Developing a Content Pipeline for a Video Game
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The Development and Validation of the Game User Experience Satisfaction Scale (Guess)
THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) A Dissertation by Mikki Hoang Phan Master of Arts, Wichita State University, 2012 Bachelor of Arts, Wichita State University, 2008 Submitted to the Department of Psychology and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2015 © Copyright 2015 by Mikki Phan All Rights Reserved THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) The following faculty members have examined the final copy of this dissertation for form and content, and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy with a major in Psychology. _____________________________________ Barbara S. Chaparro, Committee Chair _____________________________________ Joseph Keebler, Committee Member _____________________________________ Jibo He, Committee Member _____________________________________ Darwin Dorr, Committee Member _____________________________________ Jodie Hertzog, Committee Member Accepted for the College of Liberal Arts and Sciences _____________________________________ Ronald Matson, Dean Accepted for the Graduate School _____________________________________ Abu S. Masud, Interim Dean iii DEDICATION To my parents for their love and support, and all that they have sacrificed so that my siblings and I can have a better future iv Video games open worlds. — Jon-Paul Dyson v ACKNOWLEDGEMENTS Althea Gibson once said, “No matter what accomplishments you make, somebody helped you.” Thus, completing this long and winding Ph.D. journey would not have been possible without a village of support and help. While words could not adequately sum up how thankful I am, I would like to start off by thanking my dissertation chair and advisor, Dr. -
I Creatori Di Resogun E Nex Machina Non Faranno Un Altro Arcade Shooter
I creatori di Resogun e Nex Machina non faranno un altro arcade shooter Nel passato decennio, il nome Housemarque è diventato sinonimo di giochi dallo stile arcade. Da Super Stardust HD, uscito nei primi tempi della PS3 sul PSN, fino aResogun , uscito nei primi mesi di vita di Playstation 4, lo studio finlandese ha prodotto molti giochi acclamati dalla critica. Negli anni recenti, però, le buone recensioni non sono state accompagnate da vendite al pari. Ad esempio, il recente Nex Machina, un colorato shooter arcade a scorrimento verticale, rappresenta alla perfezione gli stilemi dei giochi Housemarque: creato in collaborazione con la leggenda arcade Eugene Jarvis, ha ricevuto molte lodi da parte della stampa videoludica, e una media di 88 su Metacritic, rendendolo l’ottavo miglior gioco della classifica Playstation 4. Purtroppo, la casa sviluppatrice ha confermato di aver venduto meno di 100.000 copie su Playstation 4 e su PC, andando così in perdita. Stessa sorte è toccata anche a Matterfall, un altro gioco di stampo arcade, uscito lo scorso agosto e che non è stato un grande successo di vendite. Ilari Kuttinen, CEO di Housemarque, ha dichiarato: «Siamo davvero orgogliosi del lavoro che abbiamo svolto con Nex Machina. È stato un lavoro pieno di passione e di amore, anche perché abbiamo lavorato col nostro eroe, Eugene Jarvis. Ci sarebbe piaciuto continuare su questa strada, ma purtroppo non è più possibile. Il prossimo gioco non sarà uno shooter a scorrimento orizzontale o verticale e non sarà focalizzato sulle leaderboard. Sarà qualcosa di diverso rispetto ai giochi che hanno reso lo studio famoso.» Il responsabile editoriale, Mikael Haveri, ha parlato della volontà di spostarsi su generi più popolari e di includere funzionalità multiplayer, ma non ha voluto essere più specifico. -
Analyzing Space Dimensions in Video Games
SBC { Proceedings of SBGames 2019 | ISSN: 2179-2259 Art & Design Track { Full Papers Analyzing Space Dimensions in Video Games Leandro Ouriques Geraldo Xexéo Eduardo Mangeli Programa de Engenharia de Sistemas e Programa de Engenharia de Sistemas e Programa de Engenharia de Sistemas e Computação, COPPE/UFRJ Computação, COPPE/UFRJ Computação, COPPE/UFRJ Center for Naval Systems Analyses Departamento de Ciência da Rio de Janeiro, Brazil (CASNAV), Brazilian Nay Computação, IM/UFRJ E-mail: [email protected] Rio de Janeiro, Brazil Rio de Janeiro, Brazil E-mail: [email protected] E-mail: [email protected] Abstract—The objective of this work is to analyze the role of types of game space without any visualization other than space in video games, in order to understand how game textual. However, in 2018, Matsuoka et al. presented