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Die Kulturelle Aneignung Des Spielraums. Vom Virtuosen Spielen
Alexander Knorr Die kulturelle Aneignung des Spielraums Vom virtuosen Spielen zum Modifizieren und zurück Ausgangspunkt Obgleich der digital divide immer noch verhindert, dass Computerspiele zu ge- nuin globalen Gütern werden, wie es etwa der Verbrennungsmotor, die Ka- laschnikow, Hollywoodikonen, Aspirin und Coca Cola längst sind, sprengt ihre sich nach wie vor beschleunigende Verbreitung deutlich geografische, natio- nale, soziale und kulturelle Schranken. In den durch die Internetinfrastruktur ermöglichten konzeptuellen Kommunikations- und Interaktionsräumen sind Spieler- und Spielkulturen wesentlich verortet, welche weiten Teilen des öf- fentlichen Diskurses fremd und unverständlich erscheinen, insofern sie über- haupt bekannt sind. Durch eine von ethnologischen Methoden und Konzepten getragene, lang andauernde und nachhaltige Annäherung ¯1 an transnational zusammengesetzte Spielergemeinschaften werden die kulturell informierten Handlungen ihrer Mitglieder sichtbar und verstehbar. Es erschließen sich so- ziale Welten geteilter Werte, Normen, Vorstellungen, Ideen, Ästhetiken und Praktiken – Kulturen eben, die wesentlich komplexer, reichhaltiger und viel- schichtiger sind, als der oberflächliche Zaungast es sich vorzustellen vermag. Der vorliegende Artikel konzentriert sich auf ein, im Umfeld prototypischer First-Person-Shooter – genau dem Genre, das im öffentlichen Diskurs beson- ders unter Beschuss steht – entstandenes Phänomen: Die äußerst performativ orientierte Kultur des trickjumping. Nach einer Einführung in das ethnologische -
Jenna Ng (Ed.), Understanding Machinima
Issue 04 – 2015 Critical Notes Book Review by VINCENZO IDONE CASSONE Jenna Ng (ed.), Università di Torino [email protected] Understanding Machinima. Essay on Filmmaking Virtual Worlds Understanding Machinima. Essays on Filmmaking in Virtual Worlds (Bloomsbury 2013, edited by Jenna Ng) is an intriguing incursion into the world of ma- chinima from a Media Studies point-of-view, trying to address the topic beyond game’s environment, in connection with the evolution of the contem- porary mediascape. Machinima is a recent technology/performance/art/tool etc1 (convention- ally born in 1996 with Quake demos)2 commonly defned as any kind of video artifact produced through real-time gaming graphic engines: in-game record- ings, sandbox modes, hacked version of game engines or game-like profession- al tools are all valid sources to create machinimas. It’s been a decade since it has been bought to the academic attention and to an increasing popularity on web broadcasting (mainly thanks to the web-serieS Red vs Blue, to South Park‘s episode Make Love, not Warcraf or to the political short The French Democracy by Alex Chan). The collection is built around twelve chapters, split into two parts (respec- tively Thinking and Using machinima), bringing together contributions from researchers, gamers, directors, artists, curators and machinima makers; every chapter goes along with digital endnotes, that can be seen from the dedicated webpage thanks to QR codes included in every chapter. This anthology aims to distinguish itself from recent academic researches, analysing mainly the nature of machinima in connection with the universe of cinema, gaming and animation in the eyes of a “convergent” mediascape (Jenkins 2006), regarding machinima as a native-digital medium involving 1. -
High-Performance Play: the Making of Machinima
High-Performance Play: The Making of Machinima Henry Lowood Stanford University <DRAFT. Do not cite or distribute. To appear in: Videogames and Art: Intersections and Interactions, Andy Clarke and Grethe Mitchell (eds.), Intellect Books (UK), 2005. Please contact author, [email protected], for permission.