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Journal of Games Is Here to Ask Himself, "What Design-Focused Pre- Hideo Kojima Need an Editor?" Inferiors
WE’RE PROB NVENING ABLY ALL A G AND CO BOUT V ONFERRIN IDEO GA BOUT C MES ALSO A JournalThe IDLE THUMBS of Games Ultraboost Ad Est’d. 2004 TOUCHING THE INDUSTRY IN A PROVOCATIVE PLACE FUN FACTOR Sessions of Interest Former developers Game Developers Confer We read the program. sue 3D Realms Did you? Probably not. Read this instead. Computer game entreprenuers claim by Steve Gaynor and Chris Remo Duke Nukem copyright Countdown to Tears (A history of tears?) infringement Evolving Game Design: Today and Tomorrow, Eastern and Western Game Design by Chris Remo Two founders of long-defunct Goichi Suda a.k.a. SUDA51 Fumito Ueda British computer game developer Notable Industry Figure Skewered in Print Crumpetsoft Disk Systems have Emil Pagliarulo Mark MacDonald sued 3D Realms, claiming the lat- ter's hit game series Duke Nukem Wednesday, 10:30am - 11:30am infringes copyright of Crumpetsoft's Room 132, North Hall vintage game character, The Duke of industry session deemed completely unnewswor- Newcolmbe. Overview: What are the most impor- The character's first adventure, tant recent trends in modern game Yuan-Hao Chiang The Duke of Newcolmbe Finds Himself design? Where are games headed in the thy, insightful next few years? Drawing on their own in a Bit of a Spot, was the Walton-on- experiences as leading names in game the-Naze-based studio's thirty-sev- design, the panel will discuss their an- enth game title. Released in 1986 for swers to these questions, and how they the Amstrad CPC 6128, it features see them affecting the industry both in Japan and the West. -
Major Developments in the Evolution of Tabletop Game Design
Major Developments in the Evolution of Tabletop Game Design Frederick Reiber Donald Bren School of Information and Computer Sciences University of California Irvine Irvine, USA [email protected] Abstract—Tabletop game design is very much an incremental these same concepts can and have been used in video game art. Designers build upon the ideas of previous games, often design. improving and combining already defined game mechanics. In Although some of these breakthroughs might be already this work, we look at a collection of the most impactful tabletop game designs, or games that have caused a significant shift in known by long time game designers, it is important to formally the tabletop game design space. This work seeks to record those document these developments. By doing so, we can not only shifts, and does so with the aid of empirical analysis. For each bridge the gap between experienced and novice game design- game, a brief description of the game’s history and mechanics ers, but we can also begin to facilitate scholarly discussion on is given, followed by a discussion on its impact within tabletop the evolution of games. Furthermore, this research is of interest game design. to those within the tabletop game industry as it provides Index Terms—Game Design, Mechanics, Impact. analysis on major developments in the field. It is also our belief that this work can be useful to academics, specifically I. INTRODUCTION those in the fields of game design, game analytics, and game There are many elements that go into creating a successful generation AI. tabletop game. -
Art Games Applied to Disability
Figure 1. Thatgamecompany. PlayStation 3. (2009), Flower. Figure 2. Thatgamecompany. PlayStation 4. (2013), Flow. Esther Guanche Dorta. Phd student. [email protected] Ana Marqués Ibáñez. Teacher. [email protected] Department of Didactics of Plastic Expression. Faculty of Education. University of La Laguna. Tenerife. Art Games applied to disability. Figure 3. Thatgamecompany. PlayStation 3. (2012), Journey. THEME 4 – Technology – S3 DT Art Games, Disabilities, Design, Videogames, Inclusive education. Art Games applied to disability. Videogames are an emerging medium which represent a new form of artistic design, creating another means of expression for artists as well as different educational context adapted to people with dissabilities. Abstract This is a study of several examples of artistic videogames which can be 1. Art Games and Indie Games Concept The MOMA2 arranged an exhibition on the 50 years of videogame history, made a used to improve the quality of life of persons with impairment, for those review about the design and has added the most significant games to its permanent with specific or general motoric disabilities and mental disabilities in Art Game is an art object associated to the new interactive communications media exhibition, such as those of the Johnson Gallery with 14 videogames, which have order to bring them closer to art and design studies. As well as to develop new approaches in order to include this medium in artistic and a subgenre of the so-called serious videogames. The term was first used in been increased to around fifty. productions, study the impact of these images in Visual Culture and its academic circles in 2002, and referred to a videogame designed to boost artistic and construction by designing. -
Game Narrative Review
Game Narrative Review ==================== Your name (one name, please): Glenn Winters Your school: Drexel University Your email: [email protected] Month/Year you submitted this review: January 2013 ==================== Game Title: Journey Platform: Playstation 3 Genre: Adventure Release Date: March 13 2012 Developer: ThatGameCompany Publisher: Sony Computer Entertainment Game Writer/Creative Director/Narrative Designer: Director - Jenova Chen, Robin Hunicke - Producer, Nicholas Clark - Designer, Bryan Singh - Designer, Chris Bell - Designer Overview Janet Murray states, “journey stories emphasize navigation -- the transitions between different places, the arrivals and departures -- and the how to’s of the hero’s repeated escapes from danger [4].” At its core, the game Journey encompasses this sense of transitioning and the player character’s rite of passage. It is essentially a “hero’s journey” described in Joseph Cambell’s “The Hero with a Thousand Faces.” In Journey you play as a red robed character whom is often referred to as “the traveler.” The game's narrative revolves around the player’s exploration of the eight different levels as you unravel the history of a once thriving civilization. You collect energy by freeing several “scarf like creatures” that are trapped throughout the world. In this process, the player is challenged by environment driven puzzles and guardians of the past who actively try to capture her energy source before reaching her destination. Different from many other computer games, Journey provides no textual description of the story or dialogues. Thus to convey the story, it relies heavily on visuals and interactions with the environment. In other words, the environment and the resulting visual narrative are crucial narrative elements in addition to the more common storytelling components in the game. -
How to Know If It Is Art ? the Case of Video Games
How to know if it is art ? / P Krajewski – Juin 2018 How to know if it is art ? The case of video games Pascal Krajewski Context : Proposal for : Pascal Krajewski et Jorge Martins Rosa, Convocarte N°6-7: Ars Ludens, l'art, le jeu et le ludique, 1st trimester 2019. Index Table of contents: Prolegomena to the question Enrolment in an institutional artistic context Analogy with reputed concomitant arts Integration into an extended fine arts system Identification of universal art markers Election of (Ur) masterpieces Highlighting art compatible principles Conclusion: “to do as if” 1 / 17 How to know if it is art ? / P Krajewski – Juin 2018 How to know if it is art ? The case of video games What good would it be to demonstrate that video game is an art ? Or is not ? Why trying to link it to a discipline is not even eyeing ? Do we wonder if sport is art ? No, sport is sport, and that sounds OK to anyone. Yet, even sport do use occasionally some artistic terms : this player is an artist; that gesture was almost art; such game will stay as a masterpiece of great game; such a sport, played at this level of skills, is reaching art (fencing, skying); and eventually some sports do deserve the adjective of “artistic” since they aim at the beauty of a sequence and not the efficiency of a gesture (figure skating, synchronized swimming). Sport could – by chance, temporarily or specifically – produce “artistic” results, when they prove a perfect mastery allied to a gracious beauty. And even then, they remain sports, because, by vocation, they don't aim at being art. -
The Image of the Turk in Early Modern Board Games and Playing Cards
THE IMAGE OF THE TURK IN EARLY MODERN BOARD GAMES AND PLAYING CARDS ÖMER FATİH PARLAK PHD THESIS Directed by DR. MARÍA JOSÉ VEGA RAMOS and DR. LARA VILÀ TOMAS Literary Theory and Comparative Literature Department of Spanish Literature Faculty of PhiLosophy and Arts BarceLona 2019 In memory of my father, Adem Parlak (1949-2014) TABLE OF CONTENTS TABLE OF CONTENTS .................................................................................................... 5 TABLE OF FIGURES ........................................................................................................ 8 LIST OF TABLES ............................................................................................................... 9 ABSTRACT ....................................................................................................................... 10 RESUMEN ......................................................................................................................... 11 ACKNOWLEDGEMENTS .............................................................................................. 12 INTRODUCTION ............................................................................................................. 15 GAMES INDEX ................................................................................................................... 23 Germany ...................................................................................................................... 23 Italy ............................................................................................................................. -
From Synthespian to Convergence Character: Reframing the Digital Human in Contemporary Hollywood Cinema by Jessica L. Aldred
From Synthespian to Convergence Character: Reframing the Digital Human in Contemporary Hollywood Cinema by Jessica L. Aldred A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2012 Jessica L. Aldred Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du 1+1 Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-94206-2 Our file Notre reference ISBN: 978-0-494-94206-2 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Video Games As Free Speech
The University of Maine DigitalCommons@UMaine Honors College 5-2014 Video Games as Free Speech Benjamin Cirrinone University of Maine - Main Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Political Theory Commons Recommended Citation Cirrinone, Benjamin, "Video Games as Free Speech" (2014). Honors College. 162. https://digitalcommons.library.umaine.edu/honors/162 This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. VIDEO GAMES AS FREE SPEECH by Benjamin S. Cirrinone A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Political Science) The Honors College University of Maine May 2014 Advisory Committee: James E.Gallagher, Associate Professor of Sociology Emeritus & Honors Faculty Mark D. Brewer, Associate Professor of Political Science Richard J. Powell, Associate Professor, Department of Political Science/Leadership Studies Sol Goldman, Adjunct Assistant Professor of Political Science Mark Haggerty, Rezendes Professor for Civic Engagement, Honors College Copyright © 2014 Benjamin Cirrinone All rights reserved. This work shall not be reproduced in any form, except for the inclusion of brief quotations in review, without permission in written form from the author. Abstract The prevalence of video game violence remains a concern for members of the mass media as well as political actors, especially in light of recent shootings. However, many individuals who criticize the industry for influencing real-world violence have not played games extensively nor are they aware of the gaming community as a whole. -
Developing an Instructional Video Series Teaching Tabletop Games
