DOCSLIB.ORG

Thesis Is Presented for the Degree of Doctor of Philosophy of the University of Western Australia School of Social Sciences Media and Communication 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Thesis Is Presented for the Degree of Doctor of Philosophy of the University of Western Australia School of Social Sciences Media and Communication 2019 Why #WomenAreTooHardToAnimate: Exploring gender and identity in communities of play Sian Tomkinson, BA(Hons) This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Social Sciences Media and Communication 2019 i THESIS DECLARATION I, Sian Tomkinson, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text and, where relevant, in the Authorship Declaration that follows. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. Signature: Date: 29/08/2019 ii ABSTRACT Although around fifty percent of gamers are female, video games are still highly gendered as a male activity, and the industry often targets a majority male audience. The stereotype that women do not play video games, or only play certain kinds of games, makes the Gamergate event of 2014 particularly interesting. During Gamergate several women in the game industry were harassed online by gamers, including rape and death threats, to the extent that some had to leave their homes in the interest of safety. This thesis examines why gender is such a significant issue in the video game industry and communities of play, and produces the tensions that led to and were evident during Gamergate. Part of that examination involves the use of Deleuze and Guattari's work. Deleuze and Guattari are useful in part because their critique of philosophy encourages a shift away from the binary oppositions that typically appear to be at the root of this tension in game culture. Specifically, this thesis examines three questions, divided into three broader parts: (1) how gender is a factor in the content and production of video games; (2) the affects that video games amplify, and how they can impact identity; and (3) how these affects permeate and flow throughout communities of play. Part of what this thesis demonstrates is that so-called video game culture is constituted by a far more diverse range of people than what the industry has typically catered and produced for. Central to the production and consumption of games, and to the sorts of tensions that arose during Gamergate, is, I argue, what Deleuze and Guattari term ‘affect’. In this manner I argue that for some gamers, increased diversity of games, their producers, and their players have challenged their 'gamer' territory. Highly reliant on the gamer identity, they are resistant to new experiences and affects, and turn to destruction. iii TABLE OF CONTENTS Introduction ................................................................................................................................................................. 1 Part I .............................................................................................................................................................................. 11 Chapter One: Gamergate and Players............................................................................................................... 12 I. Gamergate .......................................................................................................................................................... 13 II. Players ................................................................................................................................................................. 21 A. Statistics .......................................................................................................................................................... 22 B. Play Theory and Preferences .................................................................................................................. 25 C. Society and Technology ............................................................................................................................ 31 D. Harassment ................................................................................................................................................... 36 Conclusion ................................................................................................................................................................... 39 Chapter Two: Gender Representation in Games and the Industry ....................................................... 41 I. The Hegemony of Play ................................................................................................................................... 42 II. Female Characters in Games ....................................................................................................................... 51 A. AAA Games .................................................................................................................................................... 52 B. Indie Games ................................................................................................................................................... 57 C. Casual Games ................................................................................................................................................ 60 III. The Industry .................................................................................................................................................. 62 A. Change ............................................................................................................................................................. 70 Conclusion ................................................................................................................................................................... 73 Part II ............................................................................................................................................................................ 75 Chapter Three: Games as Assemblages ........................................................................................................... 