a space affects the player in achieving game goals. Game paper on SBGames that analyzes the meaning of the game spaces have evolved from a single two-dimensional screen to space for the player, explaining how space commonly has huge, detailed and complex three-dimensional environments. significance in video games, being bound to the fictional Those changes transformed the player’s experience and have world and, consequently, to its rules and narrative [5]. This encouraged the exploration and manipulation of the space. led us to search for a better understanding of what is game Our studies review the functions that space plays, describe space. the possibilities that it offers to the player and explore its characteristics. We also analyze location-based games where This paper is divided in seven parts. -
Esa and Aias Unveil the 2019 Into the Pixel Video Game Art Collection
ESA AND AIAS UNVEIL THE 2019 INTO THE PIXEL VIDEO GAME ART COLLECTION 11 Video Game Art Pieces Honored, Available for Auction at E3 2019, June 11-13 June 4, 2019 – WASHINGTON, DC and LOS ANGELES - The Entertainment Software Association (ESA), the trade association that represents the US video game industry and owns and produces E3, and the Academy of Interactive Arts & Sciences (AIAS) today announced the official selections for the 2019 Into the Pixel (ITP, #IntoThePixel) collection. Co-produced by the ESA and AIAS, the 2019 ITP collection of 11 pieces will be displayed during E3 2019, the world’s premier trade show for computer, video, and mobile games, from June 11-13, 2019, at the Los Angeles Convention Center. Established in 2004 and reviewed by a jury panel from the video game and fine art worlds, the annual ITP art exhibit honors the best artistic works of the year from video game artists. This year’s Into the Pixel collection includes 11 pieces – from AAA blockbusters, VR, mobile, and indie games. Winners are listed below and can be found, along with images, at www.intothepixel.com. All 11 print art pieces will be auctioned off on eBay, with a five-day auction beginning Tuesday, June 11, at Noon PDT, and concluding Saturday, June 15, at Noon PDT. All ITP bids can be made at the AIAS eBay page here. (*NOTE: ITP images will not appear on eBay until the live auction begins on June 11 at Noon PDT.) Commenting on the 2019 collection, Jurist Glenn R. Phillips, Curator and Head of Modern & Contemporary Collections of the Getty Research Institutes aid, “This year’s Into the Pixel collection presents a focused group that surveys some of the most impressive directions in video game art. -
Pelinautintoja, Ohjelmointiharrastusta Ja Liiketoimintaa Tietokoneharrastuksen Ja Peliteollisuuden Suhde Suomessa Toisen Maailmansodan Jälkeen
Pelitutkimuksen vuosikirja 2009, s. 16–33. Toim. Jaakko Suominen et al. Tampereen yliopisto. http://www.pelitutkimus.fi/ Pelinautintoja, ohjelmointiharrastusta ja liiketoimintaa Tietokoneharrastuksen ja peliteollisuuden suhde Suomessa toisen maailmansodan jälkeen PETRI SAARIKOSKI JAAKKO SUOMINEN [email protected] [email protected] Turun yliopisto Turun yliopisto Tiivistelmä Abstract Kolmiosaisessa artikkelissa luodaan yleiskatsaus digitaalisten pelikulttuurien The article offers an overview of the history of games cultures in Finland focusing historiaan Suomessa toisen maailmansodan jälkeen. Artikkelissa suomalaisten on the relation between different forms of computer hobbyist subcultures and pelikulttuurien kehitystä tarkastellaan erityisesti peliharrastuksen ja peliteolli- gaming industry. We also reveal questions of international interaction in game suuden välisen suhteen kautta ja tehdään myös kansainvälistä vertailua. Artik- cultures by showing that game cultures are not homogeneous but interconnected. keli linkittyy sekä pelitutkimuksen että teknologian historian tutkimuksen The article contributes to current academic research and discussion both in the field traditioihin ja peräänkuuluttaa historiallisen ymmärryksen merkitystä peli- of game studies (contextual studies on game cultures) and history of computing and kulttuureja tutkittaessa. technology (users’ roles in innovation processes, history of software industry). Hakusanat: peliharrastus, pelijournalismi, pelipiratismi, peliteollisuus Keywords: hobbyist subculture, -
Conference Booklet
