). Each one of them will serve us to develop and examine the aesthetic uses of the past in the reconstruction of urban digital spaces through the proposed concepts: design, consumption and production. Irrational Games’ saga will help us to understand the first concept, the Naughty Dog one the second and the Ubisoft one the third. After these three sections we will elaborate a final section where we will build the video-game as a mass culture medium with other media of same scope and shared features.
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Cover, Rob. "Digital Addiction: The Cultural Production of Online and Video Game Junkies." Media International Australia 113, no. 1 (November 2004): 110–23. http://dx.doi.org/10.1177/1329878x0411300113.
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This paper examines the ways in which a concept of ‘digital addiction’ is produced in academic discourse, news media and contemporary popular culture. Digital addiction is used here as a collective term for the phenomena of internet/online addiction and addiction to electronic games. By showing how these are produced individually and together in the popular imaginary, the paper explores several of the ways in which the digital is likened to chemical, illicit or hallucinogenic drugs. It is shown that this association is made through normative discourses which work through a reductive and over-simplified representation of a real/virtual dichotomy that favours the real as physical and local over the virtual, which is represented as dangerous, false and addictive.
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Smith, Anthony N. "The backer–developer connection: Exploring crowdfunding’s influence on video game production." New Media & Society 17, no. 2 (November 24, 2014): 198–214. http://dx.doi.org/10.1177/1461444814558910.
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Horodyski, John. "Making metadata work in digital asset management and video game production." Journal of Digital Asset Management 2, no. 5 (September 2006): 255–61. http://dx.doi.org/10.1057/palgrave.dam.3650041.
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Rydzewski, Rafał. "Assessment of the Financial Condition of Knowledge Based Economy Entities – an Example of Polish Video Game Sector." Studia Humana 10, no. 3 (June 1, 2021): 19–29. http://dx.doi.org/10.2478/sh-2021-0015.
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Abstract The video game producers are currently in spotlight of market information services. Successes and huge budgets of such companies attract many readers. However, scientific studies related to this sector do not share the same popularity. A reflection on the source of value in this sector shows that what generates revenues is not disclosed in the report. Great examples are customers’ relationships or the value of employees creating the game code and story of the game. Video games producers sector presents a good combination of business and culture that allows reflection on financial characteristics of knowledge based companies. Prior studies show that market’s valuation takes into account unrecognised assets but capital-intensive character of a production and intangibility of a product and its assets causes problems with exact valuation. In this paper the author asks about the impact of the characteristics on the assessment of a financial condition. The research question in this paper is whether it is possible to use and interpret correctly popular discriminant analysis model for knowledge based entities on the example of video game companies. Results are applicable by analysts and managers of this sector and help to determine the usefulness of this method, but it still depends on assumptions and accounting policies. The reflection presented also broadens the discussion on financialisation because analysed companies can oppose this trend in a specific way.
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Lolli, Dario. "‘The fate of Shenmue is in your hands now!’: Kickstarter, video games and the financialization of crowdfunding." Convergence: The International Journal of Research into New Media Technologies 25, no. 5-6 (June 13, 2018): 985–99. http://dx.doi.org/10.1177/1354856518780478.
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In July 2015, a crowdfunding campaign launched to revive the notoriously unprofitable video game series Shenmue closed with the record figure of above US$6 million, to date the highest amount ever raised on Kickstarter for video game funding. This article takes this campaign as an endemic case study of the changing funding mechanisms concerning video game production in the digital ecosystem of Web 2.0. Although the campaign displays some of the participatory elements often attributed to crowdfunding and digital convergence, it also sheds doubts on accountability and the effective capacity of crowdfunding to substantially challenge and de-hierarchize power relations in the video game industry. In particular, the Shenmue III campaign illustrates how the crowdfunding initiative was instrumentally mobilized by its organizers to attract further corporate sponsorships and stakeholders outside crowdfunding. This controversial episode shows how commercial platforms like Kickstarter are increasingly facilitating a process of financialization of crowdfunding, whose main effect is not so much the equal coming together of media consumers and producers as the minimization of risks for large video game corporations. By mapping the history of the Shenmue franchise from its original failure in the era of physical distribution to its recent crowdfunded success, this article argues that the empowering potentials of crowdfunding cannot be readily assumed without a contingent analysis of the cultural and political economy underlying Web 2.0 and its digital platforms.
