DOCSLIB.ORG

Lucrare De Disertație

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lucrare De Disertație UNIVERSITATEA NAȚIONALĂ DE ARTĂ TEATRALĂ ȘI CINEMATOGRAFICĂ “I.L. CARAGIALE” BUCUREȘTI FACULTATEA DE FILM STUDII UNIVERSITARE DE MASTERAT DOMENIUL: CINEMATOGRAFIE ȘI MEDIA PROGRAMUL DE STUDII: ARTA JOCURILOR VIDEO LUCRARE DE DISERTAȚIE Coordonator: conf.univ.dr. Alexandru Berceanu lect.univ.dr. Diana Vasile Absolvent: Păun Liviu Andrei IUNIE 2020 NATIONAL UNIVERSITY OF THEATRICAL ARTS AND CINEMATOGRAPHY ”I.L.CARAGIALE” BUCHAREST FACULTY OF FILM MASTERS OF GAME DESIGN EXPANDING HUMAN PERCEPTION THROUGH PUZZLES IN VIDEO GAMES Coordinator: conf.univ.dr. Alexandru Berceanu lect.univ.dr. Diana Vasile Student: Păun Liviu Andrei JUNE 2020 Structure Abstract……….………………………………………………………………………………..………2 Chapter I Interaction in game design 1.1 What defines a game..……….…………………………………………………………...…3 1.2 Game Design …..……………………………………………………………………..……7 1.3 Puzzles in games ……………………………………………………………………..……9 Chapter II Optical illusions 2.1 Perception and illusion……………………………………………………………………13 2.2 Illusion in art………………………………………………………………………………16 2.3 Case studies ………………………………………………………………………………21 Chapter III Game implementation: 3.1 Game concept……………………………………………………………………….……26 3.2 Galerist game design………………………………………………………………..……28 3.3 Galerist game development………………………………………………………………37 Chapter IV Testing and conclusions 4.1 Questionnaire…………………………………………………………………………..…44 4.2 Conclusions ………………………………………………………………………………48 Bibliography……………………………………………………………………………………..……50 Annex -Game design document……………………………..………………………….……………52 -Gallerist Gantt chart……………………………………………………………….………...61 1 Abstract The thesis aims to answer the following question: How can we design a game that can change the player's visual perspective? And how can we understand the space around us in a different way? I attempt to achieve this by finding the right development pipeline for this game. I admire the visual style of M.C.Escher's paintings which served as the base concept of the virtual space I want to create with the goal to experiment and bring these optical illusions to life in an immersive medium, through gameplay. In Chapter One I will talk about artists that inspired me in the creation of my game, what puzzle games are where the perception is formed, and how. In order to develop an experience that interacts with the player and create a meaningful experience in Chapter Two I presented the concept of game design followed by several case studies from this genre, in order to analyze both positive and negative aspects, and how other designers applied mechanics in video games to give the change of perspective feel. I will argue my theory with a questionnaire in order to answer what the users enjoy in this game and whether they had a meaningful experience or not. In the final chapter, I will describe the development process based on the knowledge acquired in the first two chapters, the difficulties, feedback from the players, and future goals. As well as a conclusion to the question at hand. Method of research: case studies, questionnaires, feedback from players, practical video game Keywords: perspective, illusion, deformation, interaction, engagement, puzzle, game, logic, intuition, abstract. 2 Chapter I - Interaction In Game Design 1. 1. What defines a game In this chapter, I will take into account, what defines a game and what are they exactly, what game design is, and the role in a puzzle game. How do we understand and immerse ourselves in these mediums, what makes a game fun to play, and where does this information form, as well as going through where the perception is formed in the human brain, why, and how can we influence this perception in generating emotion? The first question I am trying to answer is what exactly is a game? There are different ways from which you can answer this. Chris Crawford describes them as being a “closed formal system that represents a subset of reality”1 in this sense he defines a closed system as being complete, having a structure, and being fully described. He describes formal as in having a very specific ruleset, and system for all the interconnected parts in all of their complexity. Another definition comes from the authors of The study of games, Elliot Avedon and Brian Sutton-Smith “Games are an exercise of voluntary control systems, in which there is a contest between powers, confined by rules in order to produce a disequilibrial outcome.”2. With this approach, I agree with the fact that you enter them voluntarily and that you give some kind of consent upon entering the game. Here as well are described the rules, and a new idea, is introduced, the one of a contest which I am not in complete accord because of the nature of cooperative games in which the players work together to a common goal not competing one with the other. Although incomplete I admire the simplicity in which Jesse Schell describes “A game is a problem-solving activity, approached with a playful attitude.”3 Here I find the first description of a game where the idea of playfulness comes in. This expresses that a game should give some sort of amusement, or pleasure from it because in itself humans, have been playing from all our existence. With the goal of pleasuring and amusing ourselves in our day by day activities. 