30th Oct - 1st Nov CONFERENCE BOOKLET 1 2 3 INTRO REBOOT DEVELOP RED | 2019 y Always Outnumbered, Never Outgunned Warmest welcome to first ever Reboot Develop it! And we are here to stay. Our ambition through Red conference. Welcome to breathtaking Banff the next few years is to turn Reboot Develop National Park and welcome to iconic Fairmont Red not just in one the best and biggest annual Banff Springs. It all feels a bit like history repeating games industry and game developers conferences to me. When we were starting our European older in Canada and North America, but in the world! sister, Reboot Develop Blue conference, everybody We are committed to stay at this beautiful venue was full of doubts on why somebody would ever and in this incredible nature and astonishing choose a beautiful yet a bit remote place to host surroundings for the next few forthcoming years one of the biggest worldwide gatherings of the and make it THE annual key gathering spot of the international games industry. In the end, it turned international games industry. We will need all of into one of the biggest and highest-rated games your help and support on the way! industry conferences in the world. And here we are yet again at the beginning, in one of the most Thank you from the bottom of the heart for all beautiful and serene places on Earth, at one of the the support shown so far, and even more for the most unique and luxurious venues as well, and in forthcoming one! the company of some of the greatest minds that the games industry has to offer! _Damir Durovic -
NG18 Program (Screen)
PROGRAM 2018 PROGRAM#nordicgame 2017 #nordicgame Welcome to Nordic Game 2018 It’s a great pleasure to welcome you to this fifteenth edition of Nordic Game, the only conference in the world with a dedicated focus on the entire Nordic games industry. Over the years we’ve evolved from a humble regional conference into a truly global industry event, as our vision of a strong, united games community and the values so many of us share - openness, innovation and diversity - have resonated with games industry professionals around the world, and they have been welcomed into our extended family. Of course, we continue to proudly celebrate the sheer quality and variety of games developed in the Nordic countries, and this year’s Nordic Game Awards (Thursday, 24 May from 18:00 in the Unreal Theatre) once again reflects the imagination and vitality of developers from the region we call home. However, our rapidly changing, interconnected industry doesn’t allow us to rest on our laurels, and our opening keynote (Wednesday, 23 May at 11:00 in the Unreal Theatre) brings together a panel of leaders from some of our most prominent Nordic studios to explore key challenges and opportunities for game developers moving forward. True to the many values we share with our extended global family, we’re also introducing a string of talks - the Impact sessions - that delve beyond the albeit important business and technical aspects of game development, to encourage all of us to think more deeply about the real impact of the games we create - and how we create them - on our world. -
Complete List of Migs16 Attending Companies
COMPLETE LIST OF MIGS16 ATTENDING COMPANIES MONTREAL INTERNATIONAL GAME SUMMIT 14TH EDITION DECEMBER 11-12-13 2017 YOUR ACCESS TO EXPERTS MONTREAL INTERNATIONAL GAME SUMMIT 14TH EDITION DECEMBER 11-12-13 2017 11 bit Studios AMJ 12 Hit Combo! Annex Pro 1E Avenue Music Antre du Geek 1One AOne Games 1st Playable Productions APEX Sciences 24h Appcoach 4AM Games Apple 51HiTech Applicant 5th Wall Agency Appodeal 8D Technologies Aptitude X 98,5FM Armoires Cuisines Action A Thinking Ape Around The Word Accenture Around the Word Canada Achimostawinan Games Artesium Studios ACTRA Montreal Artifact 5 ad Communications Artisan Studios, Inc. AdColony ASTUCEMEDIA Adult Swim Audible reality Advanced Micro Devices Audiokinetic ADVANTAGE AUSTRIA Autodesk Affordance Studio Avalanche Prod - HUB MTL AJL Consult Axis Animation Alexis Senecal Azurtek Algonquin College B&H Alice & Smith Babel Games Services Aline Mercy Babel Media Allegorithmic Bandai Namco Entertainment Alliance Numérique Bandai Namco Entertainment Alpha vision Banner & Witcoff AltKey BareHand Always Mind Studios Baton Rouge Area Chamber Amazon Lumberyard BDC Ameo Prod, Inc BDC Capital MONTREAL INTERNATIONAL GAME SUMMIT 14TH EDITION DECEMBER 11-12-13 2017 BDO Canadian Heritage Beenox Canadian Museum of History Behaviour Interactif Inc. Cangrejo Ideas SpA Bell Canoë Ben Salerno Design Canvasseuse Bentomiso CARA Berzerk Studio Cardboard Utopia Bethesda Studios Montreal Cardboard-Utopia Big Jack’s Factory, Inc. Castle Couch Big Studios Inc CC2 Big Viking Games CCNB Miramichi Bigben Interactive CCP Games BioWare (a division of Electronics Arts) CD Projekt S.A. Bishop Games CDI College bitHeads/brainCloud CDRIN Bkom Studios Cégep de Limoilou Black Tie Ventures Cégep de l’Outaouais Blacknut Cégep de Matane Blind Ferret Cégep de Sainte-Foy Blobstone CEIM blogcritics.org Centre Phi Bloober Team CFPR BNC CGMagazine Borden Ladner Gervais LLP Chamber of Commerce of Metropolitan Mon- brainCloud tréal Breaking Walls Champlain College Brookfield Global Relocation Services Chartboost, Inc. -