> Abstract: Machinima is the making of animated movies in real time through the use of computer game technology. The projects that launched machinima embedded gameplay in practices of performance, spectatorship, subversion, modification, and community. This article is concerned primarily with the earliest machinima projects. In this phase, DOOM and especially Quake movie makers created practices of game performance and high-performance technology that yielded a new medium for linear storytelling and artistic expression. My aim is not to answer the question, “are games art?”, but to suggest that game-based performance practices will influence work in artistic and narrative media. Biography: Henry Lowood is Curator for History of Science & Technology Collections at Stanford University and co-Principal Investigator for the How They Got Game Project in the Stanford Humanities Laboratory. A historian of science and technology, he teaches Stanford’s annual course on the history of computer game design. With the collaboration of the Internet Archive and the Academy of Machinima Arts and Sciences, he is currently working on a project to develop The Machinima Archive, a permanent repository to document the history of Machinima moviemaking. A body of research on the social and cultural impacts of interactive entertainment is gradually replacing the dismissal of computer games and videogames as mindless amusement for young boys. There are many good reasons for taking computer games1 seriously. -
180-Degree Rule, 183 3D Studio Max, 53, 120 Aarseth, Espen, 120
Index 180-degree rule, 183 Biofeedback, 116, 231 – 233 3D Studio Max, 53, 120 Bittorrent, 258 Blizzcon, 184 Aarseth, Espen, 120, 213, 264, 307 Bolter, Jay, 180, 262 Academy of Machinima Arts and Sciences Brecht, Berthold, 47, 159– 160, 198 – 200 (AMAS), viii, 28, 39, 131 Bundespr ü fstelle f ü r jugendgef ä hrdende Academy of Motion Picture Arts and Sciences, Medien (BPjM), 258 39 Adaptation, 156, 301, 311, 317 Cameron, James, 79 Adobe Premiere , 45 – 46, 133 Carmack, John, 6 – 7, 10, 305 Adorno, Theodor, 159, 168 Character animation, 61, 65, 74, 100, 104. Agamben, Giorgio, 160 – 163, 168 – 169 See also Puppets Animation (traditional), 34, 57, 65, 83 – 84, Crosby, Chris (aka NoSkill), 8 114, 127 Cinema v é rit é , 13, 189 Anime, 37, 73, 149, 190, 331 Cinematography, 75 – 79, 82, 84 – 85, 88, 132, Anymation, 34, 114 160, 163, 182, 187, 207, 250 Arcade (games), 119, 162, 249 Clockwork Orange (fi lm), 227 Arcangel, Cory, 115, 123 Comedy (genre), 27, 144, 148, 190 Aristotle 160, 199, 303 Compositing (rendering), 4, 6, 16, 21, 77, 80, Artifi cial Intelligence (AI), 81, 97, 128, 186, 85, 205 266 – 268, 291 Condon, Brody, 115, 123, 303 Auslander, Phil, 117, 127 – 128, 133, Constructive play, 246 – 247. See also Piaget, 139 Jean Convergence, 38, 253, 302, 331 Baron Soosdon, 3, 17 – 18, 20 Convergence culture, 38, 241 Benjamin, Walter, 160 Copyright, 169, 316 – 317, 321 – 329 Bal á zs, B é la, 177, 179, 181 Cross-media, 302, 305. See also Transmedia Baran, Stanley, 260 – 262 Cut-scene, 120, 160, 191, 262, 267– 270, Battlefi eld (game series), 31 293 Bazin, Andr é , 199 – 201, 207 Cyberfeminism, 278 Beck, Dave, 315 – 331 Cyborg, 80, 210, 278, 304 342 Index Dance. -
ABSTRACT LOHMEYER, EDWIN LLOYD. Unstable Aesthetics
ABSTRACT LOHMEYER, EDWIN LLOYD. Unstable Aesthetics: The Game Engine and Art Modifications (Under the direction of Dr. Andrew Johnston). This dissertation examines episodes in the history of video game modding between 1995 and 2010, situated around the introduction of the game engine as a software framework for developing three-dimensional gamespaces. These modifications made to existing software and hardware were an aesthetic practice used by programmers and artists to explore the relationship between abstraction, the materiality of game systems, and our phenomenal engagement with digital media. The contemporary artists that I highlight—JODI, Cory Arcangel, Orhan Kipcak, Julian Oliver, and Tom Betts—gravitated toward modding because it allowed them to unveil the technical processes of the engine underneath layers of the game’s familiar interface, in turn, recalibrating conventional play into sensual experiences of difference, uncertainty, and the new. From an engagement with abstract forms, they employed modding techniques to articulate new modes of aesthetic participation through an affective encounter with altered game systems. Furthermore, they used abstraction, the very strangeness of the mod’s formal elements, to reveal our habitual interactions with video games by destabilizing conventional gamespaces through sensory modalities of apperception and proprioception. In considering the imbrication of technics and aesthetics in game engines, this work aims to resituate modding practices within a dynamic and more inclusive understanding -
