RTV 4590 Digital Games in Communication
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Rundown of What's Going on with Penny Arcade
12/27/2014 A Rundown of What’s Going on with Penny Arcade Now | A Rundown of What’s Going on with Penny Arcade Now Posted on June 20, 2013 by Tami Baribeau It hasn’t been that long since the last time Penny Arcade did something that cast the company in a negative light, but here we are again with another fiasco that’s been making its way around Twitter today. I thought it would be helpful to do a quick rundown of the events from today to make everyone aware of the situation and help answer some questions about why you might want to rethink supporting Penny Arcade, PAX, or anything affiliated with that organization. It all started today when this panel was posted from PAX Australia, titled “Why So Serious? Has the Industry Forgotten That Games Are Supposed to Be Fun?”. The original screencap of the description is below. “Why does the game industry garner such scrutiny from outside sources and within? Every point aberration gets called into question, reviewers are constantly criticised and developers and publishers professionally and personally attacked. Any titillation gets called out as sexist or misogynistic and involve any antagonist race other than Anglo-Saxons and you’re a racist. It’s gone too far and when will it all end? How can we get off the soapbox and work together to bring a new constructive age into fruition?” There is so much wrong with this panel description that I don’t even know where to begin. The idea that games as a medium are exempt from criticism because they’re “supposed to be fun” is ridiculous and immature. -
War and Cinema
Theatres of Representation Discourses of War and Cinema Daniel Binns SID: 16123117 ! ! ! ! Doctor of Philosophy, 2013 University of Western Sydney Table of Contents Acknowledgements i. Dedication ii. Abstract iii. 1. Introduction – War and Cinema 1 2. Survey of the Field & Analytic Narrative 23 3. For Glory: World Wars I and II 58 4. Fear, Frustration, Paranoia: Vietnam 103 5. Live from the Front Line: Conflict in the Middle East 148 6. Extended Discourses of War: Video Games & Comic Books 192 7. Conclusion: Cycles of Violence, Repeat Performances 225 Sources 238 Appendix: Sample Film Analysis 254 Acknowledgements This thesis has felt, at times, like a battle. Now that the battle is over, I must take some time to thank my comrades-in-arms, without whom none of what you hold would have been possible. To the various people with whom I had personal correspondence or conversation during the course of this research, thank you for your time and expertise. These fine souls include, but are not limited to, Bill Nichols, Bruce Isaacs, Richard Smith, David Burchell, David Axe, Brendan Keogh, Elizabeth Roberts, and Hunter Cordaiy. Thanks to Jonathan Foye, and JT Velikovsky, for casting an objective eye over the piece in its final stages – and for your validation. To the employers who have graciously worked around my research commitments, continuing to further my experience in the film industry and academia, thank you. To my supervisors – Dr. Paul Ryder and Dr. Peter Dallow – your patience, commitment, wisdom, and good humour have been invaluable. It is needless to say that this document would not exist without you both. -
The Performative Interactivity of Video Games
SHALL WE PLAY A GAME?: THE PERFORMATIVE INTERACTIVITY OF VIDEO GAMES Michael J. Beck Thesis Prepared for the Degree of MASTER OF SCIENCE UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: John M. Allison, Jr., Major Professor and Chair of the Department of Communication Studies Justin T. Trudeau, Committee Member Shaun Treat, Committee Member Holley Vaughn, Committee Member Mark Wardell, Dean of the Toulouse Graduate School Beck, Michael J. Shall We Play a Game? The Performative Interactivity of Video Games. Master of Science (Communication Studies), August 2014, 113 pp., bibliography, 61 titles. This study examines the ways that videogames and live performance are informed by play theory. Utilizing performance studies