Brigham Young University BYU ScholarsArchive Instructional Psychology and Technology Graduate Student Projects Instructional Psychology and Technology 2020-04-02 Developing an Instructional Video Series Teaching Tabletop Games Sam Jackson [email protected] Follow this and additional works at: https://scholarsarchive.byu.edu/ipt_projects BYU ScholarsArchive Citation Jackson, S. (2020). Developing an Instructional Video Series Teaching Tabletop Games. Unpublished masters project manuscript, Department of Instructional Psychology and Technology, Brigham Young University, Provo, Utah. Retrieved from https://scholarsarchive.byu.edu/ipt_projects/30 This Design/Development Project is brought to you for free and open access by the Instructional Psychology and Technology at BYU ScholarsArchive. It has been accepted for inclusion in Instructional Psychology and Technology Graduate Student Projects by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. 1 Developing an Instructional Video Series Teaching Tabletop Games Sam Jackson Design & Development Project Report Instructional Psychology & Technology, Brigham Young University 2 Table of Contents Title Page ....................................................................................................................................... 1 Table of Contents .......................................................................................................................... 2 List of Figures ............................................................................................................................... -
Press Start: Video Games and Art
Press Start: Video Games and Art BY ERIN GAVIN Throughout the history of art, there have been many times when a new artistic medium has struggled to be recognized as an art form. Media such as photography, not considered an art until almost one hundred years after its creation, were eventually accepted into the art world. In the past forty years, a new medium has been introduced and is increasingly becoming more integrated into the arts. Video games, and their rapid development, provide new opportunities for artists to convey a message, immersing the player in their work. However, video games still struggle to be recognized as an art form, and there is much debate as to whether or not they should be. Before I address the influences of video games on the art world, I would like to pose one question: What is art? One definition of art is: “the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.”1 If this definition were the only criteria, then video games certainly fall under the category. It is not so simple, however. In modern times, the definition has become hazy. Many of today’s popular video games are most definitely not artistic, just as not every painting in existence is considered successful. Certain games are held at a higher regard than others. There is also the problem of whom and what defines works as art. Many gamers consider certain games as works of art while the average person might not believe so. -
Orcacon-2019-Program-Web.Pdf
WELCOME TO ORCACON 2019 Greetings, OrcaFriends! Wow, it’s already time for OrcaCon again; it seems like just last week we were here playing games and eating delicious food truck noms. We welcome back everyone who’s been with us from the beginning, and offer a joyous hello to all of you who are new to our wee convention. OrcaCon was founded by a group of friends with an idea of a modest friendly convention, focused on being a welcoming and safe space for folks of all ages to play games. We decided early on to focus on bringing diversity, inclusion, and accessibility to tabletop games, and highlighting many marginalized creators who feel left out of other tabletop spaces. For year four, we’re focusing on LGBTQIA+ creators, artists, designers, and more. Be sure to attend their panels and play their games during your weekend. We’re extremely excited to present an amazing guest list, and hope you’ll get a chance to play games with them or have a wee chat. They’ve submitted some great games and panels, so be sure to drop by and see that they’re doing. It’s great to support marginalized creators! We are extremely happy to be back here at the Bellevue Hilton. They’ve been so kind to allow us free parking and to bring in food trucks. They’ve been a delight to work with so be sure to say thanks when you interact with them! Speaking of new things for 2019, we’re also excited about some new Sponsors and groups. -
“Putting Our Hearts Into It”
CHAPTER 2. “PUTTING OUR HEARTS INTO IT” Gaming’s Many Social Justice Warriors and the Quest for Accessible Games BY LISA NAKAMURA Griefing, the purposeful use of digital affordances to destroy another user’s pleasure or freedom of movement, is a perennial practice, and women, people of color, and sexual minorities are targeted more than others (Gray, 2012; Nakamura, 2009, 2011, and 2012). This is true of the Internet, in general. Citing a recent study, Hudson writes, In a 2013 Pew Research survey, 23 percent of people ages 18 to 29 reported being stalked or harassed online; advocacy groups report that around 70 percent of the cases they deal with involve female victims, and one study of online gaming found players with female voices received three times as many negative responses as men. (2014) GamerGate, the coordinated social media harassment of female developers and social justice game developers like Zoe Quinn and Brianna Wu, as well as feminist critic Anita Sarkeesian is part of a much longer history of sexual harassment of women in gaming. Its eruption into the news in 2014 only made this glaringly visible to the non-gamer world. Death threats, along with other abusive and misogynistic comments coordinated by users who gathered on Twitter and other social media using the #GamerGate hashtag effectively griefed these women in their personal and public lives, making it impossible for them to continue to work and even to move freely. These GamerGate targets and their defenders on social media were derisively labeled “social justice warriors,” or “SJW’s” because they publicly claimed the identity of “feminist” and asserted the need for more diverse games and game cultures.