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Bodenhorn, Barbara, and Olga Ulturgasheva. "Envisioning Arctic Futures: Digital and Otherwise." Museum Anthropology Review 12, no. 2 (August 11, 2018): 100–119. http://dx.doi.org/10.14434/mar.v12i2.23184.
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The production of Never Alone (a recent video game incorporating Inupiaq narrative traditions and aesthetics) is one example of how indigenous peoples use digital technologies to spark young people’s interest in their own knowledge. Using comparative material from game players in Siberia and Alaska, this article explores interfaces between the knowledge needed to play such games and that required for hunting in real time. Combining attention to decolonizing education and new museology strategies, the authors suggest that the pedagogical impact of such games is strengthened when combined with face-to-face interactions with local knowledge holders. This, in turn, suggests the importance of recognizing the work of the museum as its capacity to animate knowledge, not simply to store it.
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Araújo, Naiara Sales. "VIDEO GAMES E LITERATURA: Do Nimrod à Neuromancer." Revista Observatório 3, no. 3 (May 1, 2017): 164. http://dx.doi.org/10.20873/uft.2447-4266.2017v3n3p164.
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O presente artigo visa a refletir sobre a relação vídeo game e literatura, dos anos 50 aos anos 80, mostrando como a interface entre esses dois veículos tem proporcionado importantes diálogos no meio tecno-científico e artístico, contribuindo para uma vasta produção de jogos eletrônicos criados a partir de constante processo de reconstrução e adaptação. PALAVRAS-CHAVE: Vídeo games; Literatura; Diálogo. ABSTRACT The present article aims to reflect on the relationship between video games and literature, from the fifties to the eighies, showing how the interface between this two vehicles has provided important dialogues in the tecno-scientific and artistic fields contributing to a vast production of eletronic games developed by a constant processo d reconstruction and adaptation. KEYWORDS: Video Games; Literature; Dialogue. RESUMO El presente artículo tiene como objetivoo reflexionar la relación videojuego y literatura, de los años 50 hasta los 80, presentando como la interface entre estos dos vehículos ha proporcionado importantes diálogos en el medio tecno-científico y artístico, contribuyendo para una producción de juegos eletrónicos creados a partir de constante proceso de reconstrucción y adaptación. PALABRAS-CLAVES: Videojuegos; Literatura; Diálogo.
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Sherry, John L. "Formative Research for STEM Educational Games." Zeitschrift für Psychologie 221, no. 2 (January 2013): 90–97. http://dx.doi.org/10.1027/2151-2604/a000134.
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Millions in taxpayer and foundation euros and dollars have been spent building and testing educational video games, games for health, and serious games. What have been the fruits of this frenzy of activity? What educational video game has had the reach and impact of Sesame Street or Blues Clues television shows? By comparison, the Children’s Television Workshop (CTW) managed to get Sesame Street off the ground within a couple of years, writing the basic scientific literature on educational media design in the process. Not only is Sesame Street well known and proven, it laid the basis for every effective educational show to follow. This article explores the differences between the CTW scientific approach to educational media production and the mostly nonscientific approach consuming so many resources in the educational games, games for health, and serious games movements. Fundamental scientific questions that remain unanswered are outlined.
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Simon, Bart, and Darren Wershler. "Childhood’s End (or, We Have Never Been Modern, Except in Minecraft)." Cultural Politics 14, no. 3 (November 1, 2018): 289–303. http://dx.doi.org/10.1215/17432197-7093310.
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This article considers Minecraft, one of the most widely played and popular video games of all time, with over 100 million copies sold. Minecraft is an open-ended strategy game about material logistics, governance, and world building. It is also about a nostalgic modernity that players desire and produce but that is everywhere complicated by the very conditions of its production. Drawing on the work of Bernhard Siegert, Svetlana Boym, Raymond Williams, James C. Scott, and Chandra Mukerji, we consider the block-, grid-, and code-level cultural techniques associated with playing the game as allegories for our increasingly complex relationship to digital culture. Minecraft is not the apotheosis of cultural domination by code as much as it is a playable parable about its complications.
