Considerations for a Study of a Musical Instrumentality in the Gameplay of Video Games
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UPC Platform Publisher Title Price Available 730865001347
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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. -
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An Archaeology of Music Video Games
Journal of Sound, Silence, Image and Technology 41 Issue 3 | December 2020 | 41-51 ISSN 2604-451X An Archaeology of Music Video Games Israel V. Márquez Universidad Complutense de Madrid [email protected] Date received: 1-10-2020 Date of acceptance: 30-10-2020 KEY WORDS: MEDIA ARCHAEOLOGY | NEW MEDIA | MUSIC VIDEO GAMES | SOUND | IMAGE | NOVELTY Journal of Sound, Silence, Image and Technology | Issue 3 | December 2020 42 An Archaeology of Music Video Games ABSTRACT This article is a contribution to the study of video games – and more specifically, of so-called “music video games” – from an archaeological perspective. In recent years, much academic attention has been paid to the archaeology of media as an area of knowledge thanks to its ability to construct alternative narratives for media that were previously rejected or forgotten, in addition to offering resistance to the rhetoric around digital and its emphasis on change and innovation. Studies on new media, including those dedicated to video games, often share a disregard for the past (Huhtamo and Parikka, 2011, p. 1), something that is also observed in specific genres such as music video games. Starting from these and other premises, the aim of this article is to understand music video games from an archaeological point of view that allows us to go beyond the rhetoric of change and novelty linked to modern digital and three-dimensional versions of this type of video game. Journal of Sound, Silence, Image and Technology | Issue 3 | December 2020 43 An Archaeology of Music Video Games Introduction The so-called archaeology of media, or “media archaeology”, has been of great interest to academics for several years, especially in the Anglo-Saxon and Central European sphere and increasingly in the Spanish-speaking academic community. -
Music Video Games in Live Performance
Music Video Games in Live Performance: Catachresis or an emergent approach? Francisco Bernardo Research Centre for Science and Technology of the Arts (C.I.T.A.R.) Catholic University of Portugal, R. Diogo Botelho, 1327, 4169-005 Porto, Portugal [email protected] ABSTRACT broadly accessible. And games have been embraced by a This paper argues that music video games, given the public that has otherwise been unimpressed by much of characteristics of the genre, may constitute an alternative what passes for digital art’ [7]. and viable approach to music and audiovisual performance. In ‘Digital Art’, Christiane Paul provides a survey of digital Building on a music performance in 2013, in which the art from its inception in the 1980s until the present. author participated and used a video game as a musical According to the author, digital art is a genre that instrument, we analyze some of the aspects that have encompasses artistic works and practices that use digital emerged and support our argument. We contextualize video technology as part of the creative process, and/or as the games within new media art and provide a brief analysis of presentation medium, being “placed under the larger the music video game genre. We also identify some of the umbrella term ‘new media art’” [13]. New media art is in latest research efforts concerning conceptual and technical turn a general term that refers to artwork forms like film, approaches, design features and frameworks that may assist video, sound art and their hybrids, and that differentiates the analysis and development of music video games from cultural objects deriving from the traditional visual suitable for performance. -
Magisterarbeit / Master's Thesis
MAGISTERARBEIT / MASTER’S THESIS Titel der Magisterarbeit / Title of the Master‘s Thesis „Player Characters in Plattform-exklusiven Videospielen“ verfasst von / submitted by Christof Strauss Bakk.phil. BA BA MA angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Magister der Philosophie (Mag. phil.) Wien, 2019 / Vienna 2019 Studienkennzahl lt. Studienblatt / UA 066 841 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Magisterstudium Publizistik- und degree programme as it appears on Kommunikationswissenschaft the student record sheet: Betreut von / Supervisor: tit. Univ. Prof. Dr. Wolfgang Duchkowitsch 1. Einleitung ....................................................................................................................... 1 2. Was ist ein Videospiel .................................................................................................... 2 3. Videospiele in der Kommunikationswissenschaft............................................................ 3 4. Methodik ........................................................................................................................ 7 5. Videospiel-Genres .........................................................................................................10 6. Geschichte der Videospiele ...........................................................................................13 6.1. Die Anfänge der Videospiele ..................................................................................13 -
