DOCSLIB.ORG

The Big Book of Video Game Artists Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Big Book of Video Game Artists Pdf, Epub, Ebook THE BIG BOOK OF VIDEO GAME ARTISTS PDF, EPUB, EBOOK William A Wooten | 184 pages | 27 Oct 2015 | Createspace Independent Publishing Platform | 9781518794438 | English | none The Big Book of Video Game Artists PDF Book Students taking this option can gain an undergraduate and postgraduate degree within three years. I took art in my senior year, I learn something a little bit in art but I think I still have a lot to learn , so, I have two questions for you : Can anybody be a game artist? This two-volume encyclopedia addresses the key people, companies, regions, games, systems, institutions, technologies, and theoretical concepts in the world of video games, serving as a unique resource for students. Elizabeth St. Less heavy on game-creating artworks, this series concentrates on fleshing out the world of the Elder Scrolls further still. Based on Tomb Raider version Hi Samuel, the game industry is a lot more of a meritocracy than many other industries — in other words, if you can prove you can do the job, then you can get hired. Books about video games. We offer further information on possible undergraduate financial support. You may have a difficult time getting an internship unless you already have an animation portfolio to prove to potential employers that you have talent. Valkyria Chronicles. I am 3D Artist and Graphic Designer, Modeling, texturing, lighting Shading and Rendering of character and hard surface in realistic style. Achieve a minimum of tariff points achieved in either three Advanced Highers or from a combination of two Advanced Highers plus two Highers. My best advice is to get some honest feedback from other artists. Next-gen Art Gallery Video game art, concept art and contemporary art from leading artists and studios that shape our time and culture. Year two During your second year, there will be a further opportunities to learn from guest lecturers. Mark J. Our international pages contain a wealth of information for international students who are considering applying to study here, including:. Enter your email to sign up. The UK remains one of the world's leading study destinations. My only fear is that I may not fare well at 3D either which will be taught in my later years in DigiPen. This book teaches you a common workflow to follow starting from initial idea to creating the game world, player objectives, ultimate goals, and mechanics for gameplay. Painted Paper Art Workshop. What areas are of particular interest? Now, video game art books cover concept art, inspirations, further game-universe lore and information, place histories, and character backgrounds. You learn the history of gaming from the 70s through each decade into modern times. Year one Year two Year one During the first year, teaching methods may include practical sessions, lectures and group debates, featuring input from both University staff and guest lecturers from industry, providing you with a wide range of practical knowledge and insight. Her specialties are in game direction and digital media so she has a lot to say on the entire process of game design. Video games follow many of the same rules as traditional games and the objectives are often similar multiple players, competition, score keeping and rules for who wins. Already applied? Practice your craft and improve over time. However he does share thoughts on his favorites and what he notices performing well in the real world. The Big Book of Video Game Artists Writer Hi Jason, I am 27 and I am a recently graduated architect. Why are Character Artists so low-payed in comparision to the others? Virtual worlds such as those represented in the Grand Theft Auto and Halo series and online games such as World of Warcraft have expanded the idea of virtual worlds so that they are not mere means of escape but new ways to interact Konzack, Scott opens the early chapters talking about idea generation and marketing. From my experience working with and talking to other artists stories I think it is less about getting into the right school, than what you can show in your portfolio. Archived from the original on July 23, However the stories I heard about the employment rates, the hours on the job and the salaries do deter me. Try our Search Tips. Each chapter discusses the pros and cons of individual workflows and stylized methods for rendering graphics. Straight to your inbox. And frankly this is one of the best books to get introspective about game design. Recently, several programs have been developed that revolve entirely around video games—the web series The Guild , for instance, tells the story of a group of friends who interact through an unspecified MMORPG. Hi Jason, thank you for all this helpful information. Education has also been changed by video games through the use of new technologies that help teachers and students communicate in new ways through educational games such as Brain Age. This book takes you through a step-by-step process for analyzing your writing and how it applies at all stages of game design. Another phenomenon relating to music and video games involves musicians covering video game music. Favorites 0 Country and currency 1 Sign In. Do you have any suggestions for me, if I choose a degree in game environment design or architecture?! But if possible, try to pursue the stream that will teach you the skills you need for a game art job: art skills, computer skills, and working on software development teams. But I am also a creative kind of person who likes drawing traditional and digital etc. Video games were appealing because they were both a fantasy world and a means to excel at something. It totals well over 20 hours of