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Miner, Joshua D. "Biased Render." Screen Bodies 4, no. 1 (June 1, 2019): 48–71. http://dx.doi.org/10.3167/screen.2019.040105.
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This article explores the digitality of Indigenous bodies within contemporary 3D video games by mainstream and Indigenous developers. Its analysis relies on a critical examination of digital image synthesis via real-time graphics rendering, which algorithmically generates the visible world onscreen from 3D geometries by mapping textures, generating light and shadow, and simulating perceptual phenomena. At a time when physically based, unbiased rendering methods have made photorealistic styles and open-world structures common across AAA games in general, Indigenous game designers have instead employed simplified “low res” styles. Using bias as an interpretive model, this article unpacks how these designers critique mainstream rendering as a cultural-computational practice whose processes are encoded with cultural biases that frame the relation of player and screen body (avatar). The algorithmic production of digitally modeled bodies, as an essential but masked element of video games, offers a territory where Indigenous developers claim aesthetic presence in the medium.
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Gómez-Prada, Urbano, and Oscar Gómez-Sandoval. "SAMI: Serious videogame of bovine cattle farms in Unity supported in System Dynamics." Revista UIS Ingenierías 18, no. 4 (July 16, 2019): 15–22. http://dx.doi.org/10.18273/revuin.v18n4-2019001.
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SAMI is a video game for learning about bovine cattle production systems. The game is developed with Unity Engineandhas rules based on a model implemented with System Dynamics. On each game, the player must take decisions and do actions that allow him to properly run afarm. Those actions are stored in a website which provides feedbackby comparing the executed actions with those which are ideal in order to ease the learning process. The article presents the main aspects of the proposal;that is, part of the model in which it is supported and a summary of the main aspects of implementation in Unity.
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Bingham, Christopher M. "Talking about Twitch: Dropped Frames and a normative theory of new media production." Convergence: The International Journal of Research into New Media Technologies 26, no. 2 (November 15, 2017): 269–86. http://dx.doi.org/10.1177/1354856517736974.
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Twitch is an online video distribution platform that allows users to broadcast live video of themselves playing videogames. This distribution infrastructure includes features that allow viewers to financially support their favorite Twitch streamers, creating a new type of media professional: the entrepreneurial Twitch streamer. Like other professionals, Twitch streamers meet regularly to discuss the profession and business of live streaming. This article applies critical discourse analysis to one such venue for insider dialogue on professional Twitch streaming: the weekly talk show, Dropped Frames. On this program, professional broadcasters discuss many aspects of their career, such as Twitch’s corporate presence, production technology, the time and effort required to stream, precarity, their relationship to their community, the data they use to run their channels, the games they play, and their relationship to game developers. Speech within these empirically present categories demonstrates an underlying set of common assumptions about how the streaming industry should function. In other words, professional Twitch broadcasters develop a normative theory of streaming practice that is expressed in their speech. I argue that through their speech, professional Twitch streamers demonstrate a theoretical understanding of professional streaming that is based on their ability to negotiate uncertainty and the responsibility they feel for their communities.
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van Ommen, Mattias. "Guild Wars 2, the Frankfurt School and Dialectical Fairy Scenes: A Critical Approach Towards Massively Multiplayer Online Video Games." Games and Culture 13, no. 6 (March 2, 2016): 547–67. http://dx.doi.org/10.1177/1555412015627392.
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In this study, I use a revised approach of the Frankfurt School in order to critically assess a recent massively multiplayer online video game, Guild Wars 2. Starting with a brief historical overview of the Frankfurt School, I proceed by applying a revision of the school’s main contributions to analyzing Guild Wars 2. This includes an integration of processes of production and distribution, various levels of textual analysis, and audience reception. My main method of investigation is long-term participant observation, and throughout the article, I will argue for the use of such qualitative methods in the critical study of video games. Doing this, I have found that Guild Wars 2 offers a complex experience with enormous appeal and creative potential, while at other times being surprisingly restrictive, culminating in what Walter Benjamin would call a dialectical fairy scene.