Ocarina of Time a Narrative Disassemble: the Legend
O desmontar da narrativa: As regras e o speendrun em The Legend of Zelda - Ocarina of Time A narrative disassemble: The Legend of Zelda - Ocarina of Time’s rules and speedrun Mariana AMARO1 Resumo O propósito deste artigo é verificar de que forma a partida em speedrunning de The Legend of Zelda: Ocarina of Time (N64) observada no evento Games Done Quick de 2015 (transmitida na plataforma Twitch) modifica e transfigura a estrutura da narrativa do jogo proposta pela Nintendo a partir de um gameplay disruptivo que explora as falhas de programação do jogo para burlar as regras de progressão do game. Os objetos de análise escolhidos são o próprio jogo The Legend of Zelda: Ocarina of Time e o vídeo da partida jogada por ZeldaFreakGlitcha, no evento de transmissão on-line Games Done Quick em modo de speedrunning – um modo de jogo que visa terminar a partida o mais rápido possível. Palavras-chave: Jogo Digital. Gameplay. Narrativa. Speedrun. Regras. Abstract The purpose of this article is to verify how the speedrunning match of The Legend of Zelda: Ocarina of Time (N64) observed in 2015 Games Done Quick event (streamed on Twitch platform) modifies and transforms the structure of Nintendo’s proposed game narrative from a disruptive gameplay that explores game bugs and glitches in order to break the game progression rules. The objects of analysis chosen are the game The Legend of Zelda: Ocarina of Time and the recorded video of the stremed match played by ZeldaFreakGlitcha at Games Done Quick in speedrunning mode – a playing style that aims finish the game as soon as possible. -
Machinima As Digital Agency and Growing Commercial Incorporation
A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Megan R. Brown December 2012 © 2012 Megan R. Brown. All Rights Reserved 2 This thesis titled A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation by MEGAN R. BROWN has been approved for the School of Film and the College of Fine Arts by Louis-Georges Schwartz Associate Professor of Film Studies Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT BROWN, MEGAN R., M.A., December 2012, Film Studies A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation (128 pp.) Director of Thesis: Louis-Georges Schwartz. This thesis traces machinima, films created in real-time from videogame engines, from the exterior toward the interior, focusing on the manner in which the medium functions as a tool for marginalized expression in the face of commercial and corporate inclusion. I contextualize machinima in three distinct contexts: first, machinima as historiography, which allows its minority creators to articulate and distribute their interpretation of national and international events without mass media interference. Second, machinima as a form of fan fiction, in which filmmakers blur the line between consumers and producers, a feature which is slowly being warped as videogame studios begin to incorporate machinima into marketing techniques. Finally, the comparison between psychoanalytic film theory, which explains the psychological motivations behind cinema's appeal, applied to videogames and their resulting machinima, which knowingly disregard established theory and create agency through parody. -
MA Thesis NMDC
Shared Play with the Push of a Button: a Mixed-Method Analysis of Sony PlayStation 4’s Share-Platform Rens Lohmann Master Thesis Utrecht University Tutor: Dr. Ann-Sophie Lehmann Second Assessor: Dr. René Glas Submission date: September 22, 2014 [email protected] Keywords Video games, spectatorship, streaming, social, sharing, shared play, platform studies MA New Media & Digital Culture © 2014 Rens Lohmann. Personal and educational classroom use of this thesis is allowed, commercial use requires specific permission from the author. “It’s dangerous to go alone! Take this.” (The Legend of Zelda, 1986) ABSTRACT With the incorporation of the Share-button and its underlying platform on the PlayStation 4, Sony has decided to bring