DOCSLIB.ORG

Explaining Archaeological Research with Video Games: the Case of 153 Evolving Planet Xavier Rubio-Campillo, Jorge Caro Saiz, Guillem H

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Explaining Archaeological Research with Video Games: the Case of 153 Evolving Planet Xavier Rubio-Campillo, Jorge Caro Saiz, Guillem H Edinburgh Research Explorer Explaining archaeological research with videogames Citation for published version: Rubio-Campillo, X, Caro Saiz, J, H. Pongiluppi, G, Laborda Cabo, G & Ramos Garcia, D 2017, Explaining archaeological research with videogames: The case of Evolving Planet. in A Mol, C riese- Vandemeulebroucke, K Boom & A Politopoulos (eds), The Interactive Past: A Book on Video Games and Archaeology . Sidestone Press, pp. 153-165. Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: The Interactive Past General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 Boom & Politopoulos (eds) & Politopoulos Boom Ariese-Vandemeulebroucke, Mol, THE INTERACTIVE PAST THE Video games, even though they are one of the present’s quintessential media and cultural forms, also have a surprising and many-sided relation with the past. From seminal series like Sid Meier’s Civilization INTERACTIVE or Assassin’s Creed to innovative indies like Never Alone and Herald, games have integrated heritages and histories as key components of ARCHAEOLOGY, their design, narrative, and play. This has allowed hundreds of millions HERITAGE & VIDEO GAMES of people to experience humanity’s diverse heritage through the thrill PAST of interactive and playful discovery, exploration, and (re-)creation. Just as video games have embraced the past, games themselves are also PAST THE INTERACTIVE emerging as an exciting new field of inquiry in disciplines that study the past. Games and other interactive media are not only becoming more and more important as tools for knowledge dissemination and heritage communication, but they also provide a creative space for theoretical and methodological innovations. The Interactive Past brings together a diverse group of thinkers — including archaeologists, heritage scholars, game creators, conservators and more — who explore the interface of video games and the past in a series of unique and engaging writings. They address such topics as how thinking about and creating games can inform on archaeological method and theory, how to leverage games for the communication of powerful and positive narratives, how games can be studied archaeologically and the challenges they present in terms of conservation, and why the deaths of virtual Romans and the treatment of video game chickens matters. The book also includes a crowd-sourced chapter in the form of a question-chain-game, written by the Kickstarter backers whose donations made this book possible. Together, these exciting and enlightening examples provide a convincing case for how interactive play can power the experience of the past and vice versa. edited by Sidestone Angus A.A. Mol, Csilla E. Ariese- ISBNSidestone 978-90-8890-436-3 Press ISBN: 978-90-8890-436-3 Vandemeulebroucke, Krijn H.J. Boom & Aris Politopoulos 9 789088 904363 This is a digital offprint from: Mol, A.A., Ariese-Vandemeulebroucke, C.E., Boom, K.H.J. & A. Politopoulis. 2017. The Interactive Past. Archaeology, heritage & video games. Leiden: Sidestone Press. Sidestone Press * A new generation of Publishing This is a free offprint, read the entire book at the Sidestone e-library! You can find the full version of this book at the Sidestone e-library. Here most of our publications are fully accessible for free. For access to more free books visit: www.sidestone.com/library Download Full PDF Visit the Sidestone e-library to browse our e-books. For a minimal fee you can purchase a fully functional PDF and by doing so, you help to keep our library running. www.sidestone.com/library © 2017 Individual authors Published by Sidestone Press, Leiden www.sidestone.com Lay-out & cover design: Sidestone Press Artwork cover: Alexander Ariese ISBN 978-90-8890-436-3 (softcover) ISBN 978-90-8890-437-0 (hardcover) ISBN 978-90-8890-438-7 (PDF e-book) Contents Tutorial: An introduction to archaeology, heritage, and video games 7 Angus A.A. Mol, Csilla E. Ariese-Vandemeulebroucke, Krijn H.J. Boom & Aris Politopoulos PART ONE: ETHICAL APPROACHES TO HERITAGE AND 19 VIDEO GAMES Storytelling for the Next Generation: How a non-profit in Alaska 21 harnessed the power of video games to share and celebrate cultures Cook Inlet Tribal Council Tradigital Knowledge? Indigenous video games, copyright, and the 33 protection of traditional knowledge Gabrielle Hughes Chickens in Video Games: Archaeology and ethics inform upon 53 complex relationships B. Tyr Fothergill & Catherine Flick Herald: How Wispfire used history to create fiction 73 Roy van der Schilden & Bart Heijltjes PART TWO: ANALYSING AND DESIGNING GAMES FROM AN 83 ARCHAEOLOGICAL PERSPECTIVE Designing and Developing a Playful Past in Video Games 85 Tara Jane Copplestone Video Games as Archaeological Sites: Treating digital entertainment 99 as built environments Andrew Reinhard Single White Looter: Have whip, will travel 107 Erik Malcolm Champion On Games that Play Themselves: Agent based models, archaeogaming, 123 and the useful deaths of digital Romans Shawn Graham PART THREE: PLAYFUL HERITAGE OUTREACH 133 Playing the Archive: ‘Let’s Play’ videos, game preservation, and the 135 exhibition of play