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Borissov, Borislav. "THE OPPORTUNITIES OF GAMIFICATION IN BUSINESS PLANNING TRAINING." Knowledge International Journal 28, no. 1 (December 10, 2018): 285–90. http://dx.doi.org/10.35120/kij2801285b.
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The attitude of society towards education change due to changes in the needs for education, shifts of young people's attitudes and preferences, the dynamism of life, the demand for “ad hoc” learning that saves time and practical applicability of the acquired knowledge, and the pursuit of quick professional realization. This means that the conventional training methods should either be modified or replaced with new methods that would meet these requirements. Such a new method is the gamification – an educational approach to learning by using video game design and game elements. Its goal is to maximize enjoyment and engagement through capturing the interest of learners and inspiring them to continue learning. This paper investigates some of the most popular types of computer games whose logical structures can be used to develop training games. Gamification is compared with the case-study approach in terms of automated computing, student feedback throughout the training process, changes that may be made in the course of the game to create new situations to which trainees are required to respond, achievement rate feedback, gradual increase of the game difficulty level by setting increasingly difficult tasks. The comparison clearly outlines the advantages of the new approach, viz. greater learners’ enjoyment of the learning content, improved engagement and more active participation in the learning process. The paper presents six models of computer games that can be used for training in the field of business planning in both secondary and higher schools (forecasting a company's market share, organizing production at minimal cost, profit maximization, risk mitigation, sales and output planning, and optimization of return on equity.) Each game is described in terms of the input data that should be provided to the participants at the beginning of the game, parameters that will be changed in the course of the game, restrictive conditions, and the role of the player/trainee.
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Allen, Robertson. "The Unreal Enemy of America’s Army." Games and Culture 6, no. 1 (August 11, 2010): 38–60. http://dx.doi.org/10.1177/1555412010377321.
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This paper explores the characterizations of enemies in military-themed video games, with special attention given to the games Conflict: Desert Storm and America’s Army. I demonstrate how the public enemy of America’s Army is one not confined to any nationality, ethnicity, or political agenda. This marks a significant departure from games such as Conflict: Desert Storm. I argue that the production of this abstract enemy—what I call the ‘‘unreal enemy’’—is significantly shaped by a biopolitical system that intertwines the military and electronic entertainment industries. This arrangement delocalizes power, distributing it through a network of institutions and subjects. Throughout, I use ethnographic examples that explore how this abstract enemy has been constructed and juxtaposed against more concrete and personal figures, such as the America’s Army Real Heroes, individuals upheld as the embodiment of personal achievement in the U.S. Army. I conclude by asserting that the unreal enemy of America’s Army is, ultimately, an enemy that is not exclusive to a video game, but one that exists as an anonymous specter, ever present in the militarized American cultural imaginary.
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Iwatani, Toru. "1-2. What Matters Most in Video Game Production, from the Educational Point of View." Journal of the Institute of Image Information and Television Engineers 67, no. 1 (2013): 9–11. http://dx.doi.org/10.3169/itej.67.9.
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Nakajima, Nobutaka. "1-1. A Plan and the Production Spot of the Game; Several Issues on Development Side which Video Game Evolution Causes." Journal of the Institute of Image Information and Television Engineers 67, no. 1 (2013): 5–8. http://dx.doi.org/10.3169/itej.67.5.
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Phelps, Andrew M., Christopher A. Egert, and Mia Consalvo. "Hack, Slash & Backstab: A Post-Mortem of University Game Development at Scale." International Journal of Designs for Learning 12, no. 1 (April 12, 2021): 16–33. http://dx.doi.org/10.14434/ijdl.v12i1.31263.
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This article describes the educational, operational, and practical implementation of an upper-division undergraduate studio-style course centered on the subject of game production. Specifically, the article addresses the course organization and processes, the institutional context for the course (i.e., its situated role in the larger curriculum), the overall structure of the course both from a pedagogical and operational point of view, and concludes with substantial reflection and analysis by the authors on what worked effectively and where improvements could be made. The article also provides substantial depth regarding the student experience, the structure of creating muti-disciplinary software development teams within the course, orienting the course around the successful production of a professional-grade XBOX One video game product, and various methods, structures and tools for course organization, communication, software development practice, documentation, etc. This in turn is framed in the larger context of the course as it was offered not only through an academic department, but in parallel with a campus-based games studio and research center. Numerous detailed elements are provided in such fashion as to provide other educators and mentors a relevant, structured, and detailed post-mortem of a large scale, multi-disciplinary effort that engaged students in complex multimedia software production in a professional context. In addition, several elements atypical from more traditional software project courses as they intersect game development including entertainment design, playtesting, marketing, press, public demonstration and performance, audience reception and analytics, commercial platform, etc., and discussed and analyzed.
