Limitations in Early Video Game Music and Their Aesthetic Impact Think
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Thegamersquarter1.Pdf
Table of Contents Staff Page 2 Not a Review of Metal Gear Solid 3 Pages 3 - 8 On Metal Gear Solid 3: Snake Eater Rolling Up Kommunism Pages 9-13 On Katamari Damashi A Subtle Shift Pages 14-19 On Resident Evil 4 Ottsel Propaganda Pages 20 - 22 On Jak 3 Starting from Scratch Pages 23 - 25 Or, How I Learned to Stop Worrying and Embrace Game Death A Room With a Hell of a View Pages 26 - 32 On Silent Hill 4 Warrior Withheld Pages 33 - 36 On Prince of Persia Warrior Within S2 anamoly discrimination force Pages 37 - 42 Games are visceral - read manga To The End of Time Pages 43 - 47 On Chrono Trigger Untold Tales of The Arcade Pages 48 - 52 An Inquiry Into Old, Obscure and Good Arcade Games The Curse of: “Warning Forever” Pages 53 - 54 On the freeware game Warning Forever Dissecting a Hedgehog Pages 55 - 68 An In-depth Analysis of Sonic the Hedgehog Doki Doki Idol Star Seeker Pages 69 - 82 Treatise, Translation and Advanced Strategy for the import Dreamcast game San Andreas Days Pages 83 - 88 120 Days in Compton: Grand Theft Auto Table of Contents 1 Editor’s Desk - March 15th, 2005 Staff Credits Putting this magazine together has been quite an in- Editor In Chief: teresting trip since its inception on October 10th of last Matthew “ShaperMC” Williamson year. I originally wanted to get this first issue out on Jan- uary 15th, but as the New Year rolled around it became Managing Editor: clear that it wasn’t going to happen. -
Show Title the Sentinel's Marvellous Kaleidoscope Show Start 15
The Sentinel's Marvellous Show Title Kaleidoscope Show Start 15:00 Broadcast Date Requirements Status Programmer Nicholas Cooper Show End 17:00 Weekday Monday Cancon 35% 9.09% -25.91% progressive music, fusion Brent O'Toole Description Show Category 21 Guests in Studio New 20% 0.00% -20.00% music, alternative music Hit < 10 Entries: 36 Music 22 CLICK HERE FOR LOG NUMBER KEY 9.09% 0.00% 0.00% 81.82% Log# Start Time End Time Artist / Talk Album / source Label (If New) Song / Language CANCON New Hit Instrumental 44 03:02 03:03 Show Intro 34 Kristofer Maddigan Cuphead - Original Soundtrack - - - Sugarland Shimmy 12 03:06 03:11 Talk 21 Kelly Bailey Half Life 2: Episode 2 OST - - - Sector Sweep Click Clock Wood 21 Grant Kirkhope Banjo-Kazooie: The Soundtrack - - - (Spring) Pokemon Red & Pokemon Blue Super 21 Junichi Masuda Music Collection - - - Battle! (Trainer Battle) 12 03:22 03:27 Talk Keigo Hoashi, Keiichi Amusement Park [Emi Okabe, Kuniyuki Evans' Chaos 21 Takahashi NieR: Automata Original Soundtrack - - - Language] 43 03:33 03:33 Station ID Keiichi Suzuki, Hirokazu 21 Tanaka Earthbound OST - - - Sanctuary Guardian 12 03:35 03:37 Talk Jake Kaufman, Manami An Underlying 21 Matsumae Shovel Knight - - - Problem The Original Donkey Kong Country 2 Stickerbrush 21 David Wise Soundtrack - - - Symphony Kenji Tamamoto, Metroid Prime and Fusion Original 21 Kouichi Kyuma Soundtrack - - - Tallon Overworld 12 03:48 03:54 Talk Katamari on the Rocks 21 Yuu Miyake Katamari Damacy OST - - - [Japanese] 12 03:58 04:02 PSA/PROMO/AD 43 04:02 04:02 Station -
708 Game List (Vertical Monitor)
708 Game List (Vertical Monitor) - 1. 10-Yard Fight (Japan) 2. 1941: Counter Attack (World 900227) 3. 1942 (set 1) 4. 1943 Kai: Midway Kaisen (Japan) 5. 1943: The Battle of Midway (US) 6. 1945k III 7. 19XX: The War Against Destiny (USA 951207) 8. 4 Fun in 1 9. 4 Player Bowling Alley 10. 600 11. '99: The Last War 12. Abscam 13. Action Fighter 14. Aero Fighters 15. Agent Super Bond (Super Cobra conversion) 16. Air Gallet 17. Ali Baba and 40 Thieves 18. All American Football (rev D 19. Alley Master 20. Alpha Mission 21. Alpine Ski (set 1) 22. American Horseshoes (US) 23. Amidar 24. Angel Kids (Japan) 25. Anteater 26. APB - All Points Bulletin (rev 7) 27. Apocaljpse Now 28. Arabian 29. Arbalester 30. Argus 31. Arkanoid - Revenge of DOH (World) 32. Arkanoid (World) 33. Armed Formation 34. Armored Car (set 1) 35. ASO - Armored Scrum Object 36. Assault 37. Astro Blaster (version 3) 38. Astro Invader 39. Atari Mini Golf (prototype) 40. Avengers (US set 1) 41. Azurian Attack 42. Bagman 43. Balloon Bomber 44. Baluba-louk no Densetsu 45. Bandido 46. Batsugun (set 1) 47. Battlantis 48. Battle Cruiser M-12 49. Battle Field (Japan) 50. Battle Lane! Vol. 5 (set 1) 51. Battle of Atlantis (set 1) 52. Battle Wings 53. Beastie Feastie 54. Bee Storm - DoDonPachi II (V102 55. Beezer (set 1) 56. Bermuda Triangle (Japan) 57. Big Event Golf 58. Big Kong 59. Bio Attack 60. Birdie King 2 61. Birdie King 3 62. Birdie King 63. Birdie Try (Japan) 64. -