76 I. Challenging Form and Content ................................................................................................................... 77 A. Semiology ....................................................................................................................................................... 78 B. Technology .................................................................................................................................................... 82 II. Assemblages ...................................................................................................................................................... 86 III. The Witcher 3: A Game Assemblage .................................................................................................. 105 A. The Game ..................................................................................................................................................... 106 B. The Creators ............................................................................................................................................... 109 C. The Players ................................................................................................................................................. 112 Conclusion ................................................................................................................................................................ 116 Chapter Four: The Production of Norms and Categories ...................................................................... 118 I. Refrains ............................................................................................................................................................ 119 A. Genre ............................................................................................................................................................. 122 B. Franchises ................................................................................................................................................... 127 C. Gamers ......................................................................................................................................................... 130 iv II. The Syntheses ................................................................................................................................................ 134 A. The Illegitimate Conjunctive Synthesis (Girls are just different from boys) .................... 140 B. The Illegitimate Disjunctive Synthesis (Since you’re a girl…) ................................................ 143 C. The Illegitimate Connective Synthesis (All girls like…) ............................................................ 146 Conclusion ................................................................................................................................................................ 148 Chapter
Load more

Recommended publications
  • It'sallfight Onthenight
    60 ............... Friday, December 18, 2015 1SM 1SM Friday, December 18, 2015 ............... 61 WE CHECK OUT THE ACTION AT CAPCOM CUP NEW TRACKLIST MUSIC By Jim Gellately It’s all fight 1. Runaway 2. Conqueror LOST IN VANCOUVER Who: Jake Morgan (vocals 3. Running With The /guitar), Connor Mckay (gui- Wolves tar), Brandon Sherrett (bass/ vocals), Tom Lawrence on the night 4. Lucky (drums). Where: Kirkcaldy/Edinburgh. 5. Winter Bird For fans of: Stereophonics, 6. I Went Too Far Catfish And The Bottlemen, Oasis. 7. Through The Eyes Jim says: Lost In Vancouver Of A Child only recently released their first couple of singles, but 8. Warrior their story goes back around 9. Murder Song (5, five years. They first got together at GLOBAL rivals in the By LEE PRICE By JACQUI SWIFT 4, 3, 2, 1) their local YMCA in Kirkcaldy, which runs a thriving youth world’s top fighting and T-shirts emblazoned A COFFEE shop in 10. Home music programme. game went toe-to- with the logos of their vari- Gatwick Airport’s 11. Under The Water Jake told me: “From the toe as they battled ous sponsors. age of 13, Brandon, Connor And the response from departures lounge 12. Black Water Lilies and myself had been getting to become Street the audience, who paid £25 is not the most guitar and song-writing les- Fighter champion. a ticket, was deafening. sons from a guy called Mark Before a sell-out crowd, At one point, the audito- glamorous setting Burdett. He got us playing in and hundreds of thousands rium chanted “USA! USA!” bands around the town.” following the action online, as a home favourite stepped to meet a fast-rising Jake and original drummer 32 gamers competed for a up, only to be silenced by James Ballingall were previ- share of £165,000 last week.
    [Show full text]
  • Guilty Gear Potemkin Guide
    Guilty gear potemkin guide Continue Potemkin climbs backwards and then slams his massive body to the ground, creating a shock wave. This attack actually has two stages. First, it is Potemkin's real body, a standard attack that strikes low and shoots down the enemy if they don't block it. As soon as it lands, there is a shock wave: if the enemy is on the ground when it happens, they get knocked down. In both cases, the opponent cuts down significantly longer than usual, giving Potemkin enough time to close the distance, if applicable, and set up okizeme. Note, however, that if the first attack is connected, even if it is blocked, the shock wave will not occur. Slide Head has some upper body invincibility as it starts, which may be enough to get you out of the counter-poking but don't rely on it too much. There is also a window in which Potemkin can hit the ground and create shock wave effects, but then YRC before the actual shock wave occurs. Excellent if you're trying to scare your opponent into jumping. You can also time Slide Head so that the shockwave hits just like the enemy getting up. Only a reverse backdash, blitz, or other step with a frame of one invuln/airborne state, will save the enemy from this. You can RC, slow down time and extend their knockdown animations, giving you time to combo them while they're still in the air and do some great damage. There are some exceptions to the rules for the Slide Head shockwave.