FGIR-2018-Report.Pdf
FRONT COVER Fingersoft • Hill Climb Racing 2 Futureplay • Battlelands Royale Next Games • The Walking Dead: Our World Rovio Entertainment • Angry Birds 2 Small Giant Games • Empires & Puzzles Supercell • Brawl Stars, Clash Royale, Clash of Clans and Hay Day BACK COVER Remedy Entertainment • Control Housemarque • Stormdivers SecretExit • Zen Bound 2 Rival Games • Thief of Thieves: Season One Superplus Games • Hills of Steel Critical Force • Critical Ops Frogmind • Badland Brawl Nitro Games • Heroes of Warland Kukouri Mobile Entertainment • Pixel Worlds Tree Men Games • PAKO Forever Publisher Neogames Finland ry (2019) Index 1. Introduction 2. The History of the Finnish Game Industry - From Telmac to Apple 3. The State of the Finnish Game Industry 4. Studios 5. Location of Companies and Clusters 6. Platforms 7. Developers & Diversity 8. Financial Outlook 9. Challenges and Strengths of the Finnish Game Industry 10. Trends and the Future 11. The Industry Support and Networks 12. Education 13. Regional Support 14. Studio Profiles Picture: Seriously | Best Fiends 3 ABOUT THIS REPORT Neogames Finland has been augmented by data from other sources. monitoring the progress of the Finnish This study is a continuation of similar Game Industry since 2003. During these studies conducted in 2004, 2008, 2010, fifteen years almost everything in the 2014 and 2016. industry has changed; platforms, Over 70 Game companies, members technologies, the business environment of Suomen Pelinkehittäjät ry (Finnish and games themselves. However, the Game Developers Association) are biggest change has taken place in the introduced on the company profile industry’s level of professionalism. pages as well as Business Finland and These days the level of professionalism the most relevant game industry in even a small start-up is on a level organizations and regional clusters. -
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. -
FY14 Earnings Presentation May 15, 2014 Yves Guillemot, President and Chief Executive Officer
FY14 Earnings presentation May 15, 2014 Yves Guillemot, President and Chief Executive Officer Alain Martinez, Chief Financial Officer Jean-Benoît Roquette, SVP Investor Relations DISCLAIMER This statement may contain estimated financial data, information on future projects and transactions and future business results/performance. Such forward-looking data are provided for estimation purposes only. They are subject to market risks and uncertainties and may vary significantly compared with the actual results that will be published. The estimated financial data have been presented to the Board of Directors and have not been audited by the Statutory Auditors. (Additional information is specified in the most recent Ubisoft Registration Document filed on June 25, 2013 with the French Financial Markets Authority (l’Autorité des marchés financiers)). 2 AGENDA Past 9 years key success factors FY14 performance FY15 targets 3 PAST 9 YEARS KEY SUCCESS FACTORS : Quality and regular releases Cumulated Retail Sales (Value) (Xbox360, PS3, Wii, WiiU, Xbox One, PS4 + PC) Publishers KEY LEARNINGS 2005 - 2013 (9 years) 1 CALL OF DUTY ACTIVISION BLIZZARD F 2 MARIO NINTENDO F FRANCHISES 3 FIFA SOCCER EA F = 4 ASSASSIN'S CREED UBISOFT NB LG TERM VISIBILITY AC THE 4TH 5 GRAND THEFT AUTO TAKE-TWO F BIGGEST BRAND ! 6 WII FIT* NINTENDO NB 7 THE SIMS EA F 8 MADDEN NFL EA F KEY FACTORS OF SUCCESS 9 GUITAR HERO* ACTIVISION NB 10 BATTLEFIELD EA F – Quality 2 OF THE 4 11 HALO MICROSOFT F BIGGEST NEW IPS ! 12 NEED FOR SPEED EA F – Regular Releases 13 JUST DANCE UBISOFT -
Worldbuilding Voices in the Soundscapes of Role-Playing Video Games
University of Huddersfield Repository Jennifer, Smith Worldbuilding Voices in the Soundscapes of Role Playing Video Games Original Citation Jennifer, Smith (2020) Worldbuilding Voices in the Soundscapes of Role Playing Video Games. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/35389/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Worldbuilding Voices in the Soundscapes of Role-Playing Video Games Jennifer Caron Smith A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield October 2020 1 Copyright Statement i. The author of this thesis (including any appendices and/ or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes.