Books: 'Video Game Use'

1

Egan, Jill. How video game designers use math. New York, NY: Chelsea Clubhouse, 2010.

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How video game designers use math. New York, NY: Chelsea Clubhouse, 2010.

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3

Pcs. Rush 2: Extreme Racing USA. 6th ed. Rocklin, USA: Prima Games, 1999.

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4

Suter, Beat, René Bauer, and Mela Kocher, eds. Narrative Mechanics. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839453452.

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What do stories in games have in common with political narratives? This book identifies narrative strategies as mechanisms for meaning and manipulation in games and real life. It shows that the narrative mechanics so clearly identifiable in games are increasingly used (and abused) in politics and social life. They have »many faces«, displays and interfaces. They occur as texts, recipes, stories, dramas in three acts, movies, videos, tweets, journeys of heroes, but also as rewarding stories in games and as narratives in society - such as a career from rags to riches, the concept of modernity or market economy. Below their surface, however, narrative mechanics are a particular type of motivational design - of game mechanics.

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5

Carol, Savill-Smith, and Great Britain. Learning and Skills Development Agency., eds. The Use of computer and video games for learning: A review of the literature. London: LSDA, 2004.

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6

Beginning 3D game development with Unity: The world's most widely used multi-platform game engine. New York, NY: Apress, 2011.

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7

The great American video game: Presidential politics in the television age. New York: Morrow, 1987.

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8

France), Grand Palais (Paris, ed. Game story: Une histoire du jeu vidéo : Paris, Grand Palais, galerie sud-est, 10 novembre 2011-9 janvier 2012. Paris: Rmn-Grandpalais, 2011.

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9

Des pixels à Hollywood: Cinéma et jeu vidéo, une histoire économique et culturelle. [Châtillon]: Pix'n love, 2010.

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10

Blackman, Sue. Beginning 3D game development with Unity: The world's most widely used multi-platform game engine. New York, NY: Apress, 2011.

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11

1966-, Novak Jeannie, ed. Game development essentials. Clifton Park, NY: Thomson Delmar Learning, 2007.

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12

Micetic, Leigh Ann. Living arrangements, substance use, personality and gender as predictors of achievement and performance on video games. Sudbury, Ont: Laurentian University, Department of Psychology, 1998.

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13

Julie, Asbury, ed. Nintendo 64: Unauthorized Game Secrets. Rocklin, USA: Prima Pubublishing, Prima Games, 1997.

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14

United States. Congress. Senate. Committee on Governmental Affairs. Permanent Subcommittee on Investigations. Illegal use of video gambling machines: Hearing before the Permanent Subcommittee on Investigations of the Committee on Governmental Affairs, United States Senate, Ninety-eighth Congress, second session, October 1, 1984. Washington: U.S. G.P.O., 1985.

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15

Investigations, United States Congress Senate Committee on Governmental Affairs Permanent Subcommittee on. Illegal use of video gambling machines: Hearing before the Permanent Subcommittee on Investigations of the Committee on Governmental Affairs, United States Senate, Ninety-eighth Congress, second session, October 1, 1984. Washington: U.S. G.P.O., 1985.

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16

United States. Congress. Senate. Committee on Governmental Affairs. Permanent Subcommittee on Investigations. Illegal use of video gambling machines: Hearing before the Permanent Subcommittee on Investigations of the Committee on Governmental Affairs, United States Senate, Ninety-eighth Congress, second session, October 1, 1984. Washington: U.S. G.P.O., 1985.

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17

Ash, James. The interface envelope: Gaming, technology, power. New York: Bloomsbury Academic, an imprint of Bloomsbury Publishing, Inc., 2015.

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18

Fradinho, Oliveira Manuel, Hauge Jannicke Baalsrud, Duin Heiko, Thoben Klaus-Dieter, and SpringerLink (Online service), eds. Serious Games Development and Applications: Third International Conference, SGDA 2012, Bremen, Germany, September 26-29, 2012. Proceedings. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012.

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19

Auditor, Montana Legislature Office of the Legislative. Performance audit report: Controls over use of state telephones. Helena, Mont: The Office, 1986.

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20

Sandler, Corey. Official Sega Genesis and Game Gear strategies, 3RD Edition. New York: Bantam Books, 1992.

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21

Tom, Badgett, ed. Official Sega Genesis and Game Gear strategies, 2ND Edition. Toronto: Bantam Books, 1991.

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22

Mcdermott, Leeanne. GamePro Presents: Sega Genesis Games Secrets: Greatest Tips. Rocklin: Prima Publishing, 1992.

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23

Nintendo 64 Survival Guide. Lahaina, USA: Sandwich Islands Pubblishing, 1997.

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24

Prima. Official Sega Genesis: Power Tips Book, Volume 3. Rocklin, CA: Prima Publishing, 1994.

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25

Brusca, Victor G. Introduction to Video Game Engine Development: Learn to Design, Implement, and Use a Cross-Platform 2D Game Engine. Apress L. P., 2021.

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26

Games, Prima. The Ultimate Code Book: Cheats and the Cheating Cheaters Who Use Them (Prima Games). Prima Games, 2003.