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Freitas, Joana. "Kill the Orchestra." Journal of Sound and Music in Games 2, no. 2 (2021): 22–41. http://dx.doi.org/10.1525/jsmg.2021.2.2.22.
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In the age of participatory and convergence paradigms, video game music has its own networked culture with cybercommunities that discuss, share, and create content, thus opening up a creative space for artistic activities in a constant digital flow. Music composition and production is one of these activities, with files made available on several platforms such as SoundCloud and YouTube, specifically in the format of modification files (or mods). Building on research for a master’s dissertation, this article examines a new model of online artistic production in the form of the circulation of musical mods that were composed and shared on the Nexus Mods platform for the The Elder Scrolls IV: Oblivion and The Elder Scrolls V: Skyrim video games. These mods add new musical material that is similar to the existing soundtrack of both titles, but the majority of the files in this platform’s audio category are related only to sounds, not to musical composition. By using titles such as “better sounds” or “immersive sounds” to describe their additions, many modders aim to give other gamers a more immersive experience in the game(s). In this case, immersive relates not only to the musical style and sound quality of the aural effects but also a plausible construction of the reality in which the gamers live, play, and negotiate meaning relating to their own social context. Intersecting “playbour,” fandom, aural immersion, and audiovisual literacy, these audio modders work on adding new layers to the soundscapes and environments of the virtual worlds presented in the two games. The modders regard immersion as a key aspect of design and playability, and they contribute audio material to enable their social capital and visibility on online platforms.
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Awagjan, A. R., A. A. Kalugin, and P. R. Kondrashov. "Labour and the Ecological Critique of Capitalism in Videogames: The Case of Stardew Valley." Sociology of Power 32, no. 3 (October 2020): 242–66. http://dx.doi.org/10.22394/2074-0492-2020-3-242-266.
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In this paper we conduct an analysis of the critical narratives of Stardew Valley and compare them to other relevant videogames in order to develop new possibilities for an ecological critique of capitalist extractive economies. Critical narratives of this game are aimed primarily at the alienating conditions of labour and deeply devastating modes of production under capitalism that impact and severely damage the environment. Analysing these narratives, we superimpose the immediate messages of the game with the procedural rhetoric and material conditions of their existence. Over the course of our analysis, we highlight a material-narrative dissonance which, in the case of Stardew Valley, fails to function as a communicative strategy of the game and remains its mere external contradiction. Although the game’s critical narrative may seem overly utopian and its political imaginary a bit underdeveloped, the game elaborates on concrete ways to tackle the alienation of labour and resolve the ecological crisis. In addition to this, the paper covers the history of the interplay between the video game industry and the field of global ecological crisis research. We compare the attempts to raise awareness of the videogames’ own materiality that preceded Stardew Valley. We conclude that Stardew Valley utilises the language of sustainable co-existence and wasteless local production, expanding this logic both to the sphere of labour and the spectrum of environmental problems. In the case of ecological critique, some gameplay decisions in Stardew Valley enable us to come up with new strategies aimed at creating critical narratives about the environment in videogames. Thus supplementing Stardew Valley’s findings with critical tropes derived from other games (mainly, Rain World), we were able to gather a set of theoretical instruments that could facilitate the creation of games about ecosystems. Following Donna Haraway’s emphasis on the crucial role of narrative framing (“it matters which stories tell stories”), we highlight new opportunities for the entire medium of videogames.
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Negrão, Maryangela Drumond de Abreu, and Ana Maria Machado Toaldo. "Marketing Strategy Implementation Process in the Creative Industry of Video Games." Revista Ibero-Americana de Estratégia 12, no. 2 (June 1, 2013): 105–37. http://dx.doi.org/10.5585/ijsm.v12i2.1859.
