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Foundations for Music-Based Games
Die approbierte Originalversion dieser Diplom-/Masterarbeit ist an der Hauptbibliothek der Technischen Universität Wien aufgestellt (http://www.ub.tuwien.ac.at). The approved original version of this diploma or master thesis is available at the main library of the Vienna University of Technology (http://www.ub.tuwien.ac.at/englweb/). MASTERARBEIT Foundations for Music-Based Games Ausgeführt am Institut für Gestaltungs- und Wirkungsforschung der Technischen Universität Wien unter der Anleitung von Ao.Univ.Prof. Dipl.-Ing. Dr.techn. Peter Purgathofer und Univ.Ass. Dipl.-Ing. Dr.techn. Martin Pichlmair durch Marc-Oliver Marschner Arndtstrasse 60/5a, A-1120 WIEN 01.02.2008 Abstract The goal of this document is to establish a foundation for the creation of music-based computer and video games. The first part is intended to give an overview of sound in video and computer games. It starts with a summary of the history of game sound, beginning with the arguably first documented game, Tennis for Two, and leading up to current developments in the field. Next I present a short introduction to audio, including descriptions of the basic properties of sound waves, as well as of the special characteristics of digital audio. I continue with a presentation of the possibilities of storing digital audio and a summary of the methods used to play back sound with an emphasis on the recreation of realistic environments and the positioning of sound sources in three dimensional space. The chapter is concluded with an overview of possible categorizations of game audio including a method to differentiate between music-based games. -
Ian Bogost CV
IAN BOGOST CURRICULUM VITAE Ivan Allen College Distinguished Chair in Media Studies Professor of Interactive Computing Professor, Scheller College of Business Professor of Architecture Georgia Institute of Technology Founding Partner, Persuasive Games LLC Contributing Editor, The Atlantic CONTACT Georgia Institute of Technology Persuasive Games LLC Digital Media / TSRB 318B 1100 Peachtree St. 85 5th St. NW Suite 200 Atlanta, GA 30308-1030 Atlanta, GA 30309 +1 (404) 894-1160 +1 (404) 907-3770 [email protected] [email protected] bogost.com persuasivegames.com I. EARNED DEGREES Ph.D., Comparative Literature, University of California, Los Angeles, 2004. M.A., Comparative Literature, University of California, Los Angeles, 2001. B.A., Philosophy & Comparative Literature, University of Southern California, 1998. Magna Cum Laude, Phi Beta Kappa Diplôme Approfondi de Langue Français, Centre International d’Etudes Pédagogiques, 1997. II. EMPLOYMENT 2019–2022 Adjunct Professor (not in residence) Centre for Digital Humanities Brock University St. Catherines, Ontario, Canada 2013 – present Contributing Editor The Atlantic 2012 – present Ivan Allen College Distinguished Chair in Media Studies School of Literature, Media, and Communication, Ivan Allen College Page 1 of 57 Ian Bogost Curriculum Vitae Professor of Interactive Computing School of Interactive Computing, College of Computing Professor of Business (2014–) Scheller College of Business Professor of Architecture (2019–) School of Architecture, College of Design Georgia Institute of Technology -
Markedness, Gender, and Death in Video Games
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 10-2-2020 1:00 PM Exquisite Corpses: Markedness, Gender, and Death in Video Games Meghan Blythe Adams, The University of Western Ontario Supervisor: Boulter, Jonathan, The University of Western Ontario : Faflak, Joel, The University of Western Ontario A thesis submitted in partial fulfillment of the equirr ements for the Doctor of Philosophy degree in English © Meghan Blythe Adams 2020 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Film and Media Studies Commons Recommended Citation Adams, Meghan Blythe, "Exquisite Corpses: Markedness, Gender, and Death in Video Games" (2020). Electronic Thesis and Dissertation Repository. 7414. https://ir.lib.uwo.ca/etd/7414 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This dissertation analyzes gendered death animations in video games and the way games thematize death to remarginalize marked characters, including women. This project combines Georg Wilhelm Friedrich Hegel’s work on the human subjection to death and Georges Bataille’s characterization of sacrifice to explore how death in games stages markedness. Markedness articulates how a culture treats normative identities as unproblematic while marking non-normative identities as deviant. Chapter One characterizes play as a form of death-deferral, which culminates in the spectacle of player-character death. I argue that death in games can facilitate what Hegel calls tarrying with death, embracing our subjection to mortality. -
Keogh, Brendan. "Between Aliens, Hackers and Birds: Non-Casual Mobile Games and Casual Game Design." Social, Casual and Mobile Games: the Changing Gaming Landscape