social connectivity and the sharing of gameplay to the masses. Video game play streaming and sharing have their roots in early user-generated content, performing, and spectating practices. Examples from the nineties are machinima, speedrunning, and online multiplayer gaming in that period. Users with a high level of technical proficiency created content that was creative, subversive, and initiated new forms of interactions between players and spectators. The creation of user-generated content came under stricter corporate control when it was integrated as a part of well-designed and well- marketed video game platforms. While the construction of this material became more accessible to general players, creativity and subversiveness became more limited. Sony PlayStation 4’s Share-button can be seen as a culmination of this development. As a form of controlled participation, the button and its proprietary platform facilitate remarkably quick production of this content with a limited toolset of creative possibilities. -
Ocarina of Time Speedrun Record
Ocarina Of Time Speedrun Record Gerome never reconciling any bings belts ambiguously, is Alfonzo limbless and double-hung enough? Inrush and ill-judged Xever redoubles her fantastic pasteurizers outjutting and cabbages painstakingly. Thrown and bony Zacharia measure almost notionally, though Al send-ups his dog-ends dribbles. N64 The Legend of Zelda Ocarina of Time TASVideos. About a gear ago the world notorious for speedrunning in vain Any glitchless with high seed category was broken against a Minecraft player from Michigan USA called Korbanoes The player spawned in a dead world with this seed 317496504156339597 and managed to finish the game in a record here of 14 minutes and 56 seconds. Please stop sliding around, ocarina of times are being used. Speedrunner Beats Ocarina of Time in occupy than 17 Minutes. Be confusing to vessel who aren't familiar with Ocarina of Time speedrunning. How only can he beat Ocarina of Time? Time unless By ItzBloxyDev World Record Speedrun web. Free cds that is a single digit number of life in life in general. Speedrunning is frequent someone plays through a video game as fast fashion possible often with point hope of setting a new record off a speedrunner can beat a game ready a fraction of the mild it takes the. Did arrow get Doxxed? Former WR OoT Any Speedrun in 73406 2K 103 Share our Report. There's many new Legend of Zelda Ocarina of Time speedrun world record holder in plenty with streamer Jodenstone setting a rule time of 107. Broke Mike's record obtaining the current on-segment world proper of 4. -
Machinimag Issue01
interview with Paul Marino Fountainhead’s Anna reviewed the next generation of Machinima Tutorial for depth of field A look at HalfLife2 and Doom3 good Production Design The very first issue was, despite its matter-of-taste-design the most worked on issue of all. Now, almost 4 Issues later, machinimag slowly gets into shape. Although most of the articles herein seem a bit dated at a first glance, i feel that they still capture a certain essence and mood of this very young medium-to-be: Eager anticipation of technical development and a little bit of aimlessness. The original design of IssueOne was intended as a breakaway from the very triste visual appeal machinima had in public. As we all know, this intention just didn’t come across at all as the design really didn’t fit the medium - funny enough one of the main issues with a lot of machinima movies themselves... The development of machinimag in this small amount of time, for me, somehow resembles a development seen throughout our medium. New movies are coming out with more appealing ap- proaches in visual storytelling, not necessarily achieved through normal mapping and realtime shadows. If the magazine could have at least the slightest of an impact on this trend, I’d be most happy. Please enjoy a -hopefully- very readable redesigned issueOne of the machinima online magazine. Yours, Friedrich Kirschner Paul Marino Head of the academy of machinima arts and sciences. In the following few lines, he takes a brief break from his work and talks a little about the history of the medium, his first experience with machinima, the pros and cons of doing it, technical progress and, of course, about who he is and his future plans. -
