Interactivity in Game Audio: Instances in Which Listening Improves a Player’S Gameplay
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The Versatility of Visualization: Delivering Interactive Feature Film Content on DVD
Nebula4.2, June 2007 The Versatility of Visualization: Delivering Interactive Feature Film Content on DVD. By Sarah Atkinson Abstract This article investigates how the film production process has been influenced by the DVD format of delivery. It discusses how the digital output is affecting the creative process of feature film production and the affect upon the visualization process during preproduction. It will deploy two case studies - M y Little Eye (2002, Dir: Marc Evans) and Final Destination 3 (2006, Dir: James Wong) – utilizing diagrammatical visualizations of their interactive content. Both these films produced additional content during the feature film production phase to offer viewers an alternate and interactive viewing experience on DVD. The article concludes by exploring how a current technological advancement, Blu Ray DVD Production, will act as a further catalyst to develop the interactive film genre beyond the initial phases investigated within the current case studies. Article The two most important aspects of visualization, the physical connections with the medium and the opportunity to review and refine work as it is created, are hard to implement because of the complexity of film production. (Katz, 1991:5) It has been 10 years since the mass inception of the so-called Digital Versatile Disc (DVD). Since that time, the market for DVD hardware and content has expanded exponentially. The DVD forum reported that ‘Film distributors depend more on DVD sales than box office takings.’ (July 31, 2006) Home video sales now account for nearly 60% of Hollywood’s revenue (LA Times 2004). The versatile format allows for a higher volume of media content to be stored and accessed in a non-linear manner. -
The Videogame Style Guide and Reference Manual
The International Game Journalists Association and Games Press Present THE VIDEOGAME STYLE GUIDE AND REFERENCE MANUAL DAVID THOMAS KYLE ORLAND SCOTT STEINBERG EDITED BY SCOTT JONES AND SHANA HERTZ THE VIDEOGAME STYLE GUIDE AND REFERENCE MANUAL All Rights Reserved © 2007 by Power Play Publishing—ISBN 978-1-4303-1305-2 No part of this book may be reproduced or transmitted in any form or by any means – graphic, electronic or mechanical – including photocopying, recording, taping or by any information storage retrieval system, without the written permission of the publisher. Disclaimer The authors of this book have made every reasonable effort to ensure the accuracy and completeness of the information contained in the guide. Due to the nature of this work, editorial decisions about proper usage may not reflect specific business or legal uses. Neither the authors nor the publisher shall be liable or responsible to any person or entity with respects to any loss or damages arising from use of this manuscript. FOR WORK-RELATED DISCUSSION, OR TO CONTRIBUTE TO FUTURE STYLE GUIDE UPDATES: WWW.IGJA.ORG TO INSTANTLY REACH 22,000+ GAME JOURNALISTS, OR CUSTOM ONLINE PRESSROOMS: WWW.GAMESPRESS.COM TO ORDER ADDITIONAL COPIES OF THE VIDEOGAME STYLE GUIDE AND REFERENCE MANUAL PLEASE VISIT: WWW.GAMESTYLEGUIDE.COM ACKNOWLEDGEMENTS Our thanks go out to the following people, without whom this book would not be possible: Matteo Bittanti, Brian Crecente, Mia Consalvo, John Davison, Libe Goad, Marc Saltzman, and Dean Takahashi for editorial review and input. Dan Hsu for the foreword. James Brightman for his support. Meghan Gallery for the front cover design. -
De-Framing Video Games from the Light of Cinema
Issue 04 – 2015 Journal –Peer Reviewed BERNARD PERRON Université de Montréal De-framing video [email protected] & DOMINIC ARSENAULT Université de Montréal games from the light [email protected] of cinema Interactivity is the cinema of the 21st century. David Cage (foreword of L’empire des jeux, 2005) ABSTRACT In this essay, we shall try to step back from a blinding cinema-centric approach in order to examine the impact such a framing has caused, to question its limi- tations, and to refect on the interpretive communities that have relied on flm (communities we are part of, due to our flm studies background) to position video games as an important cultural phenomenon as well as an object worthy of scholarly attention. Using Gaudreault and Marion’s notion of cultural series and wishing to spread a French theoretical approach we fnd very relevant to the discussion, we will question the bases on which we frame video games as cinema. This inquiry will focus on the audiovisual nature of both media and highlight their difering technical and aesthetic aspects, which will lead us to consider video games as being closer to other forms of audiovisual media. KEYWORDS: video game; cinema; theory; history; remediation It is difcult not to rephrase the theme of this issue and try to see outside its box. It seems that video games, since a while already, have been framed in the light of cinema by the designers, producers and scholars who have begun to study them. Indeed, as we have been doing for ten years throughout the activi- ties of the Ludiciné research group (www.ludicine.ca), flm theories have been one of the most important body of works used to analyse video games at the dawn of game studies. -