Keogh, Brendan. "Between aliens, hackers and birds: Non-casual mobile games and casual game design." Social, Casual and Mobile Games: The changing gaming landscape. Ed. Tama Leaver and Michele Willson. New York: Bloomsbury Academic, 2015. 31–46. Bloomsbury Collections. Web. 24 Sep. 2021. <http://dx.doi.org/10.5040/9781501310591.ch-003>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 24 September 2021, 04:10 UTC. Copyright © Tama Leaver, Michele Willson and Contributors 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 3 Between aliens, hackers and birds: Non-casual mobile games and casual game design B r e n d a n K e o g h he January 2012 issue of video game magazine Edge did not display a T high-defi nition render of an upcoming blockbuster game on its cover. It simply showed the increasingly ubiquitous logo of technology company Apple, creators of the iPhone. ‘Apple has changed the video game industry irrevo- cably’ the corresponding feature starts. ‘And the simple truth is that it has changed it without even really trying. It did it with a handheld device that has no buttons, no sticks and no ports for physical media, and it did it with a vir- tual storefront that was created, in the main, to revolutionize the way people bought music, not videogames’ ( Edge 2012, 77). As devices that traditionally brought together digital screens and buttons, that video games would appear on mobile phones in one fashion or another was inevitable. -
ANNUAL REPORT TABLE of CONTENTS LETTER from the DEAN
ANNUAL REPORT TABLE of CONTENTS LETTER from the DEAN Letter from the Dean pg 3 The College of Computing and Digital Media has always prided Who We Are pg 4 itself on curriculum, creative work, and research that stays current with changes in our various fields of instruction. As we looked CDM by the Numbers pg 5 back on our 2016-17 academic year, the need to chronicle the Enrollments and Retention pg 7 breadth and excellence of this work became clear. We are pleased to share with you this annual report, our first, highlighting our New Faculty and Programs pg 8 accomplishments. School of Cinematic Arts pg 10 Last year, we began offering three new graduate programs and two School of Design pg 12 new certificate programs. We also planned six degree programs and three new certificate programs for implementation in the School of Computing pg 14 current academic year. CDM faculty were published more than 100 times, had their films screened more than 200 times, and Supporting the Mission pg 17 participated in over two dozen exhibitions. Our students were Chicago Connections pg 18 recognized for their scholarly and creative work, and our alumni accomplished amazing things, from winning a Student Academy International Reach pg 20 Award to receiving a Pulitzer. We are proud of all the work we have done together. Faculty Grants pg 22 Faculty Publications pg 26 One notable priority for us in 2016-17 was creating and strengthening relationships with industry—including expanding our Faculty Screenings and Film Recognition pg 33 footprint at Cinespace and developing the iD Lab—as well as with the community, through partnerships with the Chicago Housing Faculty Exhibitions and Demos pg 38 Authority, Wabash Lights, and other nonprofit organizations. -
The Discourse of the Real: Constituting the Boundaries of Games and Players Mia Consalvo Christopher A
Welcome to the discourse of the real: Constituting the boundaries of games and players Mia Consalvo Christopher A. Paul Concordia University Seattle University Montreal, QC, Canada Seattle, WA, USA [email protected] [email protected] ABSTRACT Discourse shapes the way we see the world. In game design and The question of what makes a game real or legitimate and not fake game studies, discourse also shapes the games we make, the or marginalized is typically tied to the assumptions and cultural games we play, and how we think about games in general. One norms of a specific period of time and moment in play. In the late key discursive construction in contemporary game culture is to 1980s this led Newsweek to cite a 16-year-old syndicated portray some games as ‘real’ or ‘authentic,’ rendering others as columnist on videogames who contended that games that are too fake or lesser. In this essay we analyze the discourse of real games complex simply do not count, claiming that “arcane simulations by focusing on four key discursive constructions that prop up requiring thick instruction manuals ‘aren’t games to me…a game notions of real games: developer pedigree, game mechanics, the is something with action and a joystick and firing the buttons and celebration of depth and complexity, and the payment structure shooting the aliens’” [1]. The idea that complexity precludes for games. Using the framework of constitutive rhetoric we argue something from being a game clearly excises Spacewar! and the that these appeals also construct a category of real gamers that has Ultima franchise from the corpus of games, while the centrality of a substantial impact on what games are available and how we joysticks casts doubt upon keyboard and mouse based PC gaming, think about them. -