PS5 Llegará El Próximo 19 De Noviembre a España
PS5 llegará el próximo 19 de noviembre a España Con un precio de 399,99€ en su edición digital y a 499,99€ su versión HD Blu-ray disc Sony ha anunciado en primicia la fecha de lanzamiento y los detalles del precio de la esperada consola de nueva generación, PlayStation 5. SIE también ha revelado nuevas actualizaciones de varios títulos de PS5 , incluidosFinal Fantasy XVI, Fortnite, Hogwarts Legacy y un nuevo título de God of War. PS5 llegará primero a Estados Unidos, Canadá, Méjico, Australia, Nueva Zelanda, Japón y Corea del Sur. Su lanzamiento global continuará el 19 de noviembre en el resto del mundo, incluyendo Europa, Oriente Medio, América del Sur, Asia y Sudáfrica. La edición digital de PS5 estará disponible por un precio recomendado (PVP) de 399,99€, y la PS5 con la unidad de disco Ultra HD Blu-ray estará disponible por un PVP 499,99€. Las reservas anticipadas estarán disponibles a partir de mañana en determinados puntos de venta. Ambos modelos de PS5 usan el mismo procesador personalizado con CPU y GPU integradas para gráficos de alta fidelidad de hasta 4K, así como el mismo SSD de ultra alta velocidad con I/O integradas que brindarán una carga ultrarrápida a los jugadores. Los dos modelos de PS5 ofrecerán una mayor sensación de inmersión a través del mando inalámbrico DualSense y las capacidades de audio 3D de la consola, por lo que los jugadores disfrutarán de las mismas experiencias transformadoras de juego independientemente de la PS5 que elijan. “Desde que anunciamos por primera vez nuestra consola de nueva generación el año pasado, hemos recibido un apoyo asombroso por parte de los desarrolladores y fans de los juegos en todo mundo, y es realmente una lección de humildad”, expresa Jim Ryan, presidente y director ejecutivo de Sony. -
Foundations for Music-Based Games
Die approbierte Originalversion dieser Diplom-/Masterarbeit ist an der Hauptbibliothek der Technischen Universität Wien aufgestellt (http://www.ub.tuwien.ac.at). The approved original version of this diploma or master thesis is available at the main library of the Vienna University of Technology (http://www.ub.tuwien.ac.at/englweb/). MASTERARBEIT Foundations for Music-Based Games Ausgeführt am Institut für Gestaltungs- und Wirkungsforschung der Technischen Universität Wien unter der Anleitung von Ao.Univ.Prof. Dipl.-Ing. Dr.techn. Peter Purgathofer und Univ.Ass. Dipl.-Ing. Dr.techn. Martin Pichlmair durch Marc-Oliver Marschner Arndtstrasse 60/5a, A-1120 WIEN 01.02.2008 Abstract The goal of this document is to establish a foundation for the creation of music-based computer and video games. The first part is intended to give an overview of sound in video and computer games. It starts with a summary of the history of game sound, beginning with the arguably first documented game, Tennis for Two, and leading up to current developments in the field. Next I present a short introduction to audio, including descriptions of the basic properties of sound waves, as well as of the special characteristics of digital audio. I continue with a presentation of the possibilities of storing digital audio and a summary of the methods used to play back sound with an emphasis on the recreation of realistic environments and the positioning of sound sources in three dimensional space. The chapter is concluded with an overview of possible categorizations of game audio including a method to differentiate between music-based games. -
CPR for the Arcade Culture a Case History on the Development of the Dance Dance Revolution Community
CPR for the Arcade Culture A Case History on the Development of the Dance Dance Revolution Community Alexander Chan SUID 5075504 STS 145: History of Computer Game Design Stanford University March 16, 2004 Introduction Upon entering an arcade, you come across an unusual spectacle. Loud Japanese techno and a flashing neon glow pour out of the giant speakers and multicolored lights of an arcade console at the center of the room. Stranger than the flashy arcade cabinet is the sweaty teenager stomping on a metal platform in front of this machine, using his feet to vigorously press oversized arrows as the screen in front of him displays arrows scrolling upward. A growing group of people crowd around to watch this unusual game-play, cheering the player on. In large letters, the words “Dance Dance Revolution 3rd Mix” glow above the arcade machine. Most people who stumble upon a scene similar to this one would rarely believe that such a conceptually simple arcade game could foster an enormous nation-wide game community, both online and offline. Yet the rules of the game are deceptively simple. The players (one or two) must press the arrows on the platform (either up, down, left, or right) when the corresponding arrows on the screen reach the top, usually on beat with the techno/pop song being played. If the player doesn’t press the arrows on time, the song will quickly come to an end, and the machine will Arrows scrolling up a DDR screen ask for more quarters to continue play. Yet despite its simplicity, Dance Dance Revolution, or DDR for short, has helped create a giant player community in the United States, manifesting itself though various forms. -
IEEE Gamesig Intercollegiate Game Showcase 2018 Game Overview: Super Nova______Date: 4-11-18