1 Chris Crawford - The Art of Computer Game Design, Reflections of A Master Game Designer, McGraw-Hill 1984, U.S. page 7 2 Elliot Avedon and Brian Sutton-Smith, The study of games, New York: John Wiley & Sons, 197, page 405 3 Jesse Schell - The art of game design a book of lenses, Morgan Kaufmann Publishers, Burlington 2008. page 37 3 A game is formed from rules, a system, the wish to interact with it, and extend this in a pleasurable activity to us. I think of games as opportunities for us to emerge ourselves into a different world with interesting puzzles to resolve while learning on the fly about the world and ourselves as well. Ernest Adams in the book Fundamentals of Game Design defines a game by being “A game is a type of play activity, conducted in the context of a pretended reality, in which the participant(s) try to achieve at least one arbitrary, nontrivial goal by acting in accordance with rules.”4 Here we see the notion of pretending coming up where in order to engage in the game our player must pretend in being someone or something else. In order to understand what a game is we first need to find out what are the essential elements in a game, and from the definitions before we can extract, a goal, rules, play and pretending. Pretending similar to acting in this context is a conscious creation of an alternative reality in one’s mind. Dutch historian Johan Huizinga defined this form of reality created by impersonation is the magic circle in his book Homo Ludens5 . The magic circle is strongly associated with the world of imagination, in which each of us embarks when engaging with a work of fiction. Also connected to spiritual, ceremonial, and other types of activities that require some kind of ritual, he defines a type of boundary that separates the rules, ideas, and concepts of the real world from those in the magic circle. Also dividing the reality from the factious Figure 9 In games, this structure follows for example in a single-player Figure 1 Magic Circle game the user enters the magic circle at the point where he makes the choice to play. In multiplayer games, a convention is established and they all must agree upon it. For board games is the same case, all players agree to the rules, and pretend to be someone else, in a sense the player leaves his former self at the border with reality and 4 Ernest Adams, Fundamentals of Game Design, second edition, New Riders, Berkeley,2010 page 3 5 Johann Huizinga, Homo Ludens: A Study of the Play Element in Culture Beacon Press, Boston, 1955. 4 immerses himself into the magic circle where everyone follows the specific rules, goals, and ideas. Goals are a big part of games, of course, there are sandbox games where things are not as well defined and no specific goal is given by the game, although similar to a toy, the player is left to play with the game in what way he wants, leaving him to decide at what to do in the environment. For all the other games out there a goal is what moves the player from one place to the other, this can give momentum through the gameplay and finally after fulfilling the goal, the player receives a form of satisfaction, being Experience Points (used to award the player in video games, often used to level up your character skills), gold or an awesome sword to prepare him for the next encounter in the game. Goals can be specific or ambiguous, for example, a quest has a very specific goal set to it “in order to complete this quest you must defeat the dragon from the top mountain” and in order to do that you must find the mountain, slay the dragon and get back to collect your reward. A more ambiguous goal is set in the form of puzzle games, where you know what you need to achieve in general but you are not given specific instructions on how to achieve this goal, the reward a player gets from solving a puzzle consist in having the satisfaction you have outsmarted yourself and completed the challenge. The rules are instructions and definitions that the player needs in order to participate in a game. Rules have several purposes for a game they define the goal of the game and how to reach it, while at the same time creating the context in which the game is set in. Rules specify to what extend can players do certain actions and those that are forbidden, a ruleset should define the following: “■ The semiotics of the game are the meanings and relationships of the various symbols that the game employs.