Mad Catz Becomes Latest Immersion Licensee for Video Game Console Peripherals
Mad Catz Becomes Latest Immersion Licensee for Video Game Console Peripherals SAN JOSE, Calif. Oct. 17, 2001--Immersion Corp. (Nasdaq:IMMR), the leading developer and licensor of force feedback technologies, and Mad Catz Interactive Inc., a leading gaming peripheral maker, today announced that Mad Catz has become a licensee of Immersion's TouchSense technology for gaming console peripherals. Mad Catz develops gamepads, steering wheels, and other peripherals for dedicated gaming consoles such as the Sony PlayStation®and PlayStation®2, the Nintendo 64 and GameCube(TM), Sega Dreamcast and the Microsoft® Xbox(TM). The agreement expands a partnership established between the two companies in 1998. "Mad Catz is a leader in the gaming market, and their adoption of Immersion's technology in console accessories is a strong endorsement," said Louis Rosenberg, founder of Immersion. "We are pleased to have reached this agreement prior to the release of the Microsoft Xbox and Nintendo GameCube and we look forward to the products Mad Catz has developed for them." "Immersion's TouchSense technology is a valuable asset to console and peripheral manufacturers. By providing an increased sense of realism, it allows us to make products that add substantial value to the gaming experience," said Darren Richardson, president and chief operating officer of Mad Catz, Inc. About Mad Catz Interactive Inc. (www.madcatz.com) Mad Catz Interactive Inc., (AMEX:MCZ)(TSE:MCZ) designs, develops, manufactures and markets a full range of accessories for video game consoles and PC gaming systems. Mad Catz is a worldwide leader of innovative peripherals in the interactive entertainment industry. Headquartered in San Diego, Calif., Mad Catz has offices in the U.S. -
Hi-Bit Pixel Graphics – the New Era of Pixel Art
Hi-Bit Pixel Graphics – The New Era of Pixel Art Olli Heikkinen Thesis May 2021 Degree Programme in Information Business Systems Game Production 2 ABSTRACT Tampere University of Applied Sciences Information Business Systems Game Production Olli Heikkinen Hi-Bit Pixel Graphics – New Era of Pixel Art Bachelor's thesis 35 pages May 2021 This bachelor’s thesis studies how pixel graphics in video games are seen today, and what current trends make classic pixel graphics hi-bit. This thesis briefly covers the beginnings of pixel graphics, how pixel graphics in video games have changed over the years, as well as a few key techniques that make hi-bit pixel art. To further demonstrate the elements of hi-bit pixel graphics, a short game demo “Mr. Skullerton’s Vault” was created in the Unity game engine. In this demonstration a variety of different hi-bit pixel art techniques were tested, including pixel perfect settings, normal mapping, skeletal animation. The techniques tested in this demonstration proved to be significant elements, which distinguish classic pixel graphics from hi-bit pixel art Key words: pixel graphics, pixel art, video game graphics 3 CONTENTS Introduction ................................................................................................ 5 1 Pixel art in general ................................................................................ 7 1.1 Pixel art in video games today ....................................................... 8 1.2 Why Hi bit-pixel art? .................................................................... -
The Making of Star Fox Welcome to My First Newshounds Article of 2019
The Making Of Star Fox Welcome to my first Newshounds article of 2019-2020! It’s that time once again of a new school year, which means a whole new batch of articles to publish! There’s a bunch of great articles that I’ve planned for this year, so before we dive into this article, let’s recap which articles I published last year! We started off the previous year with a Q&A about myself, where students could give me questions to answer! Let’s say there were some interesting ones in there! Christmas was approaching at a rapid pace and before the big day arrived, we delved into the history of Apple’s iPhone and we realised how far technology has come since the late 2000’s. After that, we entered the construction site to delve into the deepest blueprints of Blackpool Pleasure Beach’s latest rollercoaster ICON! Finally, we all came as one to choose which article to be published next. We ended up taking look at the history of Sonic The Hedgehog at Alton Towers, which covered over a quarter of a century to produce! Anyways enough rambling on, let’s get the ball rolling! Nowadays, gaming has come an extremely long way since its inception, but back in the ‘90’s we were restricted in technology compared to what we have today. However, today we are going to look at singlehandedly THE game that brought the world of 3D to home consoles. Welcome to the making of… WARNING: There may some terms that may be hard to understand. -