Here Young Developers Can Learn the Ins and Outs of Game Development
2016 Pre-PAX East Made in MA Party MassDiGI would like to welcome all to the annual Pre-PAX East Made in MA Party! Join friends from across the street or across the world in celebrating games! The party features: Wicked fun College & University Showcase Awesome people Big screen music & video Excellent food Incredible view of Boston Two floors of fun Giveaways, music and much more! Amazing games and demos Follow @mass_digi for updates! Spread the Main Showcase word! #MadeInMA Indie Showcase The Showcases Main Showcase 10 and 11th Floors Microsoft New England – www.microsoftnewengland.com Bostonians are pretty clever folks. From Ben Franklin to the Big Dig–they’ve been solving difficult problems in creative ways for centuries. And today the Greater Boston area is home to cutting edge tech companies, world class hospitals, a vibrant startup community, plus a few universities you might have heard of. So when Microsoft needed the brightest minds to work on tomorrow’s technologies, Boston was the natural choice. And we love our New England home. The people. The ideas. The history. The culture. The food. It’s what makes us Microsoft New England. Disruptor Beam – www.disruptorbeam.com Stories are a part of what it is to be human: they entertain us, inspire us and move us. Every once in a while, a really great story is embraced by our culture at large — becoming a “place” around which people live part of their lives. Star Trek and Game of Thrones are two examples of this. These are settings that charge the imagination and have spawned communities of passionate, dedicated fans — communities that span cultures, time zones and technologies. -
Game Developer | December 2010
CONTENTS.1110 VOLUME 17 NUMBER 11 DEPARTMENTS 2 gaME PLAN By Brandon Sheffield [ e d i to r i a l ] POSTMORTEM Move Back to Kinect 26 Ubisoft Montreal's splinter Cell ConviCtion 4 HEADS UP DISPLAY [ n e w s ] Moving Splinter Cell's trademark stealth-based game play in an IGDA Leadership Forum, the Automatypewriter, and Bunten papers action oriented direction without undermining the series was a tricky archived. problem for Ubisoft Montreal. The original game design for ConviCtion was radically different from the franchise's traditional mechanics and 6 2010 front line award finalists [ n e w s ] necessitated a mid-development reboot. Fortunately, clear direction The Award Finalists for Art, Audio, Game Engine, Middleware, and a well-tuned production pipeline kept the team from being Networking, and Production/Programming tools. knocked off balance by the shift. By Patrick Redding, Alex Parizeau, and Maxime Beland 33 TOOL BOX By Tom Carroll [ r e v i e w ] Autodesk 3ds Max 2011 FEATURES 36 piXel pUsHer By Steve Theodore [ a r t ] 9 fragged The Balkans Big explosions with lots of fragmentation and debris are a video game mainstay. But making them look convincingly unique is a tedious 38 tHE INNER PRODUCt By Giacomino Veltri [ p r o g r a MM i n g ] process for artists. Here, the authors describe a procedural technique Game Configuration at Crystal Lake for automatically generating fragmented meshes that can save both time and sanity. 41 aUral fiXATION By Jesse Harlin [ s o U n d ] By Robert Perry and Peter Wilkins The Weight of Silence 15 Full reaCtive eyes entertainMent 42 DESIGN OF THe tiMES By Soren Johnson [ d e s i g n ] Are the now-ubiquitous Quick Time Events in games a lazy way to Stop Making Sense keep players mashing buttons? Or, are they broadening the range of expression for game designers? Using examples from the past and 44 good Job! [ C a r e e r ] present, this article looks to the future of QTEs. -
August 2012 Inside: Spatial Analytics: Go Beyond the Heat Map August 2012
THE LEADING GAME INDUSTRY MAGAZINE VOL 19 NO 8 AUGUST 2012 INSIDE: SPATIAL ANALYTICS: GO BEYOND THE HEAT MAP AUGUST 2012 METROMTSOP Join the World's Largest Mobile Social Gaming Network Get the SDK at developer.gree.net Come Play on GREE Platform: CONTENTS.0812 VOLUME 19 NUMBER 8 postmortem 22 DEAR ESTHER DEAR ESTHER started as a narrative-driven Source Engine mod made as part of a research project, and turned into a standalone cult hit that made back its Indie Fund investment within six hours of its release. In this postmortem from thechineseroom, writer and project lead Dan Pinchbeck explains how the team created a powerful game that took the “S” out of “FPS.” By Dan Pinchbeck features 7 AI ARCHITECTURES: WHAT’S ON THE MENU? How do you choose the right artifi cial intelligence architecture for your game? Even if you do your homework, it’s not always easy to know which architecture best fi ts your game genre, design, and development workfl ow until you dive in. AI consultant Dave Mark walks you through the most prevalent AI structures to help fi nd the one that best complements your game. By Dave Mark 15 BEYOND THE HEAT MAP Get better game analytics, and you’ll be better able to understand what makes your players tick. Heat maps are only the tip of the iceberg, though. You can use telemetry data, geographic information systems, and trajectory analyses to fi ne-tune your game even further, and with greater control. By Anders Drachen departments 2 GAMEPLAN By Brandon Sheffi eld [EDITORIAL] The Aftermarket 4 HEADS UP DISPLAY By Staff [NEWS] Quick -