Load more

Recommended publications
  • Toolbox Creativo Para El Game Design De Un Videojuego Independiente
    Facultad de Artes Maestría en Diseño y Dirección de Arte Toolbox creativo para el Game Design de un videojuego independiente Trabajo de titulación previo a la obtención del titulo de: Magíster en Diseño y Dirección de Arte Autor: Iván Geovanny Gavilanes Pando C.I: 0104876867 Correo: [email protected] Director: Jorge Daniel López Zamora, Mgtr. C.I: 0103720876 Cuenca – Ecuador 30-marzo-2021 Resumen Este proyecto final de maestría inicia con la pregunta: ¿Cómo las herramientas de diseño y dirección de arte pueden ser trasladadas al campo del videojuego para facilitar su desarrollo? Inquietud que contempla explorar áreas de game design desde una perspectiva de diseño que involucre procesos de inmersión y experimentación para generar material introductorio al campo del juego con el cual se puedan construir ideas sólidas en un game design document. La investigación consta de un eje reflexivo sobre aspectos teóricos, tomando como principal referencia a Macklin y Sharp con su libro Games, Design and Play, y Salen y Zimmerman con Rules of Play para sentar las bases conceptuales del proyecto, considerando elementos del diseño de juego, herramientas, estéticas y experiencia del jugador. Se reflexionaron nociones sobre autonomía y libertad creativa del indie game en contraste a la industria del triple A y se analizaron homólogos de cajas de herramientas, game design document y videojuegos. La metodología del proyecto toma un enfoque de experiencia empírica por medio de inmersión, investigación cualitativa, perfiles de usuarios y protocolos de
    [Show full text]
  • Creating Disorientation, Fugue, And
    OCCLUSION: CREATING DISORIENTATION, FUGUE, AND APOPHENIA IN AN ART GAME by Klew Williams A Thesis Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Master of Science in Interactive Media and Game Development __________________________________________________________ April 27th, 2017 APPROVED: ____________________________________ Brian Moriarty, Thesis Advisor _____________________________________ Dean O’Donnell, Committee _____________________________________ Ralph Sutter, Committee i Abstract Occlusion is a procedurally randomized interactive art experience which uses the motifs of repetition, isolation, incongruity and mutability to develop an experience of a Folie à Deux: a madness shared by two. It draws from traditional video game forms, development methods, and tools to situate itself in context with games as well as other forms of interactive digital media. In this way, Occlusion approaches the making of game-like media from the art criticism perspective of Materiality, and the written work accompanying the prototype discusses critical aesthetic concerns for Occlusion both as an art experience borrowing from games and as a text that can be academically understood in relation to other practices of media making. In addition to the produced software artifact and written analysis, this thesis includes primary research in the form of four interviews with artists, authors, game makers and game critics concerning Materiality and dissociative themes in game-like media. The written work first introduces Occlusion in context with other approaches to procedural remixing, Glitch Art, net.art, and analogue and digital collage and décollage, with special attention to recontextualization and apophenia. The experience, visual, and audio design approach of Occlusion is reviewed through a discussion of explicit design choices which define generative space.