René Glas, Jesse de Vos, Jasper van Vught & Hugo Zijlstra Explaining Archaeological Research with Video Games: The case of 153 Evolving Planet Xavier Rubio-Campillo, Jorge Caro Saiz, Guillem H. Pongiluppi, Guillem Laborda Cabo & David Ramos Garcia Crafting the Past: Unlocking new audiences 167 Julianne McGraw, Stephen Reid & Jeff Sanders The Potential for Modding Communities in Cultural Heritage 185 Jakub Majewski Looking for Group: A collective chapter writing game 207 The Interactive Past Community Levelling Up: The playful promise of interactive pasts 225 Angus A.A. Mol, Csilla E. Ariese-Vandemeulebroucke, Krijn H.J. Boom & Aris Politopoulos Afterword 233 Colleen Morgan Explaining Archaeological Research with Video Games The case of Evolving Planet Xavier Rubio-Campillo, Jorge Caro Saiz, Guillem H. Pongiluppi, Guillem Laborda Cabo & David Ramos Garcia Introduction Archaeology has seen a large number of digital innovations during recent decades. Geographical Information Systems, archaeometry, or laser scanning are only some of the methodological advances of the discipline. However, the public image of how archaeology works is roughly the same as it was several years ago. Public fascination with archaeology is built upon a sense of discovery. Fictional works such as Indiana Jones, the Tomb Raider series (Core Design & Crystal Dynamics 1996-2016) or Uncharted series (Naughty Dog 2007-2016) are based on the concept of solving a mystery by unearthing an artefact or a city that has been forgotten for centuries (Meyers Emery & Reinhard 2015). Non-fiction but still popular media producers, such as Time Team or National Geographic, also promote this sense of wonder while emphasizing the rigorous methodology of archaeological research – as distant from these fictional pillagers as can be imagined. These efforts for the dissemination of knowledge about archaeological practice are mostly focused on fieldwork. A simple search of images on the internet reveals that archaeological research is portrayed as excavations, surveys, and spectacular sites. Fieldwork is essential for contemporary archaeology, but the types of activities linked to the exploration of the past are much more diverse, ranging from remote sensing to laboratory work or Geographic Information Systems (Renfrew & Bahn 2011: 12-18). More importantly, the use of quantitative methods allow us to test hypotheses against evidence, and for this reason scientific thinking is at the core of all contemporary archaeology. However, how much of these other archaeological rubio-campillo et al. 153 scientific practices are presented to the public? Can we exploit this fascination with discovery while explaining what archaeology is really about? We argue here that video games can promote scientific thinking while keeping the sense of discovery used in public archaeological outreach. A video game is essentially an interactive narrative device guided by the player’s attempts to face the challenges posed by game mechanics. Every time a puzzle is solved or a decision is made the story advances, thus fostering an experience of discovery. At the same time, the emphasis on problem solving is based on trial-and-error mechanisms that can be linked to the scientific method through content knowledge, process skills, and logic reasoning (Morris et al. 2013). In this chapter we discuss Evolving Planet (Murphy’s Toast Games 2016), a video game created to increase the visibility of archaeological sciences, and specifically the emerging field of Model-Based Archaeology. This video game was designed as a dissemination initiative by the research project SimulPast. The player takes the role of a future scientist studying the extinction of a sentient species
Load more

Recommended publications
  • Xbox One Rocket League Prices Spreadsheet
    Xbox One Rocket League Prices Spreadsheet Jointless and sexagenarian Aldo remarrying: which Maximilian is unwilling enough? Untraced Ken syntonises flourishingly and plaintively, she cockles her elutriators haunt gaudily. Vince buckets unbeknownst? Carniball team by our clients a spreadsheet. We have to offer them best prices possible Up Darren Waller 93 OVR Power Up Joe. Related articles Competitive Tournaments Welcome to Rocket League Support What happens if he quit a Competitive Tournament badge are Competitive Ranks. Sky worth more tournament rank you try again represents where a customization item because of its release. Some annoying visual and spreadsheets, adding special attributes. My Goal Explosion Work on Rocket Labs? RPG video game based on the DC Universe for PC Xbox One and PS4. EA make to this new set! OCDE tem a ver com os cartórios? Apologies for the inconvenience! This idea down, xbox one of new lm card. After a spreadsheet for prices spreadsheet! Sony offered to provide development funding but Hello Games only requested financial assistance for promotion and publication. Rocket League PS4 prices guide note all your trading item. Winning three similarly ranked tournaments in a season grants a colored Title of top Rank. Rocket League Guides Archives RLCD Rocket League. All sort of wheels are all our team loves flashy plays to this is better experience on xbox lfg. He has benefited from the discord server by getting coached by several members. Rocket League Rocket Pass 5 Pinterest. Todos los derechos reservados. Middleman scams are one of the most harmful and common scams in the trading community.