    [Show full text]
  • Understanding the Current State of Toxicity in Battlefield V
    “ROFL F*ck You”: Understanding the Current State of Toxicity in Battlefield V By Justin Juvrud Supervisor: Dr Susann Baez Ullberg 2020 Nr 99 2 Abstract: With the birth of “virtual worlds,” created a new space for social norms to evolve and change within a subset community. This thesis focuses on toxicity within the virtual world of EA DICE’s Battlefield V title. The goal of this research is to understand toxicity on a micro scale inside the world of Battlefield V from a gaming anthropological perspective. Along with understanding what toxicity looked like within the virtual world ofBattlefield V, the thesis obtained data for how the community and EA DICE employees perceived toxicity. This research has components of interviews with these members of the communities/staff as well as a netnography of the virtual world of Battlefield V gameplay. Findings and analysis were categorized under the themes of toxic language, power/freedom, virtual world creation, and gender toxicity. Battlefield V toxicity is ever evolving and shaped by player techne (player actions). Player chat consumes the majority of toxicity and therefore diving into toxic language was vital. Understanding the player perspective of power and freedom while gaming was just the first step as the thesis also dove into the developer’s perspective and analyzed the interviews with the backbone of Malaby’s (2009) contingency concepts to see how the developers have a large role to play when it comes to toxicity in games, even if they may not realize it. Just as in the “real world” the virtual world of Battlefield V also had a major theme of gender discrimination winessed and discussed via both community members and staff members of EA DICE.
    [Show full text]
  • Gamergate and Digital Humanities
    Loyola University Chicago Loyola eCommons School of Communication: Faculty Publications and Other Works Faculty Publications 2-2019 Applying an Ethics of Care to Internet Research: Gamergate and Digital Humanities Todd Suomela Bucknell University Florence Chee [email protected] Bettina Berendt University of Kansas Geoffrey Rockwell University of Alberta Follow this and additional works at: https://ecommons.luc.edu/communication_facpubs Part of the Communication Commons, and the Digital Humanities Commons Recommended Citation Suomela, Todd; Chee, Florence; Berendt, Bettina; and Rockwell, Geoffrey. Applying an Ethics of Care to Internet Research: Gamergate and Digital Humanities. Digital Studies/ Le champ numérique, 9, 1: 1-28, 2019. Retrieved from Loyola eCommons, School of Communication: Faculty Publications and Other Works, http://dx.doi.org/10.16995/dscn.302 This Article is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in School of Communication: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution 4.0 License. © 2019 The Author(s). Suomela, Todd, et al. 2019. “Applying an Ethics of Care to Internet Research: Gamergate and Digital Humanities.” Digital Studies/Le champ numérique 9(1): 4, pp. 1–28. DOI: https://doi.org/10.16995/dscn.302 RESEARCH Applying an Ethics of Care to Internet Research: Gamergate and Digital Humanities Todd Suomela1, Florence Chee2, Bettina Berendt3 and Geoffrey Rockwell4 1 Bucknell University Lewisburg, PA, US 2 Loyola University Chicago, US 3 KU Leuven, NL 4 University of Alberta Edmonton, AB, CA Corresponding author: Todd Suomela ([email protected]) This article examines key ethical issues that are continuing to emerge from the task of archiving data scraped from online sources such as social media sites, blogs, and forums, particularly pertaining to online harassment and hostile groups.
    [Show full text]
  • Activist Critical Making in Electronic Literature
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2019 Hearing the Voices of the Deserters: Activist Critical Making in Electronic Literature Laura Okkema University of Central Florida Part of the Digital Humanities Commons, and the Game Design Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Okkema, Laura, "Hearing the Voices of the Deserters: Activist Critical Making in Electronic Literature" (2019). Electronic Theses and Dissertations, 2004-2019. 6361. https://stars.library.ucf.edu/etd/6361 HEARING THE VOICES OF THE DESERTERS: ACTIVIST CRITICAL MAKING IN ELECTRONIC LITERATURE by LAURA OKKEMA M.Sc. Michigan Technological University, 2014 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Arts and Humanities in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2019 Major Professor: Anastasia Salter © 2019 Laura Okkema ii ABSTRACT Critical making is an approach to scholarship which combines discursive methods with creative practices. The concept has recently gained traction in the digital humanities, where scholars are looking for ways of integrating making into their research in ways that are inclusive and empowering to marginalized populations. This dissertation explores how digital humanists can engage critical making as a form of activism in electronic literature, specifically in the interactive fiction platform Twine.
