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TECHNOLOGY EVOLUTION and PERSPECTIVE INNOVATION 3D and Spatial Depth Today and Yesterday Edited by the Editors at GAME

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TECHNOLOGY EVOLUTION and PERSPECTIVE INNOVATION 3D and Spatial Depth Today and Yesterday Edited by the Editors at GAME ISSN 2280-7705 The Italian Journal www.gamejournal.it Associazione Culturale LUDICA of Game Studies Games as Art, Media, Entertainment Issue 02, 2013 – volume 1 JOURNAL (PEER-REVIEWED) TECHNOLOGY EVOLUTION AND PERSPECTIVE INNOVATION 3D and spatial depth today and yesterday Edited by the Editors at GAME GAME JOURNAL – Peer-Reviewed Section Issue 02 – 2013 GAME Journal Games as Art, Media, Entertainment G|A|M|E is an international, peer-reviewed, free access games studies journal. G|A|M|E publishes one monographic issue per year A PROJECT BY SUPERVISING EDITORS Associazione Culturale LUDICA Antioco Floris (Università di Cagliari), Roy Menarini (Università di Bologna), Leonardo Quaresima (Università Reggio Calabria IT & London UK di Udine) HQ: Via Vittorio Veneto 33 89123 Reggio Calabria, Italy Offices: 179 Edward Street London SE14 6DS, UK EDITORS Stefano Baschiera (Queen’s University, Belfast), Marco Benoît Carbone (University College London), Giovanni Caruso In association with (Università di Udine), Riccardo Fassone (Università di Torino), Gabriele Ferri (Indiana University), Adam Gallimore filmforumfestival.it (University of Warwick), Ivan Girina (University of Warwick), Federico Giordano (Università per Stranieri di Perugia), Valentina Paggiarin, Justin Pickard, Paolo Ruffino (Goldsmiths, University of London), Mauro Salvador WITH THE PATRONAGE OF (Università Cattolica, Milano). Università di Cagliari Dipartimento di Storia, ADVISORY BOARD Beni Culturali e Territorio Espen Aarseth (IT University of Copenaghen), Matteo Bittanti (California College of the Arts), Jay David Bolter PARTNERS (Georgia Institute of Technology), Gordon C. Calleja (IT University of Copenaghen), Gianni Canova (IULM, Milano), Antonio Catolfi (Università per Stranieri di Perugia), Mia Consalvo (Ohio University), Patrick Coppock (Università di Modena e Reggio Emilia), Ruggero Eugeni (Università Cattolica del Sacro Cuore, Milano), Roy Menarini (Università di Udine), Enrico Menduni (Università di Roma Tre), Peppino Ortoleva (Università di Torino), Bernard Perron (Université de Montreal), Guglielmo Pescatore (Università di Bologna), Leonardo Quaresima (Università di Udine), Jose P. Zagal (De Paul University, Chicago). EDITORIAL BOARD Marco Benoît Carbone BOARD OF REVIEWERS Federico Giordano Francesco Alinovi (Nuova Accademia di Belle Arti, Milano), Alessandro Amaducci (Università di Torino), Simone Ivan Girina Arcagni (Università di Palermo), Giovanni Boccia Artieri (Università di Urbino), Elena Bertozzi (Long Island Universi- ty), Vito Campanelli (Università L’Orientale, Napoli), Domenico Carzo (Università di Messina), Alessandro Catania DISTRIBUTION All GAME issues are available (University of Nottingham), Alessio Ceccherelli (Università La Sapienza, Roma), Marco Centorrino (Università di for viewing and download at Messina), Giovanna Cosenza (Università di Bologna), Mariagrazia Fanchi (Università Cattolica di Milano), Riccardo www.gamejournal.it Fedriga (Università di Bologna), Mary Flanagan (Dartmouth College, USA), Giuseppe Frazzetto (Accademia di Belle Arti di Catania), Alexander R. Galloway (New York University), Mario Gerosa (Politecnico di Milano), Stefano Gualeni ISSN 2280-7705 (NHTV Breda University of Applied Sciences), Aphra Kerr (National University of Ireland, Maynooth), Massimo Locatelli (Università Cattolica del Sacro Cuore, Milano), Giulio Lughi (Università di Torino), Massimo Maietti ETHICAL STATEMENT (Independent Scholar), Diego Malara (XL, La Repubblica), Michael Nitsche (Georgia Institute of Technology), www.gamejournal.it/about Costantino Oliva (University of Malta), Domenico Quaranta (Accademia di Belle Arti di Brera, Milano), Elena Pacetti COPYRIGHT (Università di Bologna), Roberta Pearson (University of Nottingham), Gianfranco Pecchinenda (Università Federico II, Napoli), Michael Piggott (University of Warwick), Luca Rosati (Università per Stranieri di Perugia), Rino Schembri ISSUE 2, vol. 1 – 2013 © 2013 (Università di Palermo), Miguel Sicart (IT University of Copenhagen), Antonio Somaini (Université Sorbonne Nouvelle Paris 3), Olli Sotamaa (University of Tampere), Simone Tosoni (Università Cattolica del Sacro Cuore, Milano), Alberto GRAPHIC & LAYOUT Venditti (NHIM), Pierantonio Zanotti (Università Ca’ Foscari, Venezia). Design Manager: Ilaria Mariani Graphic Design: Alice Baraldi CONTRIBUTORS Layout Assistant: Maria Rosaria Macrillò Simone Arcagni (Università di Palermo), Simona Biancalana (Università per Stranieri di Perugia), Roberto Braga Managing Editor: Marco Benoît Carbone (Università di Bologna), Dario Compagno (Università di Siena), Francesco Di