    [Show full text]
  • Narrative Affordances of Scale in VR: Remediating Traditional Iranian Storytelling
    Narrative Affordances of Scale in VR: Remediating Traditional Iranian Storytelling Seyed Moslem Tabatabaei A Thesis in The Department of Design and Computation Arts Presented in Partial Fulfillment of the Requirements For the Degree of Master of Design at Concordia University Montréal, Québec, Canada November 2020 © Seyed Moslem Tabatabaei, 2020 I CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Seyed Moslem Tabatabaei Entitled: Narrative Affordances of Scale in VR: Remediating Traditional Iranian Storytelling and submitted in partial fulfillment of the requirements for the degree of Master of Design complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: ______________________________________ Examiner Dr. Pippin Bar ______________________________________ Examiner Dr. Rilla Khaled ______________________________________ Thesis Supervisor Dr. Jonathan Lessard Approved by ______________________________________ Dr. Martin Racine, Graduate Program Director ______________________________________ Dr. Annie Gérin, Dean, Dean, Faculty of fine arts Date: 9 December 2020 II Abstract Narrative Affordances of Scale in VR: Remediating Traditional Iranian Storytelling Seyed Moslem Tabatabaei Virtual Reality is turning into a major and more accessible medium to spatial, interactive and linear narrators, aka architects, game designers and filmmakers. This research-creation is conducted with two main objectives: first, to investigate the unique narrative possibilities that VR affords as a result of its specific perceptual cues of scale. Second, to utilize the notion of scale in designing a remediated experience of a traditional screen-based form of storytelling in the Iranian culture known as Pardeh-Khani (literally translated as: reading off curtain/screen). In response to the first objective, possible ways that scale could leverage three distinct forms of immersion in VR were scrutinized under three isolated experiments.
    [Show full text]
  • Architectonics of Game Spaces
    Andri Gerber, Ulrich Götz (eds.) Architectonics of Game Spaces Architecture | Volume 50 Andri Gerber (PhD), born in 1974, is Professor for the History of Urban Design at the ZHAW in Winterthur. He is an expert of metaphors in the context of ar- chitecture and urban design. His research interests turn around the concept of space, from a phenomenological, a political and more recently from a cognitive perspective. Ulrich Götz, born in 1971, is Professor at the ZHdK Zurich University of the Arts, heading the ZHdK Subject Area in Game Design. Trained as an architect, he discusses comparable strategies of spatial design in architecture and game spaces. He has built up extensive experience in research and development of serious and applied games. His university teaching focuses on the analysis and design of game mechanics, game concepts, motivation design, and spatial de- sign in virtual environments. Andri Gerber, Ulrich Götz (eds.) Architectonics of Game Spaces The Spatial Logic of the Virtual and Its Meaning for the Real An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative de- signed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-4802-1. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-No- Derivatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial purposes, provided credit is given to the author.
    [Show full text]
  • Download (2MB)
    Mckeown, Conor (2018) Videogame ecologies: interaction, aesthetics, affect. PhD thesis. https://theses.gla.ac.uk/8878/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Videogame Ecologies: Interaction, Aesthetics, Affect Conor Mckeown MA, MPhil Submitted in fulfilment of the requirements for the Degree of PhD School of Film and Television Studies College of Culture and Creative Arts University of Glasgow 2 Abstract This project is driven by omissions at the intersection of ecological game studies and media- ecology. Although authors have studied videogames from a variety of ecological approaches, few have attempted to develop a holistic methodology, embracing videogames' specific attributes while recognising their role within larger physical systems. This thesis is an attempt to address this, reading videogames as simultaneously about and functioning as ecologies. My methodology draws on the agential-realist philosophy of Karen Barad whose theory of 'intra- activity' is abundant with ecological ramifications. Adapting Barad's 'intra-active' framework for use with contemporary videogames, I read them as assemblages of hardware, software and their human players.