Wrong Warping, Sequence Breaking, and Running Through Code Systemic Contiguity and Narrative Architecture in the Legend of Zelda: Ocarina of Time Any% Speedrun
Wrong Warping, Sequence Breaking, and Running through Code Systemic Contiguity and Narrative Architecture in The Legend of Zelda: Ocarina of Time Any% Speedrun Wrong Warping, Sequence Breaking, and Running through Code Systemic Contiguity and Narrative Architecture in The Legend of Zelda: Ocarina of Time Any% Speedrun James Newman Abstract This article focuses on Nintendo’s influential and much-celebrated 1998 videogame The Legend of Zelda: Ocarina of Time (hereafter OoT). In particular, it explores the often unexpectedly creative and wholly transformative ways in the game is played by ‘speedrunners.’ Seeking to race through the game as quickly as possible, speedrunners play in a distinctive way that combines mastery of performance execution with a deep knowledge of the game’s operation and how its systems may be exploited. Speedrunning performances are creative because they involve astonishingly detailed investigations of the minutiae of game behaviors. They are transformative because they disrupt and even invert much- vaunted aspects of the game as sequences that slow down progress are circumvented. As such, what would otherwise class as crucial moments in the storyline, key character development and even locales, are not only raced through but are actively skipped. Compared with the game’s narrative, the connectivity of its spaces, and the complex but clearly mapped passage of time as set out in Nintendo’s officially-endorsed ‘Strategy Guides’ (see Buchanan et al 1998; Hollinger et al 1998; Loe and Guess 1998), the OoT speedrun constructs an altogether different game with vastly altered priorities. And so, the offer to, ‘Join legendary hero Link as he journeys across Hyrule, and even through time, to thwart the plans of Ganondorf.’ (Nintendo 2017), is recast as a breakneck dash to the closing credits sequence evading and avoiding all but the essential moments of gameplay. -
Found Technology: Players As Innovators in the Making of Machinima." Digital Youth, Innovation, and the Unexpected.Edited by Tara Mcpherson
Citation: Lowood, Henry. “Found Technology: Players as Innovators in the Making of Machinima." Digital Youth, Innovation, and the Unexpected.Edited by Tara McPherson. The John D. and Catherine T. MacArthur Foundation Series on Digital Media and Learning. Cambridge, MA: The MIT Press, 2008. 165–196. doi: 10.1162/dmal.9780262633598.165 Copyright: c 2008 Massachusetts Institute of Technology. Published under Creative Commons Attribution-Noncommercial-No Derivative Works Unported 3.0 license. Found Technology: Players as Innovators in the Making of Machinima Henry Lowood Stanford University, University Libraries . ..while to adults the Internet primarily means the world wide web, for children it means email, chat, games—and here they are already content producers. Too often neglected, except as a source of risk, these communication and entertainment-focused activities, by contrast with the information-focused uses at the centre of public and policy agendas, are driving emerging media literacy. Bearing in mind that the elite realm of high culture has already been breached, who is to say that this form of content creation counts for little?—Sonia Livingstone1 The focus of this essay is a new narrative medium, called machinima, which has sprung out of computer game technology and play since the mid-1990s. Machinima is “filmmaking within a real time, 3D virtual environment.”2 This means producing animated movies with the software that is used to develop and play computer games. The growth of machinima as a creative medium within digital game culture certainly reveals much about the creativity of players. Homing in on machinima as a form of player-driven innovation also teaches us lessons about how and what players learn from game technology and gameplay, how they share knowledge about what they learn, and how these engagements lead them to come to grips with issues that threaten to limit the potential of machinima as an expressive medium.