    [Show full text]
  • Everyman, All at Once Formatted 4.10.18
    Ben Phelan Brigham Young University, United States Everyman, All at Once Baptism and the Liberal Subject in BioShock Infinite Even as liberalism has penetrated nearly every nation on earth, its vision of human liberty seems increasingly to be a taunt rather than a promise. —Patrick J. Deneen, Why Liberalism Failed Abstract The 2013 video game BioShock Infinite stages baptism as a way to place the player within a liminal space where he or she is ostensibly a free subject, able to choose from an array of political options, but who will inevitably choose liberalism. In order to get the player to the point where they make—or rather confirm—their choice, the game must also force the player to arrive there. This conundrum mirrors the paradox of liberalism, following theorists like Patrick J. Deneen: that we supposedly choose among a realm of infinite possibly and yet those possibilities are forced upon us. This paradox is also the mode within which BioShock Infinite operates. The game uses self-referential and metatextual techniques to call attention to its gameness, and yet, it still asks the player to accept its liberal ideology. Althusser argues that the role of “Ideological State Apparatuses” (or ISAs) is to convince us that we are subjects who freely choose the dominant ideology, as opposed to any other system. ISAs do this through confirming us as subjects through rituals of ideological recognition enacted through, among other things, theatre, film, and video games. BioShock Infinite places the player in a position where they confirm that they are, indeed, a liberal subject, and then asks that liberal subject to choose the very order from which their (mis)recognition occurs.
    [Show full text]
  • Take-Two Interactive Software, Inc. Announces Formation of 2K Marin
    Take-Two Interactive Software, Inc. Announces Formation of 2K Marin December 17, 2007 8:03 AM ET New Northern California Based Development Studio to Focus on Creating Original, Industry-Leading Intellectual Property NEW YORK--(BUSINESS WIRE)--Dec. 17, 2007--Take-Two Interactive Software, Inc. (NASDAQ: TTWO) today announced the formation of 2K Marin, a new development studio under its 2K publishing label. Located in Novato, California, 2K Marin will develop original intellectual property, as well as co-develop products with other 2K studios around the world. "We're focused on continuing to bring new brands and cutting-edge gameplay to market with the creation of the 2K Marin studio," said Christoph Hartmann, President of 2K. "2K Marin will build upon our success in creating and leveraging AAA franchises." 2K Marin is the newest studio to join 2K's outstanding group of development studios located in Asia, Europe, Australia and North America. For more information, visit the 2K Games website at www.2kgames.com. About Take-Two Interactive Software Headquartered in New York City, Take-Two Interactive Software, Inc. is a global developer, marketer, distributor and publisher of interactive entertainment software games for the PC, PLAYSTATION(R)3 and PlayStation(R)2 computer entertainment systems, PSP(R) (PlayStation(R)Portable) system, Xbox 360(R) and Xbox(R) video game and entertainment systems from Microsoft, Wii(TM), Nintendo GameCube(TM), Nintendo DS(TM) and Game Boy(R) Advance. The Company publishes and develops products through its wholly owned labels Rockstar Games, 2K Games, 2K Sports and 2K Play; and distributes software, hardware and accessories in North America through its Jack of All Games subsidiary.