methodologies, specifically personal narrative and autoperformance, the project explores the embodied ways that gamers know and understand videogames. A staged performance, “Shall We Play a Game?,” was crafted using Brechtian theatre techniques and Conquergood’s three A’s of performance, and served as the basis for the examination. This project seeks to dispel popular misconceptions about videogames and performance and to expand understanding about videogaming as an embodied performative practice and a way of knowing that has practical implications for everyday life. Copyright 2014 by Michael J. Beck ii TABLE OF CONTENTS Page Chapters 1. INTRODUCTION ........................................................................................................ 1 2. LITERATURE REVIEW ............................................................................................. -
(The) Absolute N/A New York Tiffany White
Gaming Media Canada & US First Last Works for email Phone Located Evan Hoover (The) Absolute N/A New York Tiffany White (The) Absolute N/A New York Nadia Oxford 148Apps N/A Toronto Larry Braz 1Life2Play N/A Cleveland Jason Belec 2ndOpinionPod N/A Webster Caleb Gayle 2ndOpinionPod N/A 1(936) 204-0191 Webster Jeremy Roughan 2ndOpinionPod N/A 1(508) 983-4317 Webster Joel Albert 2old2play N/A Chicago Derek Nolan 2old2play N/A Chicago Rod Wyman 2old2play N/A Chicago Sean Robinson 3GEM Studios N/A Guelph Jeffrey Harris 411mania.com N/A 1(818) 980-1995 Studio City Dan Watson 411mania.com N/A 1(832) 654-6437 Woodridge Nick Henderson 4Player Network N/A Austin David Liao 4Player Network N/A Austin Paige Jagan 7 Kids and Us N/A Orlando John C. A Gaming Website.com N/A Joey Held A Hot Cup of Joey N/A Austin Eric Abbruzzese ABI Research Group N/A 1(516) 624-2500 Oyster Bay Craig Kaufman AbleGamers N/A Harpers Ferry Steve Spohn AbleGamers N/A Harpers Ferry Dan Ackerman Ackerman, Dan N/A 1(646) 472-3986 New York Uros Jojic Action Trip N/A Orem Ure Paul Action Trip N/A Orem Emily Morganti Adventure Gamers N/A Curtis Sindrey Aesthetic Magazine TorontoN/A Toronto Adam Taylor Aesthetic Magazine TorontoN/A Toronto Daniel Carosella Affairesdegars.com N/A 1(819) 200-0834 x201Sherbrooke Ronald Mina AFKer Games N/A Christina Janke Agents of Geek N/A Jim Napier Agents of Geek N/A Anthony JohnAgnello Agnello, Anthony John N/A 1(215) 801-0766 Astoria Richard Aihoshi Aihoshi, Richard N/A 1(905) 820-4025 Mississauga ChristopherAdams Aimless Podcasts N/A Albert Chen -
Competitive Gaming
WORCESTER POLYTECHNIC INSTITUTE Competitive Gaming Design and Community Building Interactive Qualifying Project Stefan Alexander and Maxwell Perlman Advisor: Brian Moriarty, IMGD 3/6/2014 Abstract This project attempts to characterize the qualities that make a competitive game successful. By researching the relevant literature and conducting original interviews with designers, players, and other people associated with the gaming scene, we identified three important development principles: 1. Competitive games should be designed for casual play and balanced for competitive play. Nearly every successful competitive game has far more casual players than it does competitive players. Players should want to play your game regardless of any fame or prize support they could gain from playing it competitively. 2. Understanding who your players are and what they want, both in terms of game content and what they want to gain mentally or emotionally from playing the game, can greatly assist in the design of competitive games. When a player gets to use a strategy they enjoy at a high level of play, the game becomes far more enjoyable. 3. A competitive game is defined by its community. When the community is open, accepting, friendly, and helpful, it reflects well on the game and leads to thriving casual and competitive communities. Communities are also vital to the evolution of their players’ skills. Without a supportive and helpful community, players in that community will have a much harder time being successful than if they were a member of a more -
Empirical Evaluation of Metadata for Video Games and Interactive Media