    [Show full text]
  • Puzzle Spill Liste : Stem P㥠Dine Favoritter
    Puzzle Spill Liste InkBall https://no.listvote.com/lists/games/inkball-1340777 gbrainy https://no.listvote.com/lists/games/gbrainy-307397 KAtomic https://no.listvote.com/lists/games/katomic-6325571 Bit Generations https://no.listvote.com/lists/games/bit-generations-3266978 Ribbon Hero 2 https://no.listvote.com/lists/games/ribbon-hero-2-7322259 Ribbon Hero https://no.listvote.com/lists/games/ribbon-hero-7322258 KidÅ ​ Gekidan Haro Ichiza: Haro no Puyo https://no.listvote.com/lists/games/kid%C5%8D-gekidan-haro-ichiza%3A-haro- Puyo no-puyo-puyo-3196415 Rocky and Bullwinkle https://no.listvote.com/lists/games/rocky-and-bullwinkle-7356048 Perestroika https://no.listvote.com/lists/games/perestroika-1989723 Mr. Driller https://no.listvote.com/lists/games/mr.-driller-3276305 Clubhouse Games https://no.listvote.com/lists/games/clubhouse-games-233753 Action Force https://no.listvote.com/lists/games/action-force-4677096 Tower of Babel https://no.listvote.com/lists/games/tower-of-babel-2877818 Picross 2 https://no.listvote.com/lists/games/picross-2-3382548 Lights, Camera, Curses https://no.listvote.com/lists/games/lights%2C-camera%2C-curses-4042889 Hitori https://no.listvote.com/lists/games/hitori-971467 https://no.listvote.com/lists/games/dr.-seuss%27-fix-up-the-mix-up-puzzler- Dr. Seuss' Fix-Up the Mix-Up Puzzler 5304376 Dr. Mario: Miracle Cure https://no.listvote.com/lists/games/dr.-mario%3A-miracle-cure-20031702 Magical Tetris Challenge https://no.listvote.com/lists/games/magical-tetris-challenge-3043129 Puzzle Bobble 3 https://no.listvote.com/lists/games/puzzle-bobble-3-784447
    [Show full text]
  • Real-Time Visualization in Non-Isotropic Geometries
    Real-Time Visualization in Non-Isotropic Geometries Eryk Kopczynski´ and Dorota Celinska-Kopczy´ nska´ August 13, 2020 Abstract Non-isotropic geometries are of interest to low-dimensional topologists, physi- cists and cosmologists. At the same time, they are challenging to comprehend and visualize. We present novel methods of computing real-time native geodesic rendering of non-isotropic geometries. Our methods can be applied not only to visualization. They are also essential for potential applications in machine learning and video games. 1 Introduction Non-isotropic geometries do not behave the same in all directions. Although, they are less famous than the isotropic geometries, they arise in Thurston’s famous geometriza- tion conjecture [27]. This conjecture generalizes the Poincare´ conjecture, one of the most important conjectures in mathematics, proven by Perelman [23]. Every two- dimensional compact manifold can be given a spherical S2 , Euclidean, or hyperbolic geometry H2; the Thurston conjecture states that every three-dimensional compact manifold can be similarly decomposed into subsets, each of which admitting one of eight geometries, called the Thurston geometries. The eight geometries include the three isotropic geometries mentioned, two product geometries (S2 × R, H2 × R, also called S2 × E and H2 × E), and three other geometries: Solv, Nil (twisted E2 × R), and twisted H2 × R (also called the universal cover of SL(2;R)). The interest in Solv and Nil ranges from low-dimensional topologists, geometric group theorists, as those geometries exhibit growth patterns typical to solvable and nilpotent groups [16], to arXiv:2002.09533v2 [cs.GR] 12 Aug 2020 physicists [10], and cosmologists, as possible geometries of our Universe [28].