    [Show full text]
  • COMPARATIVE VIDEOGAME CRITICISM by Trung Nguyen
    COMPARATIVE VIDEOGAME CRITICISM by Trung Nguyen Citation Bogost, Ian. Unit Operations: An Approach to Videogame Criticism. Cambridge, MA: MIT, 2006. Keywords: Mythical and scientific modes of thought (bricoleur vs. engineer), bricolage, cyber texts, ergodic literature, Unit operations. Games: Zork I. Argument & Perspective Ian Bogost’s “unit operations” that he mentions in the title is a method of analyzing and explaining not only video games, but work of any medium where works should be seen “as a configurative system, an arrangement of discrete, interlocking units of expressive meaning.” (Bogost x) Similarly, in this chapter, he more specifically argues that as opposed to seeing video games as hard pieces of technology to be poked and prodded within criticism, they should be seen in a more abstract manner. He states that “instead of focusing on how games work, I suggest that we turn to what they do— how they inform, change, or otherwise participate in human activity…” (Bogost 53) This comparative video game criticism is not about invalidating more concrete observances of video games, such as how they work, but weaving them into a more intuitive discussion that explores the true nature of video games. II. Ideas Unit Operations: Like I mentioned in the first section, this is a different way of approaching mediums such as poetry, literature, or videogames where works are a system of many parts rather than an overarching, singular, structured piece. Engineer vs. Bricoleur metaphor: Bogost uses this metaphor to compare the fundamentalist view of video game critique to his proposed view, saying that the “bricoleur is a skillful handy-man, a jack-of-all-trades who uses convenient implements and ad hoc strategies to achieve his ends.” Whereas the engineer is a “scientific thinker who strives to construct holistic, totalizing systems from the top down…” (Bogost 49) One being more abstract and the other set and defined.
    [Show full text]
  • Gamergate, Eine Retrospektive
    GamerGate Eine Retrospektive November 2020 @KeinenPixel_de [email protected] keinenpixel.de @KeinenPixel_de GAMERGATE, EINE RETROSPEKTIVE Abstract: GamerGate war eine 2014 beginnende anti-feministische und rechtsextreme Bewegung, die große Teile der Computer- und Videospielszene sowie angrenzende Bereiche der Popkultur erfasste und weitreichende politische Folgen nach sich zog. Anhand von Primär-, wie auch Sekundärquellen zeichnet diese Retrospektive die Entwicklung von GamerGate in drei Phasen nach: Wie sich 1.) aus persönlicher Rache und den unkoordinierten Angriffen auf Einzelpersonen eine 2.) breite, anti-feministische Bewegung herausbildete, die sich 3.) mit rechtsextremen Elementen zu einer politischen Bewegung vereint. Diese wurde maßgeblich von Steve Bannon initiiert, der damit den Wahlkampf von Donald Trump in den USA unterstützte. Wie der vierte und letzte Teil darstellt, nimmt GamerGate deshalb noch heute eine Schlüsselposition in der Entwicklung der neuen Rechten ein, die Popkultur mit rechtsextremer Politik verbindet. Bestehende Tendenzen und kleinere Strömungen haben sich in GamerGate vereinigt, weshalb die Bewegung einen neue Möglichkeit zur Rekrutierung und Radikalisierung am rechten Rand gebildet hat. Obwohl GamerGate bereits oft in Artikeln thematisiert wurde, gibt es nur wenige Gesamtüberblicke über die Entwicklung der Bewegung. Die Retrospektive will als ausführliche deutschsprachige Ressource zukünftige Arbeit mit dem Thema erleichtern. Hinweis: Aufgrund rechtsextremer Inhalte ist es vielfach nicht möglich auf Originalquellen zu verlinken. In diesen Fällen werden Sekundärquellen genutzt, die die kritischen Inhalte kontextualisiert wiedergeben. Über die Autor*innen: " ForschungskollektivenKeinen Pixel den Faschisten! und Entwicklerstudios ist eine Initiative aus der von Computerspielekultur, Webseiten, Medienschaffenden, die sich durch antifaschistische Arbeit für ein inklusives Klima in ihren Communitys stark machen wollen. Zum Statement mit mehr Informationen über das Netzwerk: Hier klicken.