My Unexpected Journey
CaseBarnettLaw.com 949-565-2993 MARCH 2020 MY UNEXPECTED JOURNEY HOW WE LEARN TO BE HUMAN I’m a pretty well-rounded person. And I don’t say this to brag. I only mention it because it’s so surprising to me. I, like many others, grew up in a generation where we were expected to be very good at just one thing. In school, we were expected to be either intelligent, creative, or athletic, and focus on what we were good at. Then, as adults, we were told to either be really good at our jobs or really good at caring for our family, but we couldn’t be both. At the Indio The idea was, if you were good at one thing everything else would fall into Courthouse on a place. But that place was usually last. Lawyers are especially guilty of this. recent work trip. Case had a court Too frequently, we get so caught up in the law and the little details that we appearance, signed forget what it’s like to be human. Over the years, I’ve come to realize it’s up a new client and possible to live a more balanced life. We don’t have to sacrifice everything met with an existing else in order to be good at one thing. In fact, the more well rounded you client. We made a become, the better you are at everything. long weekend of it by having Nicole and the kids tag This isn’t to suggest we have to be “perfect” in everything. -
Le Speedrun : Pratique Compétitive, Ludique Ou Créative ? Trajectoire D’Un Détournement De Jeu Vidéo Institué En Nouveau Game
Le speedrun : pratique compétitive, ludique ou créative ? Trajectoire d’un détournement de jeu vidéo institué en nouveau game Fanny BARNABÉ Aspirante FNRS Université de Liège Bât. A2 Litt. française (19è et 20è) - Sociologie de la littérature 3-5 place Cockerill, 4000 Liège, Belgique [email protected] MOTS-CLES : Jeu vidéo, speedrun, tool-assisted speedrun, culture participative RESUME : Ce travail vise à interroger la manière dont les jeux vidéo et les dynamiques de détournement qu’ils suscitent chez les joueurs redéfinissent la traditionnelle opposition entre consommation et création. Dans ce but, nous étudierons un usage spécifique du médium vidéoludique qui s’est institué en véritable pratique créative sur internet : le speedrun (et son dérivé, le tool- assisted speedrun). L’analyse se déroulera en deux temps : une première partie envisagera les déplacements concrets qu’opère le speedrun dans les notions liées au pôle de la réception (qu’est-ce qu’être un joueur ou un spectateur au sein de ce domaine ?) ; la seconde étudiera la façon dont cette pratique participe à redéfinir le pôle de la production (que deviennent les notions d’auteur, d’œuvre et de création dans le cadre de cette activité ?). Ludovia 2014 - Le speedrun : pratique compétitive, ludique ou créative ?- 1 INTRODUCTION S’il semble aujourd’hui urgent de repenser les modalités de création et de consommation des produits culturels, c’est que le numérique a redessiné ces dernières en favorisant l’émergence d’une « culture participative » (Raessens, 2005). La généralisation de l’interactivité au sein des différents dispositifs médiatiques modifie le rapport du public tant aux œuvres qu’à leurs supports, dans le sens où la réception prend actuellement la forme d’une « expérience doublement perceptive et manipulatoire » (Fourmentraux, 2012 : 14). -
The Role of Audio for Immersion in Computer Games
CAPTIVATING SOUND THE ROLE OF AUDIO FOR IMMERSION IN COMPUTER GAMES by Sander Huiberts Thesis submitted in fulfilment of the requirements for the degree of PhD at the Utrecht School of the Arts (HKU) Utrecht, The Netherlands and the University of Portsmouth Portsmouth, United Kingdom November 2010 Captivating Sound The role of audio for immersion in computer games © 2002‐2010 S.C. Huiberts Supervisor: Jan IJzermans Director of Studies: Tony Kalus Examiners: Dick Rijken, Dan Pinchbeck 2 Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. 3 Contents Abstract__________________________________________________________________________________________ 6 Preface___________________________________________________________________________________________ 7 1. Introduction __________________________________________________________________________________ 8 1.1 Motivation and background_____________________________________________________________ 8 1.2 Definition of research area and methodology _______________________________________ 11 Approach_________________________________________________________________________________ 11 Survey methods _________________________________________________________________________ 12 2. Game audio: the IEZA model ______________________________________________________________ 14 2.1 Understanding the structure -
