€˜Tetris Effect’ Turns Classic Game Into Immersive Experience

Total Page:16

File Type:pdf, Size:1020Kb

€˜Tetris Effect’ Turns Classic Game Into Immersive Experience ‘Tetris Effect’ Turns Classic Game into Immersive Experience 06.06.2018 Tetris is getting trippy. Sony's trailer announcing an update to the classic game is a visual masterpiece, using bright lights, colors and music to explain the science that inspired Tetris Effect, hitting PlayStation VR and PlayStation 4 this fall. Between cosmic visuals and kaleidoscope-esc transitions, a narrator breaks down the phenomenon, researched at Harvard Medical School in 2000. Participants in a study reported seeing imagery from the game hours after they finished playing-including those with brain damage that prevented them from forming new memories, and who could not recall ever playing it. "Blocks," the narrator says. "They all saw blocks, falling through space." The luminescent announcement spot offers a window into how Tetris Effect will evolve through gameplay that offers a visual and audio experience. Along with Enhance Games, it's developed by Tetsuya Mizuguchi, who is behind the puzzle series Rez Infinite that's known for its music and visual effects, as well Lumines. The idea behind Tetris Effect the game is to amplify and enhance that same magical feeling where you just can't get it out of your head, and not just the falling shapes, but all the visuals, the sounds, the music - everything!" says Mizuguchi on PlayStation Blog. The game will offer more than 30 stages that "immerse players in different fantastical worlds that react and evolve based on how you play." Background elements, audio, special effects , even the Tetris pieces themselves, will pulse, dance, shimmer, make music and explode in perfect sync with how players play. READ MORE: PlayStation Blog.
Recommended publications
  • UPC Platform Publisher Title Price Available 730865001347
    UPC Platform Publisher Title Price Available 730865001347 PlayStation 3 Atlus 3D Dot Game Heroes PS3 $16.00 52 722674110402 PlayStation 3 Namco Bandai Ace Combat: Assault Horizon PS3 $21.00 2 Other 853490002678 PlayStation 3 Air Conflicts: Secret Wars PS3 $14.00 37 Publishers 014633098587 PlayStation 3 Electronic Arts Alice: Madness Returns PS3 $16.50 60 Aliens Colonial Marines 010086690682 PlayStation 3 Sega $47.50 100+ (Portuguese) PS3 Aliens Colonial Marines (Spanish) 010086690675 PlayStation 3 Sega $47.50 100+ PS3 Aliens Colonial Marines Collector's 010086690637 PlayStation 3 Sega $76.00 9 Edition PS3 010086690170 PlayStation 3 Sega Aliens Colonial Marines PS3 $50.00 92 010086690194 PlayStation 3 Sega Alpha Protocol PS3 $14.00 14 047875843479 PlayStation 3 Activision Amazing Spider-Man PS3 $39.00 100+ 010086690545 PlayStation 3 Sega Anarchy Reigns PS3 $24.00 100+ 722674110525 PlayStation 3 Namco Bandai Armored Core V PS3 $23.00 100+ 014633157147 PlayStation 3 Electronic Arts Army of Two: The 40th Day PS3 $16.00 61 008888345343 PlayStation 3 Ubisoft Assassin's Creed II PS3 $15.00 100+ Assassin's Creed III Limited Edition 008888397717 PlayStation 3 Ubisoft $116.00 4 PS3 008888347231 PlayStation 3 Ubisoft Assassin's Creed III PS3 $47.50 100+ 008888343394 PlayStation 3 Ubisoft Assassin's Creed PS3 $14.00 100+ 008888346258 PlayStation 3 Ubisoft Assassin's Creed: Brotherhood PS3 $16.00 100+ 008888356844 PlayStation 3 Ubisoft Assassin's Creed: Revelations PS3 $22.50 100+ 013388340446 PlayStation 3 Capcom Asura's Wrath PS3 $16.00 55 008888345435
    [Show full text]
  • Indoor Fireworks: the Pleasures of Digital Game Pyrotechnics
    Indoor Fireworks: the Pleasures of Digital Game Pyrotechnics Simon Niedenthal Malmö University, School of Arts and Communication Malmö, Sweden [email protected] Abstract: Fireworks in games translate the sensory power of a real-world aesthetic form to the realm of digital simulation and gameplay. Understanding the role of fireworks in games can best be pursued through through a threefold aesthetic perspective that focuses on the senses, on art, and on the aesthetic experience that gives pleasure through the player’s participation in the simulation, gameplay and narrative potentials of fireworks. In games ranging from Wii Sports and Fantavision, to Okami and Assassin’s Creed II, digital fireworks are employed as a light effect, and are also the site for gameplay pleasures that include design and performance, timing and rhythm, and power and