    [Show full text]
  • Acquiring Literacy: Techne, Video Games and Composition Pedagogy
    ACQUIRING LITERACY: TECHNE, VIDEO GAMES AND COMPOSITION PEDAGOGY James Robert Schirmer A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2008 Committee: Kristine L. Blair, Advisor Lynda D. Dixon Graduate Faculty Representative Richard C. Gebhardt Gary Heba © 2008 James R. Schirmer All Rights Reserved iii ABSTRACT Kristine L. Blair, Advisor Recent work within composition studies calls for an expansion of the idea of composition itself, an increasing advocacy of approaches that allow and encourage students to greater exploration and more “play.” Such advocacy comes coupled with an acknowledgement of technology as an increasingly influential factor in the lives of students. But without a more thorough understanding of technology and how it is manifest in society, any technological incorporation is almost certain to fail. As technology advances along with society, it is of great importance that we not only keep up but, in fact, reflect on process and progress, much as we encourage students to do in composition courses. This document represents an exercise in such reflection, recognizing past and present understandings of the relationship between technology and society. I thus survey past perspectives on the relationship between techne, phronesis, praxis and ethos with an eye toward how such associative states might evolve. Placing these ideas within the context of video games, I seek applicable explanation of how techne functions in a current, popular technology. In essence, it is an analysis of video games as a techno-pedagogical manifestation of techne. With techne as historical foundation and video games as current literacy practice, both serve to improve approaches to teaching composition.
    [Show full text]
  • It's About Ethics in Games Journalism? Gamergaters and Geek
    SMSXXX10.1177/2056305116672484Social Media + SocietyBraithwaite 672484research-article2016 SI: Making Digital Cultures Social Media + Society October-December 2016: 1 –10 It’s About Ethics in Games Journalism? © The Author(s) 2016 Reprints and permissions: sagepub.co.uk/journalsPermissions.nav Gamergaters and Geek Masculinity DOI: 10.1177/2056305116672484 sms.sagepub.com Andrea Braithwaite Abstract #Gamergate is an online movement ostensibly dedicated to reforming ethics in video games journalism. In practice, it is characterized by viciously sexual and sexist attacks on women in and around gaming communities. #Gamergate is also a site for articulating “Gamergater” as a form of geek masculinity. #Gamergate discussions across social media platforms illustrate how Gamergaters produce and reproduce this gendered identity. Gamergaters perceive themselves as crusaders, under siege from critics they pejoratively refer to as SJWs (social justice warriors). By leveraging social media for concern-trolling about gaming as an innocuous masculine pastime, Gamergaters situate the heterosexual White male as both the typical gamer and the real victim of #Gamergate. #Gamergate is a specific and virulent online node in broader discussions of privilege, difference, and identity politics. Gamergaters are an instructive example of how social media operate as vectors for public discourses about gender, sexual identity, and equality, as well as safe spaces for aggressive and violent misogyny. Keywords Gamergate, gaming cultures, geek masculinity, online harassment, social media At the end of August 2014, many online gaming communities situate themselves as the “real” victims, oppressed by calls erupted into vicious arguments—ostensibly about ethics in for diversity and at risk of losing “their” games to more video game journalism, but more pointedly about gender, inclusive ones.