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This article contributes to the understanding of marketing strategy process when it presents the organizational and human factors that support the processes of implementation, identified in a qualitative study conducted in the creative industry of video game development. The research, a case study applied to four video and computer game companies was based on the Sashittal and Jassawalla (2001) marketing strategic model, and on the concepts of the creative behavior and innovation in organizations proposed by Amabile (1997). The analysis suggests that the marketing strategy implementation is anchored in innovative administrative process, creative skills and the adoption of modern control technologies. It was observed that a vision that associates production, process, the market orientation and the delivery of value-adding is essential for the implementation of strategies in creative and innovative organizational structures. The research contributes to the marketing strategy implementation studies in creative and innovative environments under the approach of smaller organizations. It also contributes with the marketing strategy theory when it suggests that the analysis of the process, the control and the management skills be included as categories into the theoretical model in future investigations.
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Gómez Prada, Urbano Eliécer, Martha Lucía Orellana Hernández, and Jesús María Salinas Ibañez. "Systems Dynamics and Serious Video Games in an Appropriation Strategy of a Decision Support System for Small Livestock Farmers." International Journal of Interactive Mobile Technologies (iJIM) 14, no. 15 (September 11, 2020): 4. http://dx.doi.org/10.3991/ijim.v14i15.14597.
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This document presents a Decision Support System (DSS) aimed at small livestock farmers who have not made use of Information Technologies (IT) in their production systems. The DSS was built based on the finite difference equations of a simulation model in System Dynamics in whose definition the beneficiaries participated and also served as a base for the development of a serious video game. The DSS and the Serious video game is supported in a Web and Mobile Architecture. The simulation model and the serious video game are used as support tools in the training given to users to learn how to use the DSS. These three tools are the result of a doctoral research project, which used two methodologies during its execution: Design and Development Research and the Case Studies methodology. The tools were applied in an appropriation strategy with livestock farmers of the department of Santander in Colombia, where resistance to change and cultural attachment causes a low adoption of technology. The inclusion of gamification elements helps the user to understand the connection of these elements and their processes in a real farm, know the large volume of data managed by the DSS, enhance the process by making it more fun, improve the learning curve and provide useful data for tracking the use of the DSS. 16 months after the end of the training, the DSS has more than 13000 reported records about the activities of the farmers in their farms.
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Whitson, Jennifer R., and Bart Simon. "Game Studies meets Surveillance Studies at the Edge of Digital Culture: An Introduction to a special issue on Surveillance, Games and Play." Surveillance & Society 12, no. 3 (July 22, 2014): 309–19. http://dx.doi.org/10.24908/ss.v12i3.5334.
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While we could attribute the close ties between surveillance and video games to their shared military roots, in this editorial we argue that the relationship goes much deeper to that. Even non-digital games such as chess require a mode of watchfulness: an attention to each piece in relation to the past, present, and future; a drive to predict an opponent’s movements; and, a distillation of the player-subject into a knowable finite range of possible actions defined by the rules. Games are social sorting, disciplinary, social control machines.In this introduction we tease apart some of the intersections of games and surveillance, beginning with a discussion of the NSA documents leaked by Edward Snowden on using games to both monitor and influence unsuspecting populations. Next, we provide an overview of corporate data-gathering practices in games and further outline the production of manageable, computable subjectivities. Then, we show how the game Watch Dogs explores the surveillant capacities of games at both the game mechanical and representational scales. These three different facets of surveillance, games, and play set the scene for the special issue and the diverse articles that follow. In the following pages we pose new lines of questioning that highlight the nuances of play and offer new modes of thinking about what games - and the processes of watching and being watched that are a foundational part of the experience – can tell us about surveillance.
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Saunders, Rebecca. "Computer-generated pornography and convergence: Animation and algorithms as new digital desire." Convergence: The International Journal of Research into New Media Technologies 25, no. 2 (March 6, 2019): 241–59. http://dx.doi.org/10.1177/1354856519833591.