awe. Fireworks also gain narrative significance in game forms through association with specific sequences and characters. Ultimately, understanding the role of fireworks in games provokes us to reverse the scrutiny, and to consider games as fireworks, through which we experience ludic festivity and voluptuous panic. Keywords: Fireworks, Pyrotechnics, Digital Games, Game Aesthetics 1. Introduction: On March 9th, 2000, Sony released the fireworks-themed Fantavision (Sony Computer Entertainment 2000) in Japan as one of the very first titles for its then new Playstation 2. Fantavision exhibits many of the desirable qualities for good launch title: simulation properties that show off new graphic capabilities, established gameplay that is quick to grasp, a broad appeal. Though the critical reception for the game was ultimately lukewarm (a 72 rating from Metacritic.com), it is notable that Sony launched its new console with a fireworks game.
    [Show full text]
  • Links to the Past User Research Rage 2
    ALL FORMATS LIFTING THE LID ON VIDEO GAMES User Research Links to Game design’s the past best-kept secret? The art of making great Zelda-likes Issue 9 £3 wfmag.cc 09 Rage 2 72000 Playtesting the 16 neon apocalypse 7263 97 Sea Change Rhianna Pratchett rewrites the adventure game in Lost Words Subscribe today 12 weeks for £12* Visit: wfmag.cc/12weeks to order UK Price. 6 issue introductory offer The future of games: subscription-based? ow many subscription services are you upfront, would be devastating for video games. Triple-A shelling out for each month? Spotify and titles still dominate the market in terms of raw sales and Apple Music provide the tunes while we player numbers, so while the largest publishers may H work; perhaps a bit of TV drama on the prosper in a Spotify world, all your favourite indie and lunch break via Now TV or ITV Player; then back home mid-tier developers would no doubt ounder. to watch a movie in the evening, courtesy of etix, MIKE ROSE Put it this way: if Spotify is currently paying artists 1 Amazon Video, Hulu… per 20,000 listens, what sort of terrible deal are game Mike Rose is the The way we consume entertainment has shifted developers working from their bedroom going to get? founder of No More dramatically in the last several years, and it’s becoming Robots, the publishing And before you think to yourself, “This would never increasingly the case that the average person doesn’t label behind titles happen – it already is.
    [Show full text]
  • „Child of Eden“-Steuerung: Körperbewegung Statt Knopfdruck
    „Child of Eden“-Steuerung: Körperbewegung statt Knopfdruck 14 2/ 2011 KulturSPIEGEL Was würde Kandinsky tun? Wedeln, streicheln, klatschen: Tetsuya Mizuguchis Computer - spiel „Child of Eden“ muss man tanzen. VON CARSTEN GÖRIG FOTOS: GUNTER GLÜCKLICH „Hoffnung und Glück, das sind die Themen von ,Child of Eden‘“, sagt Tetsuya Mizuguchi, 45. Sanft redet der Japaner, kaum hörbar über dem Summen der Geräte, die in den vollgepackten Räumen seines Studios Q Entertainment im Meguro-Bezirk von Tokio arbeiten. Der Spieleentwickler versucht, inmitten von Sofas, Computern, Fernsehern und Musikinstrumenten Platz zu finden. Platz braucht er für seine neueste Erfindung. Denn „Child of Eden“ kann mit Gesten gespielt werden, ganz ohne Tasten oder Knöpfe. Sanft, fast wie ein Masseur streichelt Mizuguchi die Luft, öffnet die Arme, klatscht. Die Frau auf dem Bildschirm, bleich wie ein Geist, reagiert sofort auf den Befehl des Meisters, amöbenartige Wesen werden beschossen, lösen sich auf, Farben flackern psyche - delisch. Die Frau bewegt sich durch die Welt der abstrakten Formen, der schwimmenden und tanzenden Strukturen, singt zu der euphorisierenden Musik, gesteuert von Mizuguchis Händen. „Child of Eden“ ist das erste Spiel, das die Kinect-Technologie der Xbox-360-Konsole von Microsoft für mehr als alberne kleine Spielchen oder für Fitnessübungen nutzt. Die Kinect-Kamera fängt Bewegungen des Spielers ein. Handbewegungen, die an meditatives Tafelwischen erinnern, ersetzen den Knopfdruck. Für Mizuguchi ist die Kinect-Technik ein Geschenk, denn er arbeitet wie kein anderer daran, mit seinen Spielen alle Sinne KulturSPIEGEL 2/ 2011 15 mer 1998 verabschiedete. Nach einem Besuch bei Opel in Rüsselsheim und Mercedes Benz in Stutt - gart fuhr er nach Zürich, besuchte die Stadt am Wochenende der Street Parade, der Schweizer Ent - sprechung zur Love Parade.