Empirical Evaluation of Metadata for Video Games and Interactive Media Jin Ha Lee Information School, University of Washington, Mary Gates Hall, Suite 370, Seattle, WA 98195. E-mail: [email protected] Rachel Ivy Clarke Information School, University of Washington, Mary Gates Hall, Suite 370, Seattle, WA 98195. E-mail: [email protected] Andrew Perti Seattle Interactive Media Museum, 305 Harrison Street, Seattle, WA 98109. E-mail: [email protected] Despite increasing interest in and acknowledgment of Introduction the significance of video games, current descriptive practices are not sufficiently robust to support search- Video games are of increasing importance to American ing, browsing, and other access behaviors from diverse society as objects of economic stimulus as well as cultural user groups. To address this issue, the Game Metadata heritage. Because of this increased interest in games for Research Group at the University of Washington consumer entertainment as well as historical, cultural, and Information School, in collaboration with the Seattle Interactive Media Museum, worked to create a standard- scientific study, many cultural heritage institutions have ized metadata schema. This metadata schema was established collections of video games and related media. empirically evaluated using multiple approaches— The Library of Congress collects, preserves, and offers collaborative review, schema testing, semi-structured access to two main types of video games: educational games user interview, and a large-scale survey. Reviewing and that support the Library’s initiatives and controversial games testing the schema revealed issues and challenges in sourcing the metadata for particular elements, determin- collected to support legislation related to sex and violence in ing the level of granularity for data description, and video games (Owens, 2012). -
Schedule of Events
Sunday, January 25 Sunday, January 25 Start End Event Location Start End Event Location 1:00 PM 3:00 PM Virtua Fighter 5: Final Showdown (PS3) Tournament Console 8:00 PM 9:00 PM Bringing Game Music to the Masses: Panels 4 1:00 PM 2:30 PM Combat for the Camera Arena Game Music Record Labels SCHEDULE OF EVENTS 1:00 PM 1:30 PM Zombie Larp LARP 8:00 PM 8:30 PM Power of Glove / Bagged & Bored Games on Film 1:30 PM 3:00 PM How to Become a Pro VGM composer! (presented by OC Panels 2 8:00 PM 11:00 PM Street Fighter Ultra Arcade (PS3) Tournament Console ReMix) 8:00 PM 10:00 PM Sports Arena Arcade Tournament Arcade Friday, January 23 1:30 PM 2:30 PM BRENTALFLOSS FAQ LIVE! Panels 3 8:00 PM 12:30 AM Dragon Age: The Second Blight LARP 1:30 PM 2:30 PM Is Game Art Art? -Lecture MAGES 1 8:00 PM 12:00 AM MTG drafts Tabletop (CCG) Start End Event Location 1:30 PM 2:30 PM Affection Games: Loving Your Way into the Hearts of Players MAGES 2 8:00 PM 12:00 AM 6-10: The Wounded Wisp, 3-06: Song of the Sea Witch, 6-07: Tabletop (Pathfinder) 10:00 AM 7:00 PM MTG drafts Tabletop (CCG) -Lecture Valley of Veiled Flame, 5-19: The Horn of Aroden 11:00 AM 8:00 PM PAX Streaming Panels 5 1:30 PM 2:30 PM Defining the Classics: Establishing a Video Game Canon Forum 8:00 PM 10:30 PM Clipstream Chipspace Jam-a-thon 5000 Chipspace 1:00 PM 5:00 PM Scrabble Tournament Tabletop (Tournaments) 2:00 PM 3:00 PM Robot Brains in Robot Bodies LIVE Panels 4 8:00 PM 8:35 PM Viking Guitar Concert Hall 2:00 PM 4:30 PM Street Fighter: Assassin's Fist MARATHON Games on Film 2:00 PM 5:00 PM -
Toward a Unified Theory of Digital Games