step-by-step video tutorials on every aspect of game design. But this book looks into the principles of getting people into a natural state of flow and self-awareness where activities just seem to happen one after another. Painted Paper Art Workshop. Organized alphabetically by topic and cross-referenced across subject areas, Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming will serve the needs of students and other researchers as well as provide fascinating information for game enthusiasts and general readers. This is actually an updated version of an out-of-print book he released in , when writing a book about video games wasn't nearly as mainstream. And that really opened my eyes up to the prospect of pursuing 3D art professionally, while keeping 2D for myself on my own pet projects. Follow your interests and your talents! Game Culture To fully understand the effects of video games on mainstream culture, it is important to understand the development of gaming culture , or the culture surrounding video games. Perhaps I am worrying too early as a freshman? Hi Joshua! It also shows the differences between various areas of art expertise, rather than lumping them all together under one job title. What do people want out of video games? Publication Date: August 13, [8]. If you follow retro gaming at all, you've likely heard him, or at least his name mentioned. Although these early movies were released only online and targeted a select niche of gamers, professional filmmakers have since adopted the process, using machinima to storyboard scenes and to add a sense of individuality to computer- generated shots. Your story sounds familiar to my own. One of the challenges of being an artist is finding a job at a game studio that fits your particular art style. Gabrielle Javier-Cerulli. Cook and Becker is an international art gallery, book publisher and concept store for video game art, concept art and design. Drawing Basics and Video Game Art gives any game designer the right foundation in classical art techniques to create meaningful emotional experiences for gamers. The bands are paid for the rights to use the song, and their music is exposed to an audience that otherwise might not hear it. I would highly recommend this book for anyone interested in writing their own game. I took art in my senior year, I learn something a little bit in art but I think I still have a lot to learn , so, I have two questions for you : Can anybody be a game artist? Remedy senior graphic designer Minna Etsalo was instrumental in ensuring the project got off the ground. The Big Book of Video Game Artists Reviews The purpose of this module is to give students the opportunity to learn and then apply fundamental 3D animation techniques and skinning methodologies for game character development. Go to the Courses section. Register now and we will contact you when the booking form goes live. Updated Feb 13, at am. UK students International students. Meanwhile, the Bloodborne Official Artworks book covers everything about the world of hunters and the old blood. Video game art books are some of my favourite gaming books to collect. This allows you to work while you study with us, fitting the job around your course commitments. Terms of Use. All the books in this post are incredible and offer a detailed look into the professional task of game design. Find out more about Scott's role. Studios studios. Here are the average salaries for game artists with various years of experience. I am 27 and I am a recently graduated architect. These are only a few of our highlights but there's a sea of video game art books available out in the wild to wade your way through - and I'd bet each one is totally worth it. This encyclopedia collects and organizes theoretical and historical content on the topic of video games, covering the people, systems, technologies, and theoretical concepts as well as the games themselves.
Load more

Recommended publications
  • Effects of Art Styles on Video Game Narratives
    Effects of Art Styles on Video Game Narratives UNIVERSITY OF TURKU Department of Future Technologies Master's Thesis July 2018 Leena Hölttä UNIVERSITY OF TURKU Department of Future Technologies HÖLTTÄ, LEENA Effects of Art Styles on Video Game Narratives Master's thesis, 76 pages, 29 appendix pages Computer Science August 2018 The effect of an art style on a video game's narrative is not widely studied and not much is known about how the general player base views the topic. This thesis attempts to answer this question through the use of two different surveys, a general theory related one, and one based upon images and categorization and a visual novel based interview that aims at gaining a further understanding of the subject. The general results point to the art style creating and emphasizing a narrative's mood and greatly enhancing the player experience. Based on these results a simple framework ASGDF was created to help beginning art directors and designers to create the most fitting style for their narrative. Key words: video games, art style, art, narrative, games TURUN YLIOPISTO Tulevaisuuden teknologioiden laitos HÖLTTÄ, LEENA Taidetyylien vaikutus videopelien narratiiviin Pro gradu -tutkielma, 76 s., 29 liites. Tietojenkäsittelytiede Elokuu 2018 Taidetyylien vaikutus videopelien narratiiviin ei ole laajasti tutkittu aihe, eikä ole laajasti tiedossa miten yleinen pelaajakunta näkee aiheen. Tämä tutkielma pyrkii vastaamaan tähän kysymykseen kahden eri kyselyn avulla, joista toinen on teoriaan perustuva kysely, ja toinen kuvien kategorisointiin perustuva kysely. Myös visuaalinovelliin perustuvaa haastattelua käytettiin tutkimuskysymyksen tutkimiseen. Yleiset tulokset viittaavat siihen, että taidetyyli vaikuttaa narratiivin tunnelmaan ja korostaa pelaajan kokemusta.
    [Show full text]
  • Chicago New Media 1973- 1992' Pays Tribute to the City's Contribution to Video Games and Digital
    Chicago New Media 1973- 1992' pays tribute to the city’s contribution to video games and digital art On the frontier of free information, experimentation, and self-expression. By Caroline Picard @cocolarolo Have a Nice Day II: VR Tour Through the Decades, Ellen Sandor, Chris Kemp, Diana Torres, and Azadeh Gholizadeh, (art)n, virtual reality installation with Unity and Oculus Rift, 2017. COURTESY OF ELLEN SANDOR AND VGA GALLERY Chicago isn't immediately associated with technology's vanguard in the popular imagination. But Gallery 400's current exhibition, "Chicago New Media 1973-1992," focuses on the city's contribution to new media history through a broad installation of video games, digital art, video art, and archival materials. The oldest photograph is a 1910 still from Uptown's Essanay Studios showing a cast of cowboys with horses posed beneath the elaborate (and heavy looking) electric studio lights. Not only is this image evidence of how, as curator Jon Cates puts it, Chicago was "an early contender" for the film industry, it shows a direct correlation between representations of the iconic west and the technology that produced it. With assistance from Chaz Evans, Jonathan Kinkley and the Video Game Art (VGA) Gallery, Cates highlights the way "new media"—video art, video games, and electronic music—evolved through a radical community of Chicago-based early adopters in the early 70s. "This creative culture of collaborative communities gathered together regularly to perform in various configurations publicly during annual Electronic Visualization Events on the campus of the University of Illinois at Chicago," he says. "Their connections were social, artistic, educational, and technological." The exhibition shows how people like Dan Sandin, Phil Morton, Tom DeFanti, Ted Nelson, Jamie Faye Fenton, and others connected commercial gaming, academic research, and independent art making in a way that permanently impacted the industry.
    [Show full text]
  • Being Virtual: Embodiment and Experience in Interactive Computer Game Play
    Being Virtual: Embodiment and Experience in Interactive Computer Game Play Hanna Mathilde Sommerseth PhD The University of Edinburgh January 2010 1 Declaration My signature certifies that this thesis represents my own original work, the results of my own original research, and that I have clearly cited all sources and that this work has not been submitted for any other degree or professional qualification except as specified. Hanna Mathilde Sommerseth 2 Acknowledgements I am grateful to my supervisor Ella Chmielewska for her continued support throughout the past four years. I could not have gotten to where I am today without her encouragement and belief in my ability to do well. I am also deeply thankful also to a number of other mentors, official and unofficial for their advice and help: Richard Coyne, John Frow, Brian McNair, Jane Sillars, and most especially thank you to Nick Prior for his continued friendship and support. I am thankful for the Higher Education Funding Council in Scotland and the University of Edinburgh for the granting of an Overseas Research Student award allowing me to undertake this thesis in the first place, as well as to the Norwegian State Educational Loan Fund for maintenance grants allowing me to live while doing it. In the category of financial gratefulness, I must also thank my parents for their continued help over these four years when times have been difficult. Rumour has it that the process of writing a thesis of this kind can be a lonely endeavour. But in the years I have spent writing I have found a great community of emerging scholars and friends at the university and beyond that have supported and challenged me in ways too many to mention.
    [Show full text]
  • Are Video Games Art?