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This article is one of the first to consider the digital phenomenon of computer-generated imagery (CGI) pornography, a highly significant site of convergence that combines the technologies, cultures and aesthetics of digital animation, video games and pornographic film. As much of this controversial new content is produced through the hacking of licensed video game franchises, CGI pornography typifies the democratic possibilities of the digital economy. However, this bizarre digital subculture exemplifies too the tension between ludic and labour-intensive digital practises: its production is embedded simultaneously in the anti-productive play of gaming, hacking and pornography, and in the intensive, neo-liberal labour practises associated with free labour and the video game industry. This article explores CGI porn as a specific site of convergence that fundamentally alters the aesthetics and function of digital pornography and relatedly the libidinal subject that is interpolated in this crucial aspect of digital culture. The filmic genre of pornography has a long tradition of producing affective engagement through vicarious access to the material body; its evocations of veracious materiality and presence are only amplified in a digital culture of virtuality and dematerialization. This article analyses how the technological construction of CGI porn is foregrounded in its images and films, highlighting the codes and patterns of the genre and blending them with a stark revelation of the restrictions and capabilities of CGI technology. The article explores how multiple instances of hypermediacy and hypersignification in CGI porn expose and affectively engage with the fact of convergence itself: that is, revealing technological capacities and limitations of digital animation and eroticizing its interpenetration with the films’ diegeses, aesthetics and representations of movement become the central function of this new cultural output. The libidinal focus of this type of digital pornography fundamentally shifts, then, away from the human body and the attempt to gain vicarious imagistic access to it through digital technologies. Instead, the labour of the animator, and the coding and characters they borrow from video game designs, become the libidinal focus of computer-generated pornography. As this new digital phenomenon uncovers and eroticizes the workings of CGI, so it dismantles the veracity and materiality promised by ‘real body’ digital pornography: CGI porn’s stark foregrounding of its technological constructedness clarifies the artificiality of its ‘real body’ counterpart. This article posits, then, an important new site of convergence. Pornography is a central node in the culture, politics and economics of digital technology, and the ways in which its convergence with CGI practises and video game culture has produced not just an entirely new digital phenomenon, but has fundamentally altered digital pornography's conception of the desirous subject and the material body, are crucial.
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Berg Marklund, Björn, Henrik Engström, Marcus Hellkvist, and Per Backlund. "What Empirically Based Research Tells Us About Game Development." Computer Games Journal 8, no. 3-4 (September 24, 2019): 179–98. http://dx.doi.org/10.1007/s40869-019-00085-1.
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Abstract This paper reviews empirically grounded research on practices in game development with the intent to give a comprehensive overview of contemporary development practices used in the video game industry. While there are many intangible elements that inform game development processes, this review specifically covers the more immediate practical challenges. The review covers a total of 48 papers published between 2006 and 2016, which were all subjected to thematic analysis by three reviewers. The results of the review show that an almost universal characteristic of game development is that it is almost impossible to accurately plan a development project in detail, largely due to the soft requirements inherent in game production which emerge mid-process during development projects, during when testing is coupled with continuous ideation and refinement. Practicing game developers have created their own frameworks that accommodate for this lack of planning. They include flat hierarchies, democratic decision-making, creative autonomy, and informal communication, which are designed to create an environment that maintains creativity and openness to product changes long into the production process. These frameworks vary significantly between studios and often between individual projects. This review also shows that the term ‘Agile’, while often used by both researchers and developers to characterize the process of game development, is not an apt descriptor of how game developers actually work. Agile is used as shorthand for unstructured and flexible development, rather than serving as a descriptor of a definable or unified work method. Finally, as companies develop more complicated hierarchies of stakeholders and staff, the desired flexibility and autonomy of game development becomes increasingly complicated to maintain, and often necessitates more formalized management processes and company structures. In these cases, inherent tensions of game development become more pronounced, and continuous creativity is hard to maintain due to a growing need to formalize processes.
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Viedge, C., and P. A. Taffinder. "An empirical evaluation of the use of video films in training: A behaviouristic analysis." South African Journal of Business Management 18, no. 3 (September 30, 1987): 163–67. http://dx.doi.org/10.4102/sajbm.v18i3.1013.