    [Show full text]
  • 2019 Annual Report
    TAKE-TWO INTERACTIVE SOFTWARE, INC. 2019 ANNUAL REPORT ANNUAL INC. 2019 SOFTWARE, INTERACTIVE TAKE-TWO TAKE-TWO INTERACTIVE SOFTWARE, INC. 2019 ANNUAL REPORT Generated significant cash flow and ended the fiscal year with $1.57$1.57 BILLIONBILLION in cash and short-term investments Delivered total Net Bookings of Net Bookings from recurrent $2.93$2.93 BILLIONBILLION consumer spending grew 47% year-over-year increase 20%20% to a new record and accounted for units sold-in 39% 2424 MILLIONMILLIONto date 39% of total Net Bookings Tied with Grand Theft Auto V as the highest-rated game on PlayStation 4 and Xbox One with 97 Metacritic score One of the most critically-acclaimed and commercially successful video games of all time with nearly units sold-in 110110 MILLIONMILLIONto date Digitally-delivered Net Bookings grew Employees working in game development and 19 studios 33%33% 3,4003,400 around the world and accounted for Sold-in over 9 million units and expect lifetime Net Bookings 62%62% to be the highest ever for a 2K sports title of total Net Bookings TAKE-TWO INTERACTIVE SOFTWARE, INC. 2019 ANNUAL REPORT DEAR SHAREHOLDERS, Fiscal 2019 was a stellar year for Take-Two, highlighted by record Net Bookings, which exceeded our outlook at the start of the year, driven by the record-breaking launch of Red Dead Redemption 2, the outstanding performance of NBA 2K, and better-than- expected results from Grand Theft Auto Online and Grand Theft Auto V. Net revenue grew 49% to $2.7 billion, Net Bookings grew 47% to $2.9 billion, and we generated significant earnings growth.
    [Show full text]
  • The 2K Botprize : Home Can Computers Play Like People?
    11/14/12 botprize : home The 2K BotPrize : Home Can computers play like people? Computers are superbly fast and accurate at playing games, but can they be programmed to be more fun to play - to play like you and me? People like to play against opponents Hwohmo eare like themselves - opponents with personality, who can surprise, who sometimes make mistakRese,s yueltt don't blindly make the same mistakes over and over. The BotPrize competition challenges Teams programmers/researchers/hobbyists to create a bot for UT2004 (a first-persCoonm spheotoittioenr) Rthualet scan fool opponents into thinking it is another human player. The competition has beeDne vseploonpsmoerendt by 2K games since 2008, with up to $7000 prize money. It was created and is organised Pbyre Asssociate Professor Philip Hingston, of Edith Cowan University, in Perth, Western Australia. Publications FAQ In the competition, computer-controlled bots and human players (judges) meet in multiple rounds of combat, and the judges try to guess which opponents are human. To win th e prize, a bot has to be indistinguishable from a human player. Quiz The 2008 Competition Two Teams win the BotPrize! The 2009 Competition The 2010 Competition Here is a video piece about the result from DailyMotion: The 2011 Competition New! AI Game Research clearing house with news about new developments in AI Game Research. The BotPrize in 2012 joins in the Centenary Celebration of the Life and Work of Alan Turing. Visit the official site here. Video Game Bots Act Like Real Humans ► NewsyVideos 02:07 Video Game Bots Act Like Real Humans by NewsyVideos In a breakthrough result, after five years of striving from 14 different interSnoamtieo nhuaml taena-lmikes bfroot msit ensine countries, two teams have cracked the human-like play barrier! It's especiallsyq sliatetbisoftying that the prize has been won in the 2012 Alan Turing Centenary Year.