    Contemporary Aesthetics (Journal Archive) Volume 3 Volume 3 (2005) Article 6 2005 Are Video Games Art? Aaron Smuts University of Wisconsin, Madison, [email protected] Follow this and additional works at: https://digitalcommons.risd.edu/liberalarts_contempaesthetics Part of the Aesthetics Commons Recommended Citation Smuts, Aaron (2005) "Are Video Games Art?," Contemporary Aesthetics (Journal Archive): Vol. 3 , Article 6. Available at: https://digitalcommons.risd.edu/liberalarts_contempaesthetics/vol3/iss1/6 This Article is brought to you for free and open access by the Liberal Arts Division at DigitalCommons@RISD. It has been accepted for inclusion in Contemporary Aesthetics (Journal Archive) by an authorized editor of DigitalCommons@RISD. For more information, please contact [email protected]. Are Video Games Art? Aaron Smuts About CA Abstract Journal In this paper I argue that by any major definition of art many modern video games should be considered art. Rather than Contact CA defining art and defending video games based on a single contentious definition, I offer reasons for thinking that video Links games can be art according to historical, aesthetic, institutional, representational and expressive theories of art. Submissions Overall, I argue that while many video games probably should not be considered art, there are good reasons to think that Search Journal some video games should be classified as art, and that the debates concerning the artistic status of chess and sports offer some insights into the status of video games. Key
    [Show full text]
  • Creating Disorientation, Fugue, And
    OCCLUSION: CREATING DISORIENTATION, FUGUE, AND APOPHENIA IN AN ART GAME by Klew Williams A Thesis Submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Master of Science in Interactive Media and Game Development __________________________________________________________ April 27th, 2017 APPROVED: ____________________________________ Brian Moriarty, Thesis Advisor _____________________________________ Dean O’Donnell, Committee _____________________________________ Ralph Sutter, Committee i Abstract Occlusion is a procedurally randomized interactive art experience which uses the motifs of repetition, isolation, incongruity and mutability to develop an experience of a Folie à Deux: a madness shared by two. It draws from traditional video game forms, development methods, and tools to situate itself in context with games as well as other forms of interactive digital media. In this way, Occlusion approaches the making of game-like media from the art criticism perspective of Materiality, and the written work accompanying the prototype discusses critical aesthetic concerns for Occlusion both as an art experience borrowing from games and as a text that can be academically understood in relation to other practices of media making. In addition to the produced software artifact and written analysis, this thesis includes primary research in the form of four interviews with artists, authors, game makers and game critics concerning Materiality and dissociative themes in game-like media. The written work first introduces Occlusion in context with other approaches to procedural remixing, Glitch Art, net.art, and analogue and digital collage and décollage, with special attention to recontextualization and apophenia. The experience, visual, and audio design approach of Occlusion is reviewed through a discussion of explicit design choices which define generative space.
    [Show full text]
  • Possibly Tetris?: Creative Professionals’ Description of Video Game Visual Styles
    Proceedings of the 50th Hawaii International Conference on System Sciences | 2017 The Style of Tetris is…Possibly Tetris?: Creative Professionals’ Description of Video Game Visual Styles Stephen Keating Wan-Chen Lee Travis Windleharth Jin Ha Lee University of Washington University of Washington University of Washington University of Washington [email protected] [email protected] [email protected] [email protected] Abstract tools cannot fully meet the needs of retrieving visual Despite the increasing importance of video games information and digital materials [2] [21]. In addition, in both cultural and commercial aspects, typically they current access points for retrieving video games are can only be accessed and browsed through limited limited, with browsing options often restricted to metadata such as platform or genre. We explore visual platform or genre [9] [10] [14]. In order to improve the styles of games as a complementary approach for retrieval performance of video games in current providing access to games. In particular, we aimed to information systems, standards for describing and test and evaluate the existing visual style taxonomy organizing video games are necessary. Among the developed in prior research with video game many types of metadata related to video games, visual professionals and creatives. User data were collected style is an important but overlooked piece of from video game art and design students at the information [5]. The lack of standard taxonomy for DigiPen Institute of Technology to gain insight into the describing visual information, with regard to video relevance of the existing taxonomy to a professional games, is a primary reason for this problem.