2004 February
February 2004 Games and Entertainment Megan Morrone Today you can use the same machine to organize your finances, create a presentation for your boss, and defend the Earth from flesh-eating aliens. But let’s be honest: Even with the crazy advances in software, organizing your finances and creating a presentation for your boss are still not half as much fun as defending the Earth from flesh-eating aliens.That’s why we’ve devoted the entire month of February to the noble pursuit of games and entertainment for PCs, Macs, game consoles, and PDAs. I know what you’re thinking.You’re thinking that you can skip right over this chapter because you’re not a gamer. Gamers are all sweaty, pimpled, 16-year-old boys who lock themselves in their basements sustained only by complex carbohydrates and Mountain Dew for days on end, right? Wrong.Video games aren’t just for young boys anymore. Saying you don’t like video games is like saying you don’t like ice cream or cheese or television or fun.Are you trying to tell me that you don’t like fun? If you watch The Screen Savers,you know that each member of our little TV family has a uniquely different interest in games. Morgan loves a good frag fest, whereas Martin’s tastes tend toward the bizarre (think frogs in blenders or cow tossing.) Kevin knows how to throw a cutting-edge LAN party,while Joshua and Roger like to kick back with old-school retro game emulators. I like to download free and simple low-res games that you can play on even the dinkiest PC, whereas Patrick prefers to build and rebuild the perfect system for the ultimate gaming experience (see February 13).And leave it to Leo to discover the most unique new gaming experience for the consummate early adopter (see February 1). -
PLAYSTATION XBOX a Plague Tale: Innocence CZ a Plague Tale: Innocence CZ A.O.T
PLAYSTATION XBOX A Plague Tale: Innocence CZ A Plague Tale: Innocence CZ A.o.T. 2 AO Tennis 2 A.o.T.: Wings of Freedom Assassin’s Creed: Odyssey CZ Assassin’s Creed: Odyssey CZ Assassin’s Creed: Valhalla Assassin’s Creed: Valhalla Call of Duty Black Ops: Cold War Blue Reflection Call of Duty: Modern Warfare Bus Simulator Conan Exiles (Day One Edition) Cabela’s African Adventures Crash Bandicoot 4: It’s About Time Call of Duty Black Ops: Cold War Crash Bandicoot N.Sane Trilogy Call of Duty: Modern Warfare Desperados 3 Crash Bandicoot 4: It’s About Time DiRT 5 Crash Bandicoot N.Sane Trilogy Disney Infinity 2.0: Marvel Super Heroes (Starter Pack) Crash Team Racing + Crash Bandicoot N.Sane Bundle DOOM Eternal Danganronpa 1&2 Reload Dragon Ball Z: Kakarot Dark Souls Trilogy EA Sports UFC 4 Dead Island CZ (Definitive Collection) F1 2020: The Official Videogame (Seventy Edition) Desperados 3 Far Cry: Primal CZ (Collector’s Edition) DiRT 5 Farming Simulator 19 Disney Infinity 2.0: Marvel Super Heroes (Starter Pack) Farming Simulator 19 CZ (Platinum Edition) Divinity: Original Sin (Enhanced Edition) FIFA 21 CZ Dragon Ball Z: Kakarot Forza Horizon 4 Dragon Quest 11: Echoes of an Elusive Age Guitar Hero Live + gitara EA Sports UFC 4 Hunting Simulator F1 2020: The Official Videogame (Seventy Edition) Hunting Simulator 2 Fairy Tail Jumanji: The Video Game Far Cry 4 + Far Cry: Primal CZ (Double Pack) Jurassic World Evolution Farming Simulator 19 Just Dance 2020 Farming Simulator 19 CZ (Platinum Edition) Kinect Sports Rivals CZ FIFA 21 CZ Madden NFL -
Analyzing Modular Smoothness in Video Game Music
Analyzing Modular Smoothness in Video Game Music Elizabeth Medina-Gray KEYWORDS: video game music, modular music, smoothness, probability, The Legend of Zelda: The Wind Waker, Portal 2 ABSTRACT: This article provides a detailed method for analyzing smoothness in the seams between musical modules in video games. Video game music is comprised of distinct modules that are triggered during gameplay to yield the real-time soundtracks that accompany players’ diverse experiences with a given game. Smoothness —a quality in which two convergent musical modules fit well together—as well as the opposite quality, disjunction, are integral products of modularity, and each quality can significantly contribute to a game. This article first highlights some modular music structures that are common in video games, and outlines the importance of smoothness and disjunction in video game music. Drawing from sources in the music theory, music perception, and video game music literature (including both scholarship and practical composition guides), this article then introduces a method for analyzing smoothness at modular seams through a particular focus on the musical aspects of meter, timbre, pitch, volume, and abruptness. The method allows for a comprehensive examination of smoothness in both sequential and simultaneous situations, and it includes a probabilistic approach so that an analyst can treat all of the many possible seams that might arise from a single modular system. Select analytical examples from The Legend of Zelda: The Wind Waker and Portal