Fiction and Video Games: Towards a Ludonarrative Model
Fiction and Video Games: Towards a Ludonarrative Model Henri Nivala Pro gradu thesis English Philology Faculty of Humanities University of Oulu Spring 2019 Table of Contents 1. Video Games as an Art Form .......................................................................................................... 1 2. Video Games and Narrativity ......................................................................................................... 3 3. Theoretical framework ................................................................................................................... 9 3.1. Which narrative? ................................................................................................................. 9 3.1. Authored narrative ........................................................................................................ 10 3.2. Emergent narrative ....................................................................................................... 11 3.3. The Dream ..................................................................................................................... 12 3.2. The Functions of Narrative in Video Games and Video Game Research ........................... 13 3.3. Affordances of Video Games as a Medium for Storytelling .............................................. 16 3.4. Semiotics of Video Games ................................................................................................. 18 3.4.1. Suspension of Disbelief ............................................................................................. -
Designing Game Feel. a Survey
Designing Game Feel. A Survey Martin Pichlmair and Mads Johansen Center for Computer Games Research IT University Copenhagen Copenhagen, Denmark Email: [email protected] and [email protected] Abstract—Game feel design is the intentional design of I. INTRODUCTION the affective impact of moment-to-moment interaction with The logical starting point for any exploration of game games. In this paper we survey academic research and feel as a research subject is the book of the same publications by practitioners to give a complete overview of the state of research concerning this aspect of game name by Steve Swink, who defines Game Feel as “real- design, including context from related areas. We analysed time control of virtual objects in a simulated space, over 200 sources and categorised their content according with interactions emphasised by polish” [1]. He further to the design purpose presented. This resulted in three dif- expands on that definition by stating that great-feeling ferent domains of intended player experiences: physicality, games convey five kinds of experiences, namely: amplification, and support. In these domains, the act of polishing that determines game feel, takes the shape of • The aesthetic sensation of control tuning, juicing, and streamlining respectively. Tuning the • The pleasure of learning, practising and mastering physicality of game objects creates cohesion, predictability, a skill and the resulting movement informs many other design • Extension of the senses aspects. Juicing is the act of polishing amplification and it results in empowerment and provides clarity of feedback • Extension of identity by communicating the importance of game events. Stream- • Interaction with a unique physical reality within the lining allows a game to act on the intention of the player, arXiv:2011.09201v1 [cs.HC] 18 Nov 2020 game supporting the execution of actions in the game. -
Keogh-1-1.Pdf
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Keogh, Brendan (2014) Across worlds and bodies: Criticism in the age of video games. Journal of Games Criticism, 1(1), pp. 1-26. This file was downloaded from: https://eprints.qut.edu.au/115529/ c 2014 Journal of Games Criticism This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. http:// gamescriticism.org/ articles/ keogh-1-1/ Journal of Games Criticism Volume 1, Issue 1 Across Worlds and Bodies: Criticism in the Age of Video Games Brendan Keogh Abstract Despite being the focus of academic studies for close to two decades and a signifi- cant part of popular culture for much longer, the humanities generally and cultur- al studies in particular lacks a coherent vocabulary to perform strong, analytical criticism of individual videogame works.