    [Show full text]
  • And Chicago Artist William Chyr Is at the Controls the Artist and Polymath Is Using Playstation As the Canvas for His Magnum Opus, Manifold Garden
    Newsletters Follow us Mobile Log in / Create Account Search chicagoreader.com GO BEST OF CHICAGO 2017 SUMMER GUIDE AGENDA EVENTS SPACE TONY ADLER JUSTIN HAYFORD STEVE HEISLER DEANNA ISAACS AIMEE LEVITT ARTS & CULTURE | FEATURE August 10, 2016 Tweet REPRINTS Share Video games level up to high art —and Chicago artist William Chyr is at the controls The artist and polymath is using PlayStation as the canvas for his magnum opus, Manifold Garden. By Ryan Smith @ryansmithwriter COLLEEN DURKIN; PROPS BY DOUG JOHNSTON n a chilly Friday night last October, William Chyr is standing in the center of the Pilsen art gallery Mana Contemporary, a O beer in one hand, a PlayStation controller in the other. A mix of well‑heeled art patrons and casually dressed twentysomethings has crowded into the compact space for an offbeat exhibit, "Manifold Garden," a sneak peek at the still‑ unfinished puzzle‑based video game of the same name that Chyr's been toiling at for years to design and build for PC and Sony's PlayStation 4. Between bites of cheese and sips of wine, attendees gaze at prints of game screenshots depicting a series of complex symmetrical structures in muted colors that call to mind blueprints for skyscrapers as devised by M.C. Escher. The game itself is groundbreaking in its rendering of impossibly labyrinthine architecture and the gravity‑defying gameplay in which the physical laws of the universe are malleable—a player can shift gravity, turning walls into floors. It's also notable for what it lacks: there are no characters, not a word of dialogue, and no traditional story.
    [Show full text]
  • Architectonics of Game Spaces. the Spatial Logic of the Virtual and Its Meaning for the Real 2019
    Repositorium für die Medienwissenschaft Andri Gerber, Ulrich Götz u.a. (Hg.) Architectonics of Game Spaces. The Spatial Logic of the Virtual and Its Meaning for the Real 2019 https://doi.org/10.25969/mediarep/13994 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Gerber, Andri; Götz, Ulrich (Hg.): Architectonics of Game Spaces. The Spatial Logic of the Virtual and Its Meaning for the Real. Bielefeld: transcript 2019. DOI: https://doi.org/10.25969/mediarep/13994. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.14361/9783839448021 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Andri Gerber, Ulrich Götz (eds.) Architectonics of Game Spaces Architecture | Volume 50 Andri Gerber (PhD), born in 1974, is Professor for the History of Urban Design at the ZHAW in Winterthur. He is an expert of metaphors in the context of ar- chitecture and urban design. His research interests turn around the concept of space, from a phenomenological, a political and more recently from a cognitive perspective. Ulrich Götz, born in 1971, is Professor at the ZHdK Zurich University of the Arts, heading the ZHdK Subject Area in Game Design. Trained as an architect, he discusses comparable strategies of spatial design in architecture and game spaces.
    [Show full text]
  • Jung-Sheng Lin / 林容生 @Igdshare About Me
    Localization Shenanigans in the Chinese Speaking Worlds Jung-Sheng Lin / 林容生 @igdshare About Me Programmer IGDShare (indie dev meetup in TW, 2011~) IGDA Taiwan chapter leader (2012~) Taipei Game Developers Forum co-organizer (2012~) About Me Indie Game: The Movie Traditional Chinese translation team Localization works: Nova-111, Tengami Traditional Chinese translator volunteer for Global Game Jam & IndieCade So let's start with this… Questionable Localization Example 1: Neverwinter Nights Questionable Localization Example 1: Teeth-Kicking Old Woman You definitely don't want your localization end up like that Outline background info examples －general, simplified vs traditional, naming, encoding, UI & fonts, political - tips & conclusions Relevence? Relevence? iOS Google Play Relevence China didn't show as #1 on both charts only because the difficulty in getting actual Google Play numbers Taiwan is small in landmass but: 1) Its market share is not 2) Soft-launching opportunities But Chinese l10n is Hard But Chinese l10n is Hard Simplified vs Traditional zh zh-Hans zh-CN zh-SG zh-Hant zh-HK zh-MO zh-TW So Why Bother (….If you choose to ignore the market potential) So Why Bother (….If you choose to ignore the market potential) Perfectly understandable not to do it sometimes But it's hard to see some of my favorite games (esp. indie games) struggle in this regard Also inspired by Rami's Arabic crash course @GDC GDC15 - We Suck at Inclusivity: How Language Creates the Largest Invisible Minority for Games Let's look at examples The Witness Example