Art Styles in Computer Games and the Default Bias
University of Huddersfield Repository Jarvis, Nathan Photorealism versus Non-Photorealism: Art styles in computer games and the default bias. Original Citation Jarvis, Nathan (2013) Photorealism versus Non-Photorealism: Art styles in computer games and the default bias. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/19756/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ THE UNIVERSITY OF HUDDERSFIELD Photorealism versus Non-Photorealism: Art styles in computer games and the default bias. Master of Research (MRes) Thesis Nathan Jarvis - U0859020010 18/09/2013 Supervisor: Daryl Marples Co-Supervisor: Duke Gledhill 1.0.0 – Contents. 1.0.0 – CONTENTS. 1 2.0.0 – ABSTRACT. 4 2.1.0 – LITERATURE REVIEW. 4 2.2.0 – SUMMARY OF CHANGES (SEPTEMBER 2013). -
Mario's Legacy and Sonic's Heritage: Replays and Refunds of Console Gaming History
Mario’s legacy and Sonic’s heritage: Replays and refunds of console gaming history Jaakko Suominen University of Turku / Digital Culture P.O. Box 124 28101 Pori +35823338100 jaakko.suominen at utu.fi ABSTRACT In this paper, I study how three major videogame device manufacturers, Microsoft, Sony and Nintendo use gaming history within their popular console products, Microsoft Xbox 360, Sony PS 3 and Nintendo Wii. These enterprises do not only market new game applications and devices but also recycle classic game themes, game characters as well as classic games themselves. Therefore, these corporations are a part of the phenomenon which can be called retrogaming culture or digital retro economy. The paper introduces the different ways in which the corporations began to use history and how they constructed their digital game market strategies to be compatible with the current retrogaming trend. In addition, the paper introduces a model for different phases of uses of history. The paper is empirically based on literary reviews, recreational computing magazine articles, company websites and other online sources and participatory observation of retrogaming applications and product analyses. Sociological and cultural studies on nostalgia as well as history culture form the theoretical framework of the study. Keywords retrogaming, classic games, history management, uses of history, consoles INTRODUCTION When a game company utilizes its older products to make a new application, when the same company mentions the year it was established in a job advertisement or when it celebrates a game figure’s 20-year anniversary, the company uses history. The use of history can be a discursive act, which underlines continuity and in so doing, for example, the trustworthiness and stability of the firm. -
In This Day of 3D Graphics, What Lets a Game Like ADOM Not Only Survive
Ross Hensley STS 145 Case Study 3-18-02 Ancient Domains of Mystery and Rougelike Games The epic quest begins in the city of Terinyo. A Quake 3 deathmatch might begin with a player materializing in a complex, graphically intense 3D environment, grabbing a few powerups and weapons, and fragging another player with a shotgun. Instantly blown up by a rocket launcher, he quickly respawns. Elapsed time: 30 seconds. By contrast, a player’s first foray into the ASCII-illustrated world of Ancient Domains of Mystery (ADOM) would last a bit longer—but probably not by very much. After a complex process of character creation, the intrepid adventurer hesitantly ventures into a dark cave—only to walk into a fireball trap, killing her. But a perished ADOM character, represented by an “@” symbol, does not fare as well as one in Quake: Once killed, past saved games are erased. Instead, she joins what is no doubt a rapidly growing graveyard of failed characters. In a day when most games feature high-quality 3D graphics, intricate storylines, or both, how do games like ADOM not only survive but thrive, supporting a large and active community of fans? How can a game design seemingly premised on frustrating players through continual failure prove so successful—and so addictive? 2 The Development of the Roguelike Sub-Genre ADOM is a recent—and especially popular—example of a sub-genre of Role Playing Games (RPGs). Games of this sort are typically called “Roguelike,” after the founding game of the sub-genre, Rogue. Inspired by text adventure games like Adventure, two students at UC Santa Cruz, Michael Toy and Glenn Whichman, decided to create a graphical dungeon-delving adventure, using ASCII characters to illustrate the dungeon environments. -
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. -
Use of Progressive Rock in David Wise's Soundtrack for Donkey Kong
Use of Progressive Rock in David Wise’s Soundtrack for Donkey Kong Country and the Advancement of Video Game Music Brooke Spencer Professor Stephanie Lind MUSC501 3 March 2019 Introduction In 1994, Nintendo released the Super Nintendo game: Donkey Kong Country (DKC)– resulting in widespread popularity and new innovative use of music in gameplay. Through the utilization of prog-rock in David Wise’s soundtrack for DKC, Nintendo has expanded its range of musical styles, function, and status as a top contending videogame company. The use of prog-rock can be broken down in David Wise’s three pieces: “Treetop Rock”, “Fear Factory”, and “Aquatic Ambience”. Through elements of prog-rock seen in each of these pieces - harmonic prolongation, fragmentation, distortion, and use of the concept ‘meta- chord’ – we can see that DKC’s music was unlike anything Nintendo had been creating previously, and set expectations for music in videogames to come. History Starting in 1977-78, the video game industry began to rise in popularity through arcades. In the 1960s/1970s when first-generation home consoles were created, sound was not a possibility. It was only when Pong was released on the Atari home console in 1975 that sounds were used deliberately: the game had 3 different sounds coinciding with actions on screen: the ball hitting the wall, the paddle, and a sound for player failure. Most games included sound in future releases to increase profits after Pong’s success.1 By the end of the 70s, arcades were growing in popularity, with Nintendo a primary arcade console producer. -
Ogre Battle Review
Eric Liao STS 145 February 2 1,2001 Ogre Battle Review This review is of the cult Super Nintendo hit Ogre Battle. In my eyes, it achieved cult hit status because of its appeal to hard-core garners as well as its limited release (only 25,000 US copies!), despite being extraordinarily successful in Japan. Its innovative gameplay has not been emulated by any other games to date (besides sequels). As a monument to Ogre Battle’s amazing replayability, I still play the game today on an SNES emulator. General information: Full name: Ogre Battle Saga, Episode 5: The March of the Black Queen Publisher: Atlus Developer: Quest Copyright Date: 1993 Genre: real time strategy with RPG elements Platform: Originally released for SNES, ported to Sega Saturn and Sony Playstation, with sequels for SNES, N64, NeoGeo Pocket Color, Sony Playstation # Players: 1 player game Storyline: This game hasa tremendously deep storyline for a console game, rivaling most RPGs. When I say deep, it is not in the traditional interactive fiction sense. There are no cutscenes in the game, and characters do not talk to each other. Rather, what makes the game deep is not the plot, but the completely branching structure of the plot. The story itself is not extremely original: The gametakes place thousands of years after a huge battle, called “The Ogre Battle,” was fought. This war was between mankind and demonkind, with the winner to rule the world. Mankind won and sealed the demons in the underworld. However, an evil wizard created an artifact called “The Black Diamond” that could destroy this seal. -
Game Narrative Review
Game Narrative Review ==================== Your name: Katie Wood Your school: The Guildhall at Southern Methodist University Your email: [email protected] Month/Year you submitted this review: October 2014 ==================== Game Title: Paper Mario Platform: Nintendo 64 Genre: RPG/Action-Adventure Release Date: February 5, 2001 Developer: Intelligent Systems Publisher: Nintendo Lead Game Writer: George Sinfield Overview Far beyond the clouds, wish-granting stars peacefully reside in the Star Haven sanctuary. With the power of the Star Rod and the seven Star Spirits, the world appears quite tranquil. However, the nefarious Bowser bursts into the sanctuary, claims the rod, and subsequently imprisons the Star Spirits. With his wish for invincibility, the