    [Show full text]
  • The Sims the Sims
    Södertörns högskola | Institutionen för kommunikation, medier och IT Kandidatuppsats 15 hp | Medieteknik | HT terminen 2011 Programmet för IT, medier och design 180 hp The Sims – En studie om skapandet av karaktärer ur ett genusperspektiv The Sims – A study on the creation of characters from a gender perspective Av: Hoshiar Taufig, Paulina Kabir Handledare: Annika Olofsdotter 1 ABSTRACT Todays gaming habits between women and men depends on the age range. Both sexes are playing but how do they create a character when they have free hands? Are there any differences from a gender perspective? The main purpose is to answer the question: How does women and men create characters in the computergame The Sims? By looking at the result of four women and four mens created character and then interviewing them for profound information, we have received data to answer those questions for our study. Data has shown that the men were less personal when they created a character, used more imagination and took less time to create the character. The majority of the women created themselfs or part of themselfs and took more time on details. KEYWORDS The Sims, computergames, gender 2 SAMMANFATTNING Dagens spelvanor mellan kvinnor och män beror på åldern. Båda könen spelar men hur skapar de karaktär när de har fria händer? Finns det skillnader ur ett genusperspektiv? Det huvudsakliga syftet är att besvara frågan: Hur skapar kvinnor och män karaktärer i spelet The Sims? Genom att titta på resultatet av fyra kvinnor och fyra mäns karaktär och sedan intervjua dem för djupgående information har vi fått data som besvarar dessa frågor för vår studie.
    [Show full text]
  • Complete 2018 Program
    Illinois Wesleyan University Digital Commons @ IWU John Wesley Powell Student Research Conference 2018, 29th Annual JWP Conference Apr 21st, 8:30 AM - 9:00 AM Complete 2018 Program Illinois Wesleyan University Follow this and additional works at: https://digitalcommons.iwu.edu/jwprc Part of the Education Commons Illinois Wesleyan University, "Complete 2018 Program" (2018). John Wesley Powell Student Research Conference. 1. https://digitalcommons.iwu.edu/jwprc/2018/schedule/1 This Event is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at the Ames Library at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. The conference is named for explorer and geologist John Wesley Powell, a one-armed Civil War veteran and a founder of the National Geographic Society who joined Illinois Wesleyan University’s faculty in 1865. He was the first U.S. professor to use field work to teach science. In 1867 Center for Natural Sciences Powell took Illinois Wesleyan students to & The Ames Library Colorado’s mountains, the first expedition Saturday, April 21, of its kind in the history of American higher education.
    [Show full text]
  • Are We Done with Ray Tracing? State-Of-The-Art and Challenges in Game Ray Tracing
    Are We Done With Ray Tracing? State-of-the-Art and Challenges in Game Ray Tracing Colin Barré-Brisebois, @ZigguratVertigo SEED – Electronic Arts How did we get here? GDC 2018 – DXR Unveiled “Ray tracing is the future and ever will be” [Electronic Arts, SEED] [Epic Games, NVIDIA, ILMxLAB] [SEED 2018] Real-Time Ray Tracing in Software and Hardware Real-Time Hybrid Ray Tracing in Unreal Engine 4 [https://docs.unrealengine.com/en-US/Engine/Rendering/RayTracing/index.html] [Courtesy of Epic Games, Goodbye Kansas, Deep Forest Films] [Courtesy of Epic Games, Goodbye Kansas, Deep Forest Films] [Tatarchuk 2019, Courtesy of Unity Technologies] Left: real-world footage. Right rendered with Unity [Tatarchuk 2019, Courtesy of Unity Technologies] Left: real-world footage. Right rendered with Unity [Tatarchuk 2019, Courtesy of Unity Technologies] Left: real-world footage. Right rendered with Unity [Tatarchuk 2019, Courtesy of Unity Technologies] [Christophe Schied, NVIDIA Lightspeed Studios™] SIGGRAPH 2019 – Are We Done With Ray Tracing? – State-of-the-Art and Challenges in Game Ray Tracing And many more… ▪ Assetto Corsa ▪ JX3 ▪ Atomic Heart ▪ Mech Warrior V: Mercenaries ▪ Call of Duty: Modern Warfare ▪ Project DH ▪ Cyberpunk 2077 ▪ Stay in the Light ▪ Enlisted ▪ Vampire: The Masquerade – Bloodlines 2 ▪ Justice ▪ Watch Dogs: Legion ▪ Wolfenstein: Youngblood Just the beginning of real-time ray tracing making its way into game products We’re in for a great ride, and the work is not done! This is super exciting! ☺ SIGGRAPH 2019 – Are We Done With Ray Tracing?
    [Show full text]