    [Show full text]
  • Shifting Borders: Walking Simulators, Artgames, and the Categorical Compulsions of Gaming Discourse
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Press Start Press Start Shifting Borders Shifting Borders: Walking Simulators, Artgames, and the Categorical Compulsions of Gaming Discourse Andrew Bailey York University, Canada Abstract This paper looks at how the walking simulator and artgame categories intersect, before comparatively analyzing two game designers whose work functions to disrupt the notions of genre these terms exemplify. The first work is Bill Viola’s The Night Journey (Game Innovation Lab & Viola, 2007), a gallery installation that many early game studies scholars used to help them first define how videogames could function as art. Following this, the paper compares Viola’s work to Connor Sherlock’s (2015) cheekily titled “Walking Simulator A Month Club.” With this project, Sherlock uses the itch.io and Patreon platforms to release a new experimental walking simulator game every month. Like The Night Journey, each of Sherlock’s games are ambiguously rendered and non- goal oriented. To conclude, this paper uses these two examples to investigate the potentially useful relations that can be uncovered between the experiences of traversing gallery and game space. Keywords Artgames; walking simulators; Connor Sherlock; The Night Journey; Bill Viola; surrealism Press Start 2019 | Volume 5 | Issue 2 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. Press Start is published by HATII at the University of Glasgow. Bailey Shifting Borders Introduction Over the course of their interwoven histories, game studies and gaming criticism have struggled to establish an accepted lexicon for examining their objects of study.
    [Show full text]
  • Interactive Media: Video Game Art and Animation Associate of Applied Science (A.A.S.) 2018–2019
    Interactive Media: Video Game Art and Animation Associate of Applied Science (A.A.S.) 2018–2019 DESCRIPTION: OPPORTUNITIES FOR GRADUATES: The Video Game Art and Animation A.A.S. degree program covers the Career: core disciplines for video game art production. Students are provided Columbus, Ohio currently has an 11% year over year growth in the foundation in key areas that impact this field, including time- this industry. Some common job titles include level designer, based production, storytelling, a survey of the video game industry, environment artist, character artist, concept artist, animator, traditional animation, etc. With this foundation, the remainder of the technical animator, effects specialist, and lighting specialist. program focuses on 3D character and environment production, audio integration, and game development skills conducted through 2D and Transfer: 3D software as well as various scripting and programming languages. We currently have no formal articulations for this degree, but we have Students will ultimately work on team-based game projects that many informal agreements, and our students have received credits expose them to the video game production process. For more when they have transferred to Columbus College of Art and Design, information, see cscc.edu/academics/departments/interactive-media. Ohio University, and Shawnee State University. ADMISSION REQUIREMENTS: This is a non-selective, open-admission program. ONGOING REQUIREMENTS: It is highly recommended that students purchase a Mac or a PC machine with higher end RAM, hard drive space, and processor speed. It is also recommended that an art tablet (Wacom Intuos Pro, or similar) be purchased. Students must maintain minimum overall GPA required by the College.
    [Show full text]
  • The Possibilities of the Video Game Exhibition
    City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-2017 The Possibilities of the Video Game Exhibition Elizabeth Legere 2762328 CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/145 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Possibilities of the Video Game Exhibition by Elizabeth Legere Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2017 Thesis Sponsor: 4/30/2017 Joachim Pissarro Date Signature [Joachim Pissarro] 4/30/2017 Constance DeJong Date Signature of Second Reader [Constance DeJong] DEDICATION This paper is dedicated to Iris Barry, the founder of MoMA’s Film Library in 1929 and the Film Department at MoMA’s first curator. She led the Film Department at MoMA to incredible success despite initial skepticism from the greater public. Her pioneering in promoting Film as a legitimate art form to the greater art world has inspired many of the ideas presented in this paper, and has encouraged me to dream bigger with regards to the future of the relationship between video games and art museums. i ACKNOWLEDGEMENTS Thank you to my primary advisor, Joachim Pissarro, for being willing to take on an unconventional thesis topic, and for inspiring me to push the boundaries of what I imagined I could accomplish.
    [Show full text]
  • Art Space: an Experimental Digital Art Gam
    SOCIETY. INTEGRATION. EDUCATION Proceedings of the International Scientific Conference. Volume V, May 22th -23th, 2020. 649-660 ART SPACE: AN EXPERIMENTAL DIGITAL ART GAM Ieva Gintere Vidzeme University of Applied Sciences, Latvia Abstract. The article examines the discourse concerning modern game theory and suggests a new method of research and knowledge transfer in the field of digital art game creation. The method is embodied in the new game Art Space that utilizes current research results in the field of contemporary aesthetics. Art Space is an experimental digital game that is being created in collaboration between researcher, Dr.art. Ieva Gintere (Vidzeme University of Applied Sciences, Latvia) and the game artist, Mag.art. Kristaps Biters (Liepāja University, Latvia) within the framework of a post-doctoral project. The concept of this new art game arises from the historical heritage of modern art. The aim of the game is knowledge transfer: the author has been carrying out research into contemporary digital games in order to transfer the results of the research to develop an appreciation and understanding of aesthetics in Art Game’s players. The game links aesthetics to art games by identifying modern trends such as pixel art, glitch, noise, and others. Due to the dearth of written information on the subject of modern art heritage in digital games, the study presents an innovative approach to art gaming explaining modern art’s cultural backgrounds. The methods used are audio-visual and stylistic analyses of games as well as studies of the existing literature. The project hopes to raise the interest of the wider public concerning contemporary art and music, point out the newest creative tendencies in art, and suggest potential changes in the language of art in the near future.