Comput Game J DOI 10.1007/s40869-015-0007-7 Toward a Unified Theory of Digital Games 1 2 Paul Ralph • Kafui Monu Received: 30 November 2014 / Accepted: 12 May 2015 Ó Springer Science+Business Media New York 2015 Abstract Since digital games and their scientific study are quite new, many questions concerning the fundamental nature of these phenomena remain. Two often-cited attempts to clarify the fundamental components of games include the Mechanics–Dynamics–Aesthetics Framework and the Elemental Tetrad. This the- ory development paper attempts to reconcile these two frameworks into a single, clear and cohesive account of the kinds of elements that constitute games. The proposed theory not only includes all of the elements from its source frameworks but also introduces two refinements: (1) it differentiates game mechanics from narrative mechanics; (2) it distinguishes three types of narratives—stories told by the developers through the game, stories that emerge from gameplay and players’ interpretations of game stories. The proposed theory should be useful for teaching game design fundamentals, as a coding scheme for qualitative data analysis and to analyse game design challenges. Subject to further clarification and extension, the proposed model may provide a basis for a general theory of digital games. Keywords Game Á Mechanics Á Dynamics Á Aesthetics Á Emergent narrative Á Embedded narrative Á General theory Á Theory development 1 Introduction What is a game? What are games made of? What is the relationship between games and narratives? What is a mechanic, and what are the different types of mechanics? What is the relationship between games and emergence? & Paul Ralph [email protected] 1 University of Auckland, Auckland, New Zealand 2 Savannah State University, Savannah, GA, USA 123 Comput Game J To address these questions we propose developing a unified theory of digital games. -
Media Literacy and Video Games.Pdf
Consortium for Media Literacy Volume No. 42 October 2012 In This Issue… Theme: Media Literacy and Video Games 02 Are video games good or bad for children and adolescents? This question has dominated discussion of video games by both academics and lay citizens for some time. A more productive question might be, why do children and teens like to play them? In this issue of Connections, we draw upon current research to facilitate understanding of the nature of video game play by children, and we provide tools for understanding the messages which video games communicate about the world we live in. Research Highlights 04 In our research section, we discuss the role of the “flow state” as a powerful motivator of game play. In another article, we evaluate the contributions of media effects studies of violent games to our understanding of the medium. CML News 08 Research on CML’s Beyond Blame: Challenging Violence in the Media curriculum has been published in the Journal of Children and Media. Media Literacy Resources 09 In our first article, we provide a conceptual framework for conducting close “readings” of video games. Yes, it’s possible to treat them as media texts, and we demonstrate how! In our second article, we work with a single book, Beyond Barbie and Mortal Kombat, to examine the barriers girls and women face as they attempt to participate in video game culture and the game industry. You’ll also find a selection of recommended resources and organizations. Med!aLit Moments 16 In this MediaLit Moment, your students will become makers of worlds! They’ll learn how to create an initial design for a “sandbox” game, and learn how to reflect on the values embedded in the environments they’ve created. -
00105658-1.Pdf
Novigrad in the evening sun. The Witcher 3: The Wild Hunt (CD Project Red 2015) Special Issue Gamevironments of the Past. by Derek Fewster and Ylva Grufstedt Issue 05 (2016) articles Introduction: Gamevironments of the Past – A Broad Take on Games and History. by Derek Fewster & Ylva Grufstedt, 1 Where Did You Learn That? The Self-Perceived Educational Impact of Historical Computer Games on Undergraduates. by Robert Houghton, 8 Developing Time: Representing Historical Progression Through Level Structures. by Samir Azrioual, 46 Ghost in the Cartridge: Nostalgia and the Construction of the JRPG Genre. by JD Mallindine, 80 History and Human Agency in The Witcher 3: Wild Hunt. by Vinicius Carvalho, 104 The Architecture of Bioshock as Metaphor for Ayn Rand’s Objectivism. by Brittany Kuhn, 132 The HGR Framework: A Semiotic Approach to the Representation of History in Digital Games. by Vincenzo Idone Cassone & Mattia Thibault, 156 game developer reports The Adventures of Ms. Meta: Developing a Historical Superhero Video Game. by Sarah Zaidan, 205 “Who Really Said What?” – Mobile Historical Situated Documentary as Liminal Learning Space. by Owen Gottlieb, 237 report The Indian Indie Game Development Scene - History and Cultural Heritage as Game Themes. by Xenia Zeiler, 258 interview Interview with Mike Laidlaw and David Gaider at BioWare. by Cecilia Trenter, 264 Ghost in the Cartridge: Nostalgia and the Construction of the JRPG Genre Jayme Dale Mallindine Abstract This paper reveals an affective and nostalgic foundational component of the “Japanese Role-Playing-Game (JRPG)” video game genre through an investigation of its history and use as seen on gaming blogs, forums, and videos. -
Game Environment Creation: Efficient and Optimized Working Methods
Laura Oravakangas Game Environment Creation: Efficient and Optimized Working Methods Bachelor of Business Administration Autumn 2015 TIIVISTELMÄ Tekijä: Laura Oravakangas Työn nimi: Peliympäristön toteuttaminen: Tehokkaat ja optimoidut työskentelymenetelmät Tutkintonimike: Tradenomi (AMK), Luonnontieteiden ala Asiasanat: peli, grafiikka, 3D, ympäristö, 2D, tausta, kenttä, suunnittelu, optimaalisuus Opinnäytetyö käsittelee peliympäristöjen toteutukseen liittyviä työskentelymenetelmiä, miten te- hokkaita ne ovat ja ovatko aikaansaadut tuotokset tarpeeksi optimaalisia pelin, pelialustan ja mui- den huomionarvoisten osien kannalta. Lisäksi työ käsittelee peligrafiikan perusteita ja kenttäsuun- nittelua, syventyen niihin kumpaakin sekä yleisellä että tekniikan tasolla. Pääsääntöisesti kappaleissa olevat esimerkit on havainnollistettu joko Autodesk Maya -mallinnus- ohjelmalla, Photoshopilla tai Unreal Engine 4 -pelimoottorilla. Opinnäytetyö painottuu kuitenkin yleisiin käsitteisiin, joita voidaan tavata eri nimikkeillä useissa samantapaisissa ohjelmistoissa. Peliympäristöjen kehittämisessä, sekä 2D ja 3D grafiikassa, on omat haasteensa. 2D -peliympä- ristöt näyttävät litteiltä ja elottomilta, kun taas 3D peliympäristöt tarvitsevat enemmän optimointia suurien tiedostomäärien lataamisen ja prosessoimisen vuoksi. ABSTRACT Author: Laura Oravakangas Title of the Publication: Game Environment Creation: Efficient and Optimized Working Methods Degree Title: Bachelor of Business Administration (UAS), Business Information Technology Keywords: game, graphics, -
Playing Badly: the Heroic Cheat and the Ethics of Play a DISSERTATION
Playing Badly: The Heroic Cheat and the Ethics of Play A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Adam Douglas Lindberg IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Advisor J ani Scandura May 2018 © Adam Lindberg 2018 Acknowledgements This project would not have been completed without financial support in various way s from the English Department of the University of Minnesota and its fa culty and staff. I would like to thank my committee – Professors Jani Scandura, Shevvy Craig, Tom Pepper, and Rita Raley – for their help and support during my coursework and throughout the writing of the dissertation. Similarly, I’d also like to acknowled ge the friendship and community I’ve found among the developers and scholars at Glitch, particularly Evva Kraikul and Nicolaas Van Meerten. I am grateful for the patience of Asher Lindberg, w ho would much rather be playing . S o would I . Last, nothing would have been possible without the extraordinary care and support of my father, Richard Lindberg. i Abstract This dissertation explains the work of hegemonic play in understanding what games are and w hat they do. This explanation is used to formalize a new theoretical and practical model for games criticism that can also be applied in literary, media, and social criticism. The present moment has been dubbed a “ludic age” as our algorithmically - informed world increasingly resembles game systems, a similarity exacerbated by an ongoing and intentional surge in deploying game concepts across every corner of organizable experience. Despite these signals to the value of reading games within ordinary experienc e, there persists a deeply held belief that the essential nature of games lies in their radical difference to non - game or “real” life.