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27

Bussard, Mildred. Mystery Mosaics Video Game Color by Number: Mosaic Video Game Characters Coloring Book Mystery Use Color to Reveal Secret Images Colour by Number Relaxation and Discover the Magic Mystery Creativity Stress Relieving Design. Independently Published, 2021.

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28

Hands-On Unity 2022 Game Development: Learn to Use the Latest Unity 2022 Features to Create Your First Video Game in the Simplest Way Possible. Packt Publishing, Limited, 2022.

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29

Gibbons, William. Allusions of Grandeur. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0005.

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This chapter explores how video games can seek to raise their artistic profile by using classical music to allude to cinema history. After describing some of the visual elements that can be incorporated in games to create a cinematic feeling for players, the chapter traces the use of classical compilation scores in games, connecting the practice to early cinema history. It then turns to more specific topics: first, video game versions of the Disney film Fantasia, such as the Atari 2600 title Sorcerer’s Apprentice (1983) and the Sega Genesis platformer Fantasia (1991), followed by the incorporation of Philip Glass’s score to the film Koyaanisqatsi in Grand Theft Auto IV.

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30

McAlpine, Kenneth B. Bits and Pieces. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190496098.001.0001.

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This book explores the development of and the social, cultural, and historical context of chiptune, a form of electronic music that emerged from the first generation of video game consoles and home computers in the 1980s. Through a combination of musical and procedural analysis and practitioner interviews, the book explores the role the technical constraints of early video game hardware played in shaping the sound of 8-bit video game music and the inventive approaches to coding and composition musicians used to circumvent them. It examines the sounds, culture, and personalities behind the music and shows how chiptune links as closely to the music of Bach as to the aggressive posturing of punk or the driving electronic sounds of house. The book begins by looking at chiptune’s roots in video game music and discusses how, as the sound chips that gave rise to its distinctive voice were superseded by more sophisticated hardware, chiptune moved underground to become an important part of the demoscene, a networked community of digital artists. It discusses chiptune’s reemergence in the late 1990s as a new wave of young musicians rediscovered these obsolete machines and began to use them as quirky and characterful musical instruments, in the process taking chiptune from the desktop and placing it centre stage. The book concludes by contemplating what lies ahead; as more people incorporate the chiptune sound into their work, will it ever hit the mainstream or will it remain firmly countercultural as part of the digital underground?

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31

CN. Notes CN.Notes Publishing. Composition Notebook Wide Ruled: Video Game Design for Gamer Lovers, Size 7. 5 X 9. 25 in, 148 Pages, Soft Cover, Matte Finish, Perfect for School, Homeschool, Office or General Use,. Independently Published, 2021.

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32

Zammitto, Veronica. Games User Research as part of the development process in the game industry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794844.003.0002.

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Practising Games User Research within a video game company possesses unique challenges, ranging from tight turnaround of findings to collaborating with the development team and incorporating the needs of the rest of company. This chapter describes processes and best practices for applying GUR in the industry while identifying and avoiding potential pitfalls.

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33

Drachen, Anders, Pejman Mirza-Babaei, and Lennart E. Nacke. Introduction to Games User Research. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794844.003.0001.

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This chapter provides an introduction to the field of Games User Research (GUR) and to the present book. GUR is an interdisciplinary field of practice and research concerned with ensuring the optimal quality of usability and user experience in digital games. GUR inevitably involves any aspect of a video game that players interface with, directly or indirectly. This book aims to provide the foundational, accessible, go-to resource for people interested in GUR. It is a community-driven effort—it is written by passionate professionals and researchers in the GUR community as a handbook and guide for everyone interested in user research and games. We aim to provide the most comprehensive overview from an applied perspective, for a person new to GUR, but which is also useful for experienced user researchers.

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34

Kerins, Mark. Multichannel Gaming and the Aesthetics of Interactive Surround. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.014.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter examines multichannel sound—specifically 5.1-channel surround sound—in video games, using gaming genres to explore the varying ways that games structure the three-way relationship among a multichannel sound track, onscreen visuals, and the game play itself. This approach uncovers distinct strategies of multichannel usage in platformers, first-person shooters, third-person 3D games, and rhythm games, and shows how these differ from traditional cinematic multichannel uses, especially in the way they problematize the relationship between image and sound. These differing approaches to game aesthetics illustrate different ways of conceiving the relationship among players, their in-game avatars, and the game world, with the sound mixing “rules” programmed into a game revealing the type of immersion and interactivity the game can promote. For example, some strategies reinforce the player–avatar connection, whereas others increase the distance between them. The chapter concludes by considering how industrial and technical factors unique to gaming impact multichannel sound usage.

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35

Gibbons, William. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0001.

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This introduction establishes the core concepts of the book, setting the stage for the chapters that follow. It describes the significance of replaying both in video games and in classical music and introduces the concept of replay value. The chapter offers some instances of classical music appearing in 1980s video games, such as the opening theme of the Toccata and Fugue in D Minor by J. S. Bach, which is used in a key moment in the game The Battle of Olympus. It then sketches an outline of the organization of the book, including a brief description of each of the later chapters.

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36

Bernhaupt, Regina. Game User Experience Evaluation. Springer, 2015.

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37

Bernhaupt, Regina. Game User Experience Evaluation. Springer, 2016.

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38

Bernhaupt, Regina. Game User Experience Evaluation. Springer, 2015.

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39

Williams, Duncan, and Newton Lee. Emotion in Video Game Soundtracking. Springer, 2019.

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40

Williams, Duncan, and Newton Lee. Emotion in Video Game Soundtracking. 2018.

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41

Paavilainen, Janne, Hannu Korhonen, Elina Koskinen, and Kati Alha. Heuristic evaluation of playability. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794844.003.0015.

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The fierce competition in the video games market and new revenue models such as free-to-play emphasize the importance of good playability for first-time user experience and retention. Cost-effective and flexible evaluation methods such as heuristic evaluation is suitable for identifying playability problems in different phases of the game development life cycle. In this chapter we introduce the heuristic evaluation method with updated playability heuristics, present example studies on identifying playability problems in social network games, and propose new heuristics for evaluating free-to-play games.

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42

Ferrari, Simon. Congratulations! You Have Killed Osama bin Laden!! University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038860.003.0010.

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This chapter examines the political and cultural narratives surrounding bin Laden and the Global War on Terrorism through the field of video games. It begins with an exploration of games about the news and one method of critiquing them. It then deals with the first wave of Flash games made after September 11, 2001 (the term Flash game denotes any videogame created in Adobe's Flash software development platform). It compares and contrasts those early offerings with the more refined documentary videogames made after bin Laden's death. Finally, it reflects on how the mainstream industry has capitalized on the War on Terror and what a look back at this tumultuous decade of experimentation tells us about the state of game design and its relation to the broader context of cultural production.

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43

Teachercraft: How Teachers Learn to Use Minecraft in Their Classrooms. Lulu Press, Inc., 2015.

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44

CN. Notes CN.Notes Publishing. Composition Notebook: Wide Ruled Paper, Video Game Notebooks Design for Kids and Adults, 7. 5 X 9. 25 in, 110 Pages, Soft Cover, Matte Finish, Perfect for School, Homeschool, Office or General Use. Independently Published, 2021.

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45

Stahlke, Samantha, and Pejman Mirza-Babaei. The Game Designer's Playbook. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780198845911.001.0001.

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Abstract Video games have captivated us for over 50 years, giving us entire worlds to explore, new ways to connect with friends, thought-provoking stories, or just a fun way to pass the time. Creating games is a dream for many, but making great games is challenging. This is a book about that challenge. More specifically, it’s a book about game interaction design—in other words, shaping what players can do and how they do it to make a game satisfying and memorable. Our time with a game is built on interaction, from basic things like pushing buttons on a controller, to making complicated strategic decisions and engaging with its narrative. If you’ve ever felt the adrenaline rush from beating a perfectly tuned boss fight or been delighted by the fanfare of picking up that last collectible, you’ve experienced good interaction design first-hand. This book is about learning what makes for great (or terrible!) interaction design in games, exploring things like controls, feedback, story, and tutorial design by analyzing existing games. It also looks at how newer and still-developing tech like VR and streaming are changing the ways we play, and how you can bring great interaction design to your own games.

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46

Harris, Eden. Bendy and the Ink Machine Coloring Book: A Video Game Coloring Book for Adults to Relax and Relieve Stress. Plenty of Flawless Images of Bendy and the Ink Machine. Easy to Use with Crayons. Independently Published, 2020.

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47

Games User Research. Oxford University Press, 2018.

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48

Chalfoun, Pierre, and Jonathan Dankoff. Developing actionable biometric insights for production teams. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794844.003.0017.

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In this chapter we describe the challenges and learnings in establishing processes for developing actionable biometric procedures for production teams. The chapter, divided in four main sections, describes the ongoing efforts of recent years to facilitate the incorporation of the science of biometrics into the culture of video game production, as illustrated through several case studies. The end goal is making biometric data an accessible option in the tool chest of user researchers and an ally in the team’s decision-making processes. Throughout the chapter, references to related work in games user research and academia are presented.

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49

Gibbons, William. A Requiem for Schrödinger’s Cat. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0004.

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This chapter embarks on a close reading of the video game BioShock Infinite, investigating how its use of popular and classical music connects with the game’s larger themes. The chapter begins by describing how BioShock Infinite employs covers of popular music, such as the songs “God Only Knows” by the Beach Boys and “Girls Just Want to Have Fun” by Cyndi Lauper. A later section of the chapter analyzes in detail how the inclusion of portions of W. A. Mozart’s Requiem acts as a sonic manifestation of the larger issues of quantum mechanics and uncertainty that are at play in BioShock Infinite.

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50

Kulshreshth, Arun K., and Joseph J. LaViola Jr. Designing Immersive Video Games Using 3DUI Technologies: Improving the Gamer's User Experience. Springer, 2018.

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Books on the topic 'Video Game Use'

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