    [Show full text]
  • New Media Art: the Artist's Perspective in Museum Acquisitions
    ALI-ABA Museum Administrators Conference, 2005 THE ARTIST’S PERSPECTIVE IN THE ACQUISITION, EXHIBITION, AND PRESERVATION OF NEW MEDIA WORKS By Brooke Oliver Summary: New Media art, which is digital, internet, video, or other interactive or variable media art, poses unique challenges to artists and collectors alike in its acquisition, exhibition, and preservation. By design, some aspect of the art work itself changes, such as a moving display, compilation of source code, interaction with the viewer, or by virtue of the work’s interplay with a networked or internet environment. Conceptual installation work may include parts that visitors may take home with them. As internet art work is played or displayed, underlying source code sometimes reaches out through the internet to incorporate images or sounds into a changing audiovisual display. The art itself often can be changed by the viewer as a participant in the evolving work, usually within parameters established by the artist. In that context, even defining the “original” work requires an expansion of traditional notions in the commissioning or acquisition of such works. Because of the variable nature of the medium, New Media artists’ concerns are often different than those of artists working in more traditional media. Many New Media artists release their works through the internet under copyLeft licenses that not only permit but encourage subsequent users to alter, modify, and build upon the works. They are less concerned about the work remaining as they created it than in being credited as the initiator of an evolving piece. The expressly limited United States Visual Artists Rights Act (17 U.S.C.
    [Show full text]
  • FULLTEXT01.Pdf
    VETENSKAP OCH KONST INDUSTRIAL ENGINEERING AND MANAGEMENT !"#$%&'()* +,)"&)%-)./'() 0$12$*&$')* !"&3')2&(43 5("3-) 633&% 6)%%-5$*&$')* 63#() 78 0(-$*)&(/" MIKOLAJ DYMEK 9/2&/')* :,3%(% (" !"#$%&'()* ;2/"/-(2% )"# 6)").3-3"&, </=)* !"%&(&$&3 /8 :32,"/*/.= 0&/2>,/*-, 0?3#3" @ABA Akademisk avhandling som för avläggande av teknologie doktorsexamen och med tillstånd av Kungliga Tekniska Högskolan i Stockholm framläggs för oDentlig granskning. Onsdagen den BE juni @ABA, klockan BF.AA i sal GH, Lindstedsvägen @E, I:J i Stockholm. G)>$*&3&%/KK/"3"&: Professor Saara Taalas, Åbo Handelshögskola 0&/2>,/*- @ABA !"%&(&$&(/"3" 8L' ("#$%&'(3** 3>/"/-( /2, /'.)"(%)&(/", I$".*(.) :3>"(%>) JL.%>/*)" ( 0&/2>,/*- !"#$%!&$ 'e video game industry has in three decades gone from a garage hobby to a global multi-billion euro media industry that challenges the signi(cantly older and es- tablished cultural industries. After decades of explosive growth the industry sur- prisingly (nds itself in a crisis – in terms of sales, future trajectories and creative paradigms. 'e global gaming culture receives substantial attention from society, media and academia – but the industry itself appears in comparison as an enig- matic terra incognita with astonishingly little dedicated research. 'is thesis aims to amend this situation by presenting a study at the cross-section of the video game industry, game studies, literary theory, cultural industries and business studies. It deals with the following question: how does the global game industry relate to its own product, in terms of communication and media dimensions, and what are the (business) consequences, in terms of production, strategy and commercial/creative innovation, of this relationship? 'is study’s departure point is constituted by a comprehensive description of the industry’s structure, dynamics and processes, based on extensive interviews with industry professionals.
    [Show full text]