Chiara (Università di Ferrara), Stefano CONTACT Gualeni (NHTV Breda), Agata Meneghelli (Università di Bologna), Cristiano Poian, Valentina Rao (Utrecht University), [email protected] Valentina Re (Università Ca’ Foscari, Venezia), Valerio Sillari, Matteo Tarantino (Università Cattolica, Milano), Marco www.gamejournal.it Teti (Università di Ferrara), Gruppo Postcinema Università di Udine (Alice Autelitano, Enrico Biasin, Alessandro [email protected] Bordina, Alberto Brodesco, Stefania Giovenco, Lawrence Thomas Martinelli, Marcella Rosi, Federico Zecca). www.facebook.com/gamejournal www.twitter.com/gameitjournal PROOF-READING Adam Gallimore, Justin Pickard Issue 02 – 2013 Contents technology evolution and perspective innovation 3D and spatial depth today and yesterday Edited by the Editors at GAME ISSUE 2, 2013: VOLUME 1 – PEER-REVIEWED JOURNAL JOURNAL ESSAYS 5 B. Liebold, D. Pietschmann, G. Valtin & P. Ohler Taking space literally. Reconceptualizing the effects of stereoscopic representation on user experience 21 A. Petrovits & A. Canossa From M.C. Escher to Mass Effetc.Impossible spaces and Hyper-real worlds in video games. How can Hyper-real worlds be designed and interpreted in a 2D, 2.5D and 3D virtual environment and hoe will this implementation affect the stereoscopic 3D video games of the future? 33 A. Larochelle A new angle on parallel languages. The contribution of visual arts to a vocabulary of graphical projection in video games 41 A. Işiğan The production of subject and space in video games 57 D. Arsenault & P.-M. Côté Reverse-engineering graphical innovation. An introduction to graphical regimes 69 Z. Street Polygons and practice in Skies of Arcadia 79 D. Arsenault, P.-M. Côté, A. Larochelle & S. Lebel Graphical technologies, innovation and aesthetics in the video game industry. A case study of the shift from 2D to 3D graphics in the 1990s 91 E. Menduni & A. Catolfi Digital aesthetic forms between cinema and TV. The need for new research directions Issue 02 – 2013 Journal –Peer Reviewed BENNY LIEBOLD Chemnitz University of Technology Taking space literally [email protected] DANIEL PIETSCHMANN Chemnitz University of Technology Reconceptualizing the effects [email protected] chemnitz.de of stereoscopic representation GEORG VALTIN Chemnitz University of Technology on user experience [email protected] & PETER OHLER Chemnitz University of Technology [email protected] Recently, cinemas, home theater systems and game consoles have undergone a rapid evolution towards stereoscopic representation with recipients gradually becoming accustomed to these changes. Stereoscopy techniques in most media present two offset images separately to the left and right eye of the viewer (usu- ally with the help of glasses separating both images) resulting in the perception of three-dimensional depth. In contrast to these mass market techniques, true 3D volumetric displays or holograms that display an image in three full dimensions are relatively uncommon. The visual quality and visual comfort of stereoscopic representation is constantly being improved by the industry. Digital games al- low for intense experiences with their possibilities to provide visually authentic, life-like 3D environments and interaction with the game world itself and other players. Since the release of the Nintendo Wii in 2005 and later Sony Move as well as Microsoft Kinect (both 2010), modern console games use motion control in addition to the classic gamepad. Both the use of these natural user interfaces (NUIs) and stereoscopic representation determine the user experience (UX) with the system. The rise in popularity of these technologies has led to high expectations regarding an added value in entertainment, immersion, and excite- ment—especially of 3D games—as both technologies are employed to enable richer and deeper media experiences. For the commercial success of these tech- nologies, the resulting UX has to be enjoyable and strain-free. Because this is not always the case, we have to understand the factors underlying the UX of stereo- scopic entertainment media and natural user interfaces to improve it further. In this paper, we review the current state of user experience research on stereoscopic games and the theoretical frameworks underlying it. We further argue that previous research primarily concentrated on direct effects of stereo- scopic representation without considering interaction processes between input and output modalities. More specifically, UX should only be enriched if games enable users to meaningfully map mental representations of input (NUIs) and output (stereoscopic representation) space. We will show how the concept of mental models can account for both information channels and present implica- tions for game studies and game design. Benny Liebold, Daniel Pietschmann, Georg Valtin & Peter Ohler http://www.gamejournal.it/2_liebold_pietschmann_valtin_ohler/
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