Koopa King lifts Princess Peach’s castle into the sky, taking her and several guests prisoner. As the building rises, Bowser knocks Mario unconscious and tosses him through a nearby window. Upon awakening, Mario assumes the role of hero and embarks on an epic quest across the Mushroom Kingdom to free the seven Star Spirits and defeat Bowser. While traversing various unique environments, the mustachioed plumber encounters colorful, humorous non-playable characters, destroys dastardly villains, and gains unique companions. Characters Mario – Mario is a mustachioed, Italian plumber who lives in a cottage with his younger brother Luigi. After an invitation from Princess Peach, Mario finds himself once again battling Bowser in order to retrieve the unlucky royal. Characterized by his determination, bravery, and kindness, this hero wholeheartedly assists in any pursuit, aiding those he encounters along his journey. Bowser – With an insatiable desire for the Mushroom Kingdom’s female ruler, Bowser enacts a new strategy to accomplish his own evil aspirations. -
Revista Nintendoblast N37.Pdf
EDIÇÃO Nº37 OUT/2012 cc BY NC ND ÍNDICE A volta do camundongo mais querido do mundo! Mickey talvez seja o único personagem mais conhecido mundialmente do que Mario. No entanto, é certo que ele esteve, por muitos anos, longe dos holofotes quando o assunto é videogame. Dando seguimento ao grande trabalho de Epic Mickey (Wii), suas duas continuações prometem reviver os anos dourados do camundongo da Disney com muito estilo no Wii, 3DS e até Wii U. É claro que nós não deixaríamos esse lançamentos tão aguardados passarem sem fazer uma Prévia a cada um, não é? Além das Prévias de Epic Mickey 2: Poder em Dobro e Epic Mickey: Power of Illusion, você ainda confere o Perfil do Mickey, que mostra toda a sua trajetória pelas mais variadas plataformas. Óbvio que não poderíamos falar de Mickey no universo dos games sem citar Castle of Illusion, não é? O clássico para Mega Drive recebeu um glorioso Blast from the Past para fazer qualquer fã morrer de saudade. Além dessas e de muitas outras matérias, trazemos ainda o Especial: 3 anos de Revista Nintendo Blast, afinal, não é todo dia que nossa querida revista assopra velinhas, não é? – Rafael Neves PERFIL ESPECIAL 07 Mickey Mouse 3 Anos de Blast 37 BLAST FROM THE PAST ESPECIAL Castle of Illusion Do Project Café 11 (Mega Drive) para o Wii U 44 PRÉVIA DISCUSSÃO MAIS ONLINE! Epic Mickey: Power O Potencial do 13 of Illusion (3DS) StreetPass PRÉVIA DEVELOPERS Epic Mickey 2: The 17 Power of Two (Wii) Gunpei Yokoi BLAST BATTLE ANÁLISE Paper Mario x Pokémon Black 2 23 Mario & Luigi & White 2 (DS) CHRONICLE MYTHBLASTERS -
From Girlfriend to Gamer: Negotiating Place in the Hardcore/Casual Divide of Online Video Game Communities
FROM GIRLFRIEND TO GAMER: NEGOTIATING PLACE IN THE HARDCORE/CASUAL DIVIDE OF ONLINE VIDEO GAME COMMUNITIES Erica Kubik A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2010 Committee: Radhika Gajjala, Advisor Amy Robinson Graduate Faculty Representative Kristine Blair Donald McQuarie ii ABSTRACT Radhika Gajjala, Advisor The stereotypical video gamer has traditionally been seen as a young, white, male; even though female gamers have also always been part of video game cultures. Recent changes in the landscape of video games, especially game marketers’ increasing interest in expanding the market, have made the subject of women in gaming more noticeable than ever. This dissertation asked how gender, especially females as a troubling demographic marking difference, shaped video game cultures in the recent past. This dissertation focused primarily on cultures found on the Internet as they related to video game consoles as they took shape during the beginning of the seventh generation of consoles, between 2005 and 2009. Using discourse analysis, this dissertation analyzed the ways gendered speech was used by cultural members to define not only the limits and values of a generalizable video game culture, but also to define the idealized gamer. This dissertation found that video game cultures exhibited the same biases against women that many other cyber/digital cultures employed, as evidenced by feminist scholars of technology. Specifically, female gamers were often perceived as less authoritative of technology than male gamers. This was especially true when the concept “hardcore” was employed to describe the ideals of gaming culture.