    [Show full text]
  • Estudios Sega Europe
    ESTUDIOS SEGA EUROPE UNITED GAME ARTISTS Ya sea con carreras de rallies o con ritmos de rock, United Game Artists (antes AM9) toca todos los terrenos. Desde sus orígenes como uno de los mejores equipos de Sega en el campo de los juegos de carreras (con títulos como Sega Rally Championship) hasta su nuevo interés por marchosos juegos musicales (con, por ejemplo, Space Channel 5), UGA ha demostrado que nadie les supera a la hora de hacer las cosas con estilo. AM9 se transformó en United Game Artists el 27 de abril de 2000 y su sede, que da cabida a 55 empleados presididos por Tetsuya Mizuguchi, se encuentra en el moderno distrito de Shibuya, en Tokio. Mizuguchi nació en Sapporo y asistió a la Facultad de Bellas de Artes de la Nihon University, para luego entrar en Sega en 1990. Su primer trabajo fue Megalopolice, película japonesa de carreras con gráficos creados por ordenador. A continuación, puso sus miras en los simuladores deportivos y en 1995 creó una obra maestra de las salas recreativas, Sega Rally Championship. Simulando el siempre resbaladizo y todoterreno mundo del rally, el juego de Sega destacó por un estilo de conducción del todo innovador para cualquier aficionado a los arcades. Entre las características de Sega Rally estaba la posibilidad de escoger 2 coches y competir en 3 pistas distintas, unos gráficos sorprendentes gracias a la placa Model 2, un sencillo sistema de control y un modo de competición. Además, se creó incluso una versión de la máquina que traía una réplica de un coche con sistema hidráulico..
    [Show full text]
  • Game Console Rating
    Highland Township Public Library - Video Game Collection Updated January 2020 Game Console Rating Abzu PS4, XboxOne E Ace Combat 7: Skies Unknown PS4, XboxOne T AC/DC Rockband Wii T Age of Wonders: Planetfall PS4, XboxOne T All-Stars Battle Royale PS3 T Angry Birds Trilogy PS3 E Animal Crossing, City Folk Wii E Ape Escape 2 PS2 E Ape Escape 3 PS2 E Atari Anthology PS2 E Atelier Ayesha: The Alchemist of Dusk PS3 T Atelier Sophie: Alchemist of the Mysterious Book PS4 T Banjo Kazooie- Nuts and Bolts Xbox 360 E10+ Batman: Arkham Asylum PS3 T Batman: Arkham City PS3 T Batman: Arkham Origins PS3, Xbox 360 16+ Battalion Wars 2 Wii T Battle Chasers: Nightwar PS4, XboxOne T Beyond Good & Evil PS2 T Big Beach Sports Wii E Bit Trip Complete Wii E Bladestorm: The Hundred Years' War PS3, Xbox 360 T Bloodstained Ritual of the Night PS4, XboxOne T Blue Dragon Xbox 360 T Blur PS3, Xbox 360 T Boom Blox Wii E Brave PS3, Xbox 360 E10+ Cabela's Big Game Hunter PS2 T Call of Duty 3 Wii T Captain America, Super Soldier PS3 T Crash Bandicoot N Sane Trilogy PS4 E10+ Crew 2 PS4, XboxOne T Dance Central 3 Xbox 360 T De Blob 2 Xbox 360 E Dead Cells PS4 T Deadly Creatures Wii T Deca Sports 3 Wii E Deformers: Ready at Dawn PS4, XboxOne E10+ Destiny PS3, Xbox 360 T Destiny 2 PS4, XboxOne T Dirt 4 PS4, XboxOne T Dirt Rally 2.0 PS4, XboxOne E Donkey Kong Country Returns Wii E Don't Starve Mega Pack PS4, XboxOne T Dragon Quest 11 PS4 T Highland Township Public Library - Video Game Collection Updated January 2020 Game Console Rating Dragon Quest Builders PS4 E10+ Dragon
    [Show full text]
  • 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.