    [Show full text]
  • Conference Booklet
    30th Oct - 1st Nov CONFERENCE BOOKLET 1 2 3 INTRO REBOOT DEVELOP RED | 2019 y Always Outnumbered, Never Outgunned Warmest welcome to first ever Reboot Develop it! And we are here to stay. Our ambition through Red conference. Welcome to breathtaking Banff the next few years is to turn Reboot Develop National Park and welcome to iconic Fairmont Red not just in one the best and biggest annual Banff Springs. It all feels a bit like history repeating games industry and game developers conferences to me. When we were starting our European older in Canada and North America, but in the world! sister, Reboot Develop Blue conference, everybody We are committed to stay at this beautiful venue was full of doubts on why somebody would ever and in this incredible nature and astonishing choose a beautiful yet a bit remote place to host surroundings for the next few forthcoming years one of the biggest worldwide gatherings of the and make it THE annual key gathering spot of the international games industry. In the end, it turned international games industry. We will need all of into one of the biggest and highest-rated games your help and support on the way! industry conferences in the world. And here we are yet again at the beginning, in one of the most Thank you from the bottom of the heart for all beautiful and serene places on Earth, at one of the the support shown so far, and even more for the most unique and luxurious venues as well, and in forthcoming one! the company of some of the greatest minds that the games industry has to offer! _Damir Durovic
    [Show full text]
  • NG18 Program (Screen)
    PROGRAM 2018 PROGRAM#nordicgame 2017 #nordicgame Welcome to Nordic Game 2018 It’s a great pleasure to welcome you to this fifteenth edition of Nordic Game, the only conference in the world with a dedicated focus on the entire Nordic games industry. Over the years we’ve evolved from a humble regional conference into a truly global industry event, as our vision of a strong, united games community and the values so many of us share - openness, innovation and diversity - have resonated with games industry professionals around the world, and they have been welcomed into our extended family. Of course, we continue to proudly celebrate the sheer quality and variety of games developed in the Nordic countries, and this year’s Nordic Game Awards (Thursday, 24 May from 18:00 in the Unreal Theatre) once again reflects the imagination and vitality of developers from the region we call home. However, our rapidly changing, interconnected industry doesn’t allow us to rest on our laurels, and our opening keynote (Wednesday, 23 May at 11:00 in the Unreal Theatre) brings together a panel of leaders from some of our most prominent Nordic studios to explore key challenges and opportunities for game developers moving forward. True to the many values we share with our extended global family, we’re also introducing a string of talks - the Impact sessions - that delve beyond the albeit important business and technical aspects of game development, to encourage all of us to think more deeply about the real impact of the games we create - and how we create them - on our world.
    [Show full text]
  • The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism
    The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism by Sarah E. Thorne A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2018, Sarah E. Thorne Abstract The past decade has seen an increase in the availability of user-friendly game development software, the result of which has been the emergence of a genre of reflexive and experimental games. Pippin Barr, La Molleindustria’s Paolo Pedercini, and Davey Wreden are exemplary in their thoughtful engagement with an ever-expanding list of subjects, including analyses and critiques of game development, popular culture, and capitalism. These works demonstrate the power of games as a site for critical media theory. This potential, however, is hindered by the player-centric trends in the game industry that limit the creative freedom of developers whose work is their livelihood. In the era of communicative capitalism, Jodi Dean argues that the commodification of communication has suspended narrative in favour of the circulation of fragmented and digestible opinions, which not only facilitates the distribution and consumption of communication, but also safeguards communicative capitalism against critique. Ultimately, the very same impulse that drives communicative capitalism is responsible for the player-centric trends that some developers view as an obstacle to their art. Critical game studies has traditionally fallen into two categories: those that emphasize the player as the locus of critique, such as McKenzie Wark’s trifler or Mary Flanagan’s critical play, and those that emphasize design, as in Alexander Galloway’s countergaming, Ian Bogost’s procedural rhetoric, and Gonzalo Frasca’s theory of simulation.
    [Show full text]
  • Independent Video Games and the Games ‘Indiestry’ Spectrum: Dissecting the Online Discourse of Independent Game Developers in Industry Culture By
    Independent Video Games and the Games ‘Indiestry’ Spectrum: Dissecting the Online Discourse of Independent Game Developers in Industry Culture by Robin Lillian Haislett, B.S., M.A. A Dissertation In Media and Communication Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Robert Moses Peaslee Chair of Committee Dr. Todd Chambers Dr. Megan Condis Dr. Wyatt Philips Mark Sheridan Dean of the Graduate School December, 2019 Copyright 2019, Robin Lillian Haislett Texas Tech University, Robin Lillian Haislett, December 2019 ACKNOWLEDGMENTS This is the result of the supremely knowledgeable Dr. Robert Moses Peaslee who took me to Fantastic Fest Arcade in 2012 as part of a fandom and fan production class during my doctoral work. This is where I met many of the independent game designers I’ve come to know and respect while feeling this renewed sense of vigor about my academic studies. I came alive when I discovered this area of study and I still have that spark every time I talk about it to others or read someone else’s inquiry into independent game development. For this, I thank Dr. Peaslee for being the catalyst in finding a home for my passions. More pertinent to the pages that follow, Dr. Peaslee also carefully combed through each malformed draft I sent his way, narrowed my range of topics, encouraged me to keep my sense of progress and challenged me to overcome challenges I had not previously faced. I feel honored to have worked with him on this as well as previous projects.