    [Show full text]
  • Rekonstrukcija Kostima Iz Video Igre "Dark Souls"
    Rekonstrukcija kostima iz video igre "Dark souls" Bilić, Mihovil Master's thesis / Diplomski rad 2017 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Zagreb, Faculty of Textile Technology / Sveučilište u Zagrebu, Tekstilno-tehnološki fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:201:814940 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-25 Repository / Repozitorij: Faculty of Textile Technology University of Zagreb - Digital Repository SVEUČILIŠTE U ZAGREBU TEKSTILNO-TEHNOLOŠKI FAKULTET DIPLOMSKI RAD REKONSTRUKCIJA KOSTIMA IZ VIDEO IGRE „DARK SOULS“ MIHOVIL BILIĆ Zagreb Rujan, 2017. SVEUČILIŠTE U ZAGREBU TEKSTILNO-TEHNOLOŠKI FAKULTET Zavod za dizajn tekstila i odjeće Kostimografija DIPLOMSKI RAD REKONSTRUKCIJA KOSTIMA IZ VIDEO IGRE „DARK SOULS“ MENTOR: doc. dr. sc. Krešimir Purgar, doc. Mihovil Bilić,10136 NEPOSREDNI VODITELJ: doc. dr. art. Ivana Bakal Zagreb Rujan, 2017. SAŽETAK Fokus ovog diplomskog rada je izrada kostima prema predlošku. Kostim smo estetski analizirali i obrazložili njegovu funkcionalnost, te smo prošli kroz sve tehničke aspekte izrade kostima. Izabrani kostim za realizaciju je oklop koji se pojavljuje u videoigri Dark Souls. Osim tema usko vezanih za oklop i videoigru dotaknuli smo se još nekih termina koji su vezani uz naslov kao što je povijest oklopa općenito, svrha kostima/oklopa, kako se oklop izgledom mjenjao kroz povijest, uz analizu stilova i uvjetovanost izgleda oklopa prema geografskom porijeklu. Usporedili smo oklop iz igre sa stvarnim oklopima iz povijesti. Spomenuli smo cosplay subkultu i zašto je bitna za ovaj rad. Osim oklopa analizirati smo i samu igru: njen nastanak, žanr, te njen utjecaj na industriju. S obzirom da se radi o određenom oklopu iz igre analizirali smo njegovu važnost u kontekstu tog fiktivnog svijeta.
    [Show full text]
  • Lifting the Lid on Video Games
    ALL FORMATS LIFTING THE LID ON VIDEO GAMES Mystery Shopper Issue 8 £3 wfmag.cc Mystery and making in Mineko’s Night Market 08 GAME-CRAFTING TIPS/ADVICE/GUIDES 72000 Make a score Horror city Amazing 16 attack game planning sound design 7263 Cram an action Simple ways to make Create worlds with 97 08 game into 1kB of code scarier locations sound and music Subscribe today 12 weeks for £12* Visit: wfmag.cc/12weeks to order UK Price. 6 issue introductory oer The ugliness of photorealism an we stop calling triple-A games ‘beautiful’ massive commercial ventures and characterise them as as a reflexive move? This is probably an beautiful’ extremely distasteful. We should know better. unreasonable ask, and there’s likely some ost, if not entirely all, game developers who work C beauty to be found in some of these big, big at triple-A studios don’t enoy many protections from games. ut every year we get the same maor studios abusive crunch practices: massive layoffs (as we’ve ust racing towards a chasm of hyper-fidelity. Throwing more DIA LACINA seen at Activision liard) to make earnings calls sound money, time, and bodies into the problem, as though better, or the ability to petition for the kinds of bonuses Dia Lacina is a they’re trying to build a bridge ust stable enough to or residuals they deserve from shipping a title that sells. queer indigenous cross into the next hardware cycle. trans woman writer, We know that labour conditions in this industry suck And every year, we get critics, and gamers, and photographer, and because we know how uickly people burn out and marketing departments all enraptured with the founding editor of leave.
    [Show full text]