    [Show full text]
  • New Musical Organology: the Audio-Games
    New musical organology : the audio-games Hervé Zénouda To cite this version: Hervé Zénouda. New musical organology : the audio-games : The question of ”a-musical” interfaces. MISSI’12 - International Conference on Multimedia & Network Information Systems, MISSI, Wroclaw University, 2012, Wroclaw, Poland. sic_01759274 HAL Id: sic_01759274 https://archivesic.ccsd.cnrs.fr/sic_01759274 Submitted on 5 Apr 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. NEW MUSICAL ORGANOLOGY: THE AUDIO GAMES THE QUESTION OF “A-MUSICOLOGICAL” INTERFACES Hervé Zénouda I3M Research Laboratory, UFR Ingémédia, Université du Sud Toulon-Var [email protected] SUMMARY: This article aims to shed light on a new and emerging creative field: “Audio Games,” a crossroad between video games and computer music. Today, a plethora of tiny applications, which propose entertaining audio-visual experiences with a preponderant sound dimension, are available for game consoles, computers, and mobile phones. These experiences represent a new universe where the gameplay of video games is applied to musical composition, hence creating new links between these two fields. In proposing to manipulate what we refer to as “a-musicological”1 representations (i.e. using symbols not normally associated with traditional musicology to manipulate and produce sound), this creative aspect raises new questions about representations of sound and musical structures and requires new instrumental gestures and approaches to composing music which will be examined.
    [Show full text]
  • The Dreamcast, Console of the Avant-Garde
    Loading… The Journal of the Canadian Game Studies Association Vol 6(9): 82-99 http://loading.gamestudies.ca The Dreamcast, Console of the Avant-Garde Nick Montfort Mia Consalvo Massachusetts Institute of Technology Concordia University [email protected] [email protected] Abstract We argue that the Dreamcast hosted a remarkable amount of videogame development that went beyond the odd and unusual and is interesting when considered as avant-garde. After characterizing the avant-garde, we investigate reasons that Sega's position within the industry and their policies may have facilitated development that expressed itself in this way and was received by gamers using terms that are associated with avant-garde work. We describe five Dreamcast games (Jet Grind Radio, Space Channel 5, Rez, Seaman, and SGGG) and explain how the advances made by these industrially productions are related to the 20th century avant- garde's lesser advances in the arts. We conclude by considering the contributions to gaming that were made on the Dreamcast and the areas of inquiry that remain to be explored by console videogame developers today. Author Keywords Aesthetics; art; avant-garde; commerce; console games; Dreamcast; game studios; platforms; politics; Sega; Tetsuya Mizuguchi Introduction A platform can facilitate new types of videogame development and can expand the concept of videogaming. The Dreamcast, however brief its commercial life, was a platform that allowed for such work to happen and that accomplished this. It is not just that there were a large number of weird or unusual games developed during the short commercial life of this platform. We argue, rather, that avant-garde videogame development happened on the Dreamcast, even though this development occurred in industrial rather than "indie" or art contexts.