    [Show full text]
  • The Work of Game in the Age of Automation
    The work of game in the age of automation Fizek, Sonia Rautzenberg, Markus This is the accepted manuscript of an article published in Journal of Gaming and Virtual Worlds available from: DOI: https://doi.org/10.1386/jgvw.10.3.197_2 Editors’ introduction: The work of game in the age of automation Sonia Fizek Markus Rautzenberg The achievements of the first technology might be said to culminate in the human sacrifice; those of the second, in the remote-controlled aircraft which needs no human crew. (Benjamin [1936] 2008: 26) Currently, at the edge of the new digital frontier, automation and smart algorithms are gaining immense social attention, enticing, as mechanization and machines in the previous centuries, as much wonder as awe. Countless magazine headlines paint a fully automated future and ask question about the social significance of automation driven by artificial intelligence. The most recent cover of the MIT Technology Review magazine (July/August 2018 issue) reads: ‘AI and robots are wreaking economic havoc. We need more of them’. Automation seems to be creeping into all aspects of our lives (at least in the developed and industrialized parts of the world), remaining especially noticeable in the context of work (McAfee and Brynjolfsson 2011) and the utilitarian products and processes of the fourth industrial revolution – such as fully automated Tesla’s factories, Google’s driverless cars or Amazon’s automated order and delivery chains, to start with a few most recognizable examples. But, automation is not only altering work. It is changing play too (in the broadest sense of the word).
    [Show full text]
  • Worldbuilding Voices in the Soundscapes of Role-Playing Video Games
    University of Huddersfield Repository Jennifer, Smith Worldbuilding Voices in the Soundscapes of Role Playing Video Games Original Citation Jennifer, Smith (2020) Worldbuilding Voices in the Soundscapes of Role Playing Video Games. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/35389/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Worldbuilding Voices in the Soundscapes of Role-Playing Video Games Jennifer Caron Smith A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield October 2020 1 Copyright Statement i. The author of this thesis (including any appendices and/ or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes.
    [Show full text]
  • Swedish Game Developer Index 2017-2018 Second Edition Published by Swedish Games Industry Research, Text & Design: Jacob Kroon Cover Illustration: Anna Nilsson
    Swedish Game Developer Index 2017-2018 Second Edition Published by Swedish Games Industry Research, text & design: Jacob Kroon Cover Illustration: Anna Nilsson Dataspelsbranschen Swedish Games Industry Klara norra kyrkogata 31, Box 22307 SE-104 22 Stockholm www.dataspelsbranschen.se Contact: [email protected] 2 Table of Contents Summary 4 Preface 5 Revenue & Profit 8 Key Figures 10 Number of Companies 14 Employment 14 Gender Distribution 16 Employees & Revenue per Company 18 Biggest Companies 20 Platforms 22 Actual Consumer Sales Value 23 Game Developer Map 24 Globally 26 The Nordic Industry 28 Future 30 Copyright Infringement 34 Threats & Challenges 36 Conclusion 39 Method 39 Timeline 40 Glossary 42 3 Summary The Game Developer Index analyses Swedish game few decades, the video game business has grown developers’ operations and international sector trends from a hobby for enthusiasts to a global industry with over a year period by compiling the companies’ annual cultural and economic significance. The 2017 Game accounts. Swedish game development is an export Developer Index summarizes the Swedish companies’ business active in a highly globalized market. In a last reported business year (2016). The report in brief: Revenue increased to EUR 1.33 billion during 2016, doubling in the space of three years Most companies are profitable and the sector reports total profits for the eighth year in a row Jobs increased by 16 per cent, over 550 full time positions, to 4291 employees Compound annual growth rate since 2006 is 35 per cent Small and medium sized companies are behind 25 per cent of the earnings and half of the number of employees More than 70 new companies result in 282 active companies in total, an increase by 19 per cent Almost 10 per cent of the companies are working with VR in some capacity Game development is a growth industry with over half Swedish game developers are characterized by of the companies established post 2010.
    [Show full text]