IEEE GameSIG Intercollegiate Game Showcase 2018 Game Overview: Super Nova______________ Date: 4-11-18 One-Sentence Inspired by PaRappa the Rapper, Super Nova is a VR game that Description blends rap battles and RPG elements into a rhythm game. List of Team Andrew Barnes, Main School: LCAD ([email protected]) Members and Xueqing Liu, USC ([email protected]) Their Schools Ruoyu Wang, USC ([email protected]) Main Contact: (949) 887-9210 School Level _X_ College/University ___ High School Target Platform VR: Oculus and VIVE and Audience Teen. VR and rhythm game enthusiasts. One-Paragraph In the Super Nova rap battle demo, the player will experience a Summary of virtual rap battle with an NPC friend in front of a corner barbershop. Gameplay and The rap battle has two modes: A defense mode to block raps and Objectives an offense mode to rap. Key Features • Musical rhythm action Art Game • Emotional connection to the game through music and rhythm • First-Person VR and expanding on games like Rhythm Heaven • Two musical game types: Action Defense Rhythm and Lyrical Offense Rhythm (Music Video) • Visual music elements in levels and attached to geometry Thumbnails of Game Art Software Libraries Unity 2017, Koreographer, VRTK, Adobe Fuse, Mixamo, Maya and Packages Used Third-Party and Unity Asset: City Block Pack Ready Made Asset Credits Faculty Member Sandy Appleoff, LCAD ([email protected]) Name & Contact School: (949) 376-6000 Mobile: (785) 393-9070 Information YouTube Link https://youtu.be/lo4i7_m6PE4 Misc. Notes https://vrhymes.com/ Submitted by: Andrew Barnes, [email protected] (949) 887-9210 List of game assets not entirely made by the team. -
Electroplankton Revisited: a Meta-Review »Electroplankton Is
Vol. 1, Issue 1/2007 Electroplankton revisited: A Meta-Review Martin Pichlmair »Electroplankton is not a game in any sense of the word. It is art, plain and simple.« (Sellers, 2006) This is an untypical review. It does not highlight specifics of a game but instead focuses on aspects surrounding it. I believe that two years after a game was released, a review can and should reflect the game as well as its wider implications. In this case the game marks a turning point in console history. Not so much because the game was itself so remarkable, but because it was among the first games to break the dominance of hardcore games on game consoles. The game in question is Electroplankton, the first art game for the Nintendo DS. Can games be works of art? While this question is currently a focus of discussion concerning mainstream games, there are niche games so explicitly artful that no one is able to deny them the status of artworks. They are shown at exhibitions, presented in books, and generally reviewed as valuable contributions to culture. The games I am talking about are usually referred to as art games or Game Art (see Bittani 2006 for definitions of these two genres). Popular examples include fur's PainStation, Julian Oliver's Fijuu, and Cory Arcangel's (2006) Super Mario Clouds (more examples are discussed in Pichlmair, 2006). PainStation is a twisted reinterpretation of the game Pong. Fijuu is a music game and an electronic instrument. Super Mario Clouds is the appropriation of the original Nintendo Super Mario game based on a hacked Nintendo Entertainment System cartridge. -
20-22 August 2018 the National Videogame Arcade REPLAYING JAPAN 2018
Replaying Japan 2018 20-22 August 2018 The National Videogame Arcade www.thenva.com REPLAYING JAPAN 2018 LOCAL ORGANISERS Alice Roberts, Iain Simons, James Newman and the team at The National Videogame Arcade CONFERENCE CO-ORGANISERS Ritsumeikan Center for Game Studies, Ritsumeikan University Philosophy and Humanities Computing, University of Alberta Institute of East Asian Studies / Japanese Studies, Leipzig University Digital Games Research Association (DiGRA) Japan CONFERENCE CHAIRS Geoffrey ROCKWELL, Philosophy and Humanities Computing, University of Alberta Akinori NAKAMURA, College of Image Arts and Sciences, Ritsumeikan University Jérémie PELLETIER-GAGNON, Comparative Literature and Humanities Computing, University of Alberta Martin PICARD, Institute of East Asian Studies / Japanese Studies, Leipzig University Martin ROTH, Institute of East Asian Studies / Japanese Studies, Leipzig University PROGRAMME COMMITTEE Koichi HOSOI, College of Image Arts and Sciences, Ritsumeikan University Kazufumi FUKUDA, Ritsumeikan Global Innovation Research Organization, Ritsumeikan University Akito INOUE, Graduate School of Core Ethics and Frontier Sciences, Ritsumeikan University Shuji WATANABE, College of Image Arts and Sciences, Ritsumeikan University Tsugumi OKABE, Comparative Literature, University of Alberta Mitsuyuki INABA, College of Policy Science, Ritsumeikan University Hiroshi YOSHIDA, Graduate School of Core Ethics and Frontier Science, Ritsumeikan University !2 of !56 THE NATIONAL VIDEOGAME ARCADE The National Videogame Arcade is a not-for-profit organisation that exists to develop the role of videogames in culture, education and society. It is funded by revenue generated by visitors, hospitality and events as well as generous patrons. The National Videogame Arcade opened in March 2015 and welcomes tens of thousands of visitors a year. As well as the core visitor attraction, we also deliver education programmes to school visits and informal learners.