    [Show full text]
  • Herbs for Dreaming
    herbs for dreaming Herbs can alter the dreaming experience in a variety of ways - altering the texture & tone of the dream, improving dream recall, and supporting the development of lucid dreaming skills. Meet local and lesser-known herbs who have particular influence over dreaming, along with good sleep hygiene & "dream hygiene" practices to deepen your relationship to the dream world. the importance of dreaming Those who cannot attain or are denied normal REM sleep suffer deeply, as they lose out on the mood-regulatory functions of dreaming. One proposed purpose of dreaming, of what dreaming accomplishes (known as the mood regulatory function of dreams theory) is that dreaming modulates disturbances in emotion, regulating those that are troublesome. My research, as well as that of other investigators in this country and abroad, supports this theory. Studies show that negative mood is down-regulated overnight. How this is accomplished has had less attention. I propose that when some disturbing waking experience is reactivated in sleep and carried forward into REM, where it is matched by similarity in feeling to earlier memories, a network of older associations is stimulated and is displayed as a sequence of compound images that we experience as dreams. This melding of new and old memory fragments modifies the network of emotional self-defining memories, and thus updates the organizational picture we hold of 'who I am and what is good for me and what is not.' In this way, dreaming diffuses the emotional charge of the event and so prepares the sleeper to wake ready to see things in a more positive light, to make a fresh start.
    [Show full text]
  • Dan Ackerman, the Tetris Effect
    124 AMERICAN JOURNAL OF PLAY • FALL 2017 restructuring of the domestic spaces by Newman leaves the reader with an new “toys” (however technical) should be account of the highly gendered recep- of interest. tion of Pac-Man (and of course, Ms. Pac- Throughout, Newman pays particular Man), crediting the game with sealing the attention to the gendered nature of games progression of video games from “new- as play, noting that pinball machines and fangled gadget” to “a fixture of everyday other precursors of the home video game life” (p. 199). His account of the game’s role console were typically found in spaces in making women more visible as play- dominated by men (p. 31). He suggests ers, and the subsequent attacks on these that the arrival of the console in the living women and even on the game itself, will room can be understood in part as a mas- be all-too-familiar to anyone immersed culine alternative to television, “a medium in the current discourse of game history long denigrated on the basis of its femi- (p. 194). As the field of video game stud- nized and lower-class cultural status” as ies matures, Newman’s work will play an a fixture in the domestic sphere (p. 72). important role in our understanding of its Discussions of historically situated gam- origins. His work is particularly valuable ing rarely engage with gender on this level. for interrogating (and illuminating) the Carly Kocurek’s Coin-Operated Americans: moral panics that inevitably accompany Rebooting Boyhood at the Video Game new media.
    [Show full text]
  • Artscience Museum Reimagines Videogames with New Exhibition Virtual Realms: Videogames Transformed
    FOR IMMEDIATE RELEASE ArtScience Museum reimagines videogames with new exhibition Virtual Realms: Videogames Transformed Overcoming the challenges of the pandemic, the exhibition makes its global premiere in Singapore SINGAPORE (9 June 2021) – Visitors will be transported to a new dimension at ArtScience Museum’s latest exhibition, Virtual Realms: Videogames Transformed. Making its international debut in Singapore on 12 June, the exhibition showcases videogame creativity in six new installations that reshape how games can be experienced in virtual and physical realms. Co-curated by celebrated game designer Tetsuya Mizuguchi, in collaboration with the Barbican in London, Virtual Realms is a co-production with ArtScience Museum and Melbourne Museum. The new artworks presented in Virtual Realms are conceived by some of the world’s leading videogame developers, KOJIMA PRODUCTIONS (makers of DEATH STRANDING), Enhance (Tetsuya Mizuguchi and team behind Rez Infinite), thatgamecompany (authors of the game, Sky: Children of the Light), Tequila Works (the studio that made RiME), Media Molecule (creators of Dreams) and David OReilly (creator of the game, Everything). They have each developed a newly commissioned installation inspired by these games, working in collaboration with the media artists and design studios, Rhizomatiks, FIELD.IO, The Mill, Marshmallow Laser Feast, onedotzero and The Workers. The immersive exhibition introduces visitors to new ways of approaching and enjoying videogames through six key themes – SYNESTHESIA, UNITY, CONNECTION, PLAY, NARRATIVE and EVERYTHING. Appendix I has full details of each of the interactive experiences. “Virtual Realms is a multi-sensorial, interactive presentation of artworks inspired by videogames. To present the global premiere of this extraordinary exhibition at ArtScience Museum, we had to work together with our colleagues at the Barbican, and all the game designers and artists in the exhibition, on overcoming a myriad of challenges presented by the Covid-19 pandemic.
    [Show full text]