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Considerable organizational resources are expended annually on training, yet little empirical research is undertaken to investigate the problem of transfer of training to the workplace. Video films are an integral part of many training courses and it is critical to evaluate the efficacy of such films in developing the intended skills. Within the operant behaviouristic perspective, an ABAB reversal experiment was conducted during four business game periods of a training course. The experimental objective was to assess the impact of the principles presented in a training film on the decision-making behaviour of six managers from an engineering research/production facility. A cue-board summarizing the decision-making principles presented in the film was unobtrusively introduced during the two 'B' phases of the experiment. Frequencies of the target behaviour were recorded by two independent raters across all consecutive 'A' and 'B' experimental phases. No functional relationship was found between the use of the decision-making principles and the introduction of the cue-board. In other words, despite the use of a cue-board to prompt decision-making behaviour, no transfer of training from the video-film to the analogue working environment of the business game was observed. Some implications of these results for employing video films in training are discussed.
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Ray, Jean-Charles. "Regarder la peur dans les yeux." Le jeu vidéo au Québec 14, no. 23 (July 8, 2021): 100–114. http://dx.doi.org/10.7202/1078730ar.
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The aim of this paper is to study the production of the Montreal studio Red Barrels so as to grasp its value and how it is exemplary of the recent renewal in horror video games through an articulation of sight and space producing an enticing trap. With Outlast in 2013 and a year later with its extension Outlast: Whistleblower, this independent studio revived some of the great themes of the horror genre: one can recognize in their derelict psychiatric hospital Noël Carroll’s « drama of corridors », Mikhaïl Bakhtine’s castle chronotope and fear as an emotional drive for the player’s progression, as theorized by Bernard Perron. Yet, these games also took part in the First-person avoider trend that bloomed in the 2010s by removing all combat mechanics and leaving the main character with nothing more than a camera allowing him to temporarily see in the dark; the main goal being to remain unseen while seeing. In these games that reconnect with the idea of a transgressive gaze of which Medusa is the antique archetype, the point is less to overcome monsters than one’s own fears. In 2017, with Outlast 2, Red Barrels then aimed at exploring the architectural possibilities of this model by forsaking medical facilities for an isolated village and what Mario Gerosa called an “open air claustrophobia” and using physics defying spatial structures that symbolically convey the stakes of a gaze that allows knowledge and of deceitful senses. Through the analysis of these three games, the aim is thus to offer an overview of the aesthetics stakes they tackle and of the current momentum in independent video game production they represent.
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Cornfeld, Li, Victoria Simon, and Jonathan Sterne. "Legitimating Media: Shakespeare’s Awkward Travels Through Video Games and Twitter." Communication, Culture and Critique 11, no. 3 (July 27, 2018): 418–35. http://dx.doi.org/10.1093/ccc/tcy015.
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Abstract Since the 19th century, Shakespeare references have recurred with surprising consistency in experimental forms of media. This article considers the role of references to and adaptations of Shakespeare texts when a media form takes on a new valence for a set of users in a particular time and place. We consider two different moments at length: a commercial interactive game from 1984 that made novel use of cassettes and sound, and the production and reception of early Twitter adaptations of Shakespeare in 2010. By standing in for the aesthetic possibilities and limits of a changing media space, Shakespearean references and deviations from them serve a key role for artists and critics in debates over the legitimacy and significance of creative work in emergent media. Thus, cultural producers, critics and audiences thus use these sometimes-awkward appearances of Shakespeare as a means of describing their aesthetic potentials and limits.
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Hu, Zhen Yu. "Simulation Research on Video Tracking Based on Computer Dynamic Capturing Technology." Applied Mechanics and Materials 513-517 (February 2014): 2389–93. http://dx.doi.org/10.4028/www.scientific.net/amm.513-517.2389.
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Motion capture technology of computer is a new form of a new data acquisition in recent years. It relates to many subjects, such as mathematics, computer science, graphics, digital signal processing, image processing, data structure and so on. Through the combination of various disciplines, and mutual penetration, this new research field has been formed. The study of the motion capture technology not only increases the depth of theory, but also provides practical significance for the dynamic kinematics. At present, the motion capture technology of computer has been widely applied to the animation game production, medicine motion analysis sports and other fields. This article is mainly based on the combination of basketball technique and computer motion capture to provide a theoretical basis and practical experience for computer motion capture of basketball.