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COMPARATIVE VIDEOGAME CRITICISM by Trung Nguyen
COMPARATIVE VIDEOGAME CRITICISM by Trung Nguyen Citation Bogost, Ian. Unit Operations: An Approach to Videogame Criticism. Cambridge, MA: MIT, 2006. Keywords: Mythical and scientific modes of thought (bricoleur vs. engineer), bricolage, cyber texts, ergodic literature, Unit operations. Games: Zork I. Argument & Perspective Ian Bogost’s “unit operations” that he mentions in the title is a method of analyzing and explaining not only video games, but work of any medium where works should be seen “as a configurative system, an arrangement of discrete, interlocking units of expressive meaning.” (Bogost x) Similarly, in this chapter, he more specifically argues that as opposed to seeing video games as hard pieces of technology to be poked and prodded within criticism, they should be seen in a more abstract manner. He states that “instead of focusing on how games work, I suggest that we turn to what they do— how they inform, change, or otherwise participate in human activity…” (Bogost 53) This comparative video game criticism is not about invalidating more concrete observances of video games, such as how they work, but weaving them into a more intuitive discussion that explores the true nature of video games. II. Ideas Unit Operations: Like I mentioned in the first section, this is a different way of approaching mediums such as poetry, literature, or videogames where works are a system of many parts rather than an overarching, singular, structured piece. Engineer vs. Bricoleur metaphor: Bogost uses this metaphor to compare the fundamentalist view of video game critique to his proposed view, saying that the “bricoleur is a skillful handy-man, a jack-of-all-trades who uses convenient implements and ad hoc strategies to achieve his ends.” Whereas the engineer is a “scientific thinker who strives to construct holistic, totalizing systems from the top down…” (Bogost 49) One being more abstract and the other set and defined. -
2K Games and Irrational Games Announce Bioshock(R) Infinite
2K Games and Irrational Games Announce BioShock(R) Infinite August 12, 2010 2:01 PM ET Creators of original BioShock(R) look to the sky in the next chapter of the award-winning franchise NEW YORK, Aug 12, 2010 (BUSINESS WIRE) -- 2K Games announced today that BioShock(R) Infinite, a first-person shooter, is currently in development at Irrational Games, the studio behind the original BioShock(R) which has sold over 4 million units worldwide. Set in 1912, BioShock Infinite introduces an entirely new narrative experience that lifts players out of the familiar confines of Rapture and rockets them to Columbia, an immense city in the sky. BioShock Infinite is currently planned for release during calendar 2012. Originally conceived as a floating symbol of American ideals at a time when the United States was emerging as a world power, Columbia is dispatched to distant shores with great fanfare by a captivated public. What begins as a brand new endeavor of hope turns drastically wrong as the city soon disappears into the clouds to whereabouts unknown. The player assumes the role of former Pinkerton agent Booker DeWitt, sent to the lost city to rescue Elizabeth, a young woman imprisoned there since childhood. He develops a relationship with Elizabeth, augmenting his abilities with hers so the pair may escape from a city that is literally falling from the sky. DeWitt must learn to fight foes in high-speed Sky-Line battles, engage in combat both indoors and amongst the clouds, and harness the power of dozens of new weapons and abilities. "We are excited to expand the world of BioShock, which is one of the industry's most critically acclaimed and beloved franchises," said Christoph Hartmann, president of 2K. -
The Case for Game Design Patterns
Gamasutra - Features - "A Case For Game Design Patterns" [03.13.02] 10/13/02 10:51 AM Gama Network Presents: The Case For Game Design Patterns By Bernd Kreimeier Gamasutra March 13, 2002 URL: http://www.gamasutra.com/features/20020313/kreimeier_01.htm Game design, like any other profession, requires a formal means to document, discuss, and plan. Over the past decades, the designer community could refer to a steadily growing body of past computer games for ideas and inspiration. Knowledge was also extracted from the analysis of board games and other classical games, and from the rigorous formal analysis found in mathematical game theory. However, while knowledge about computer games has grown rapidly, little progress has made to document our individual experiences and knowledge - documentation that is mandatory if the game design profession is to advance. Game design needs a shared vocabulary to name the objects and structures we are creating and shaping, and a set of rules to express how these building blocks fit together. This article proposes to adopt a pattern formalism for game design, based on the work of Christopher Alexander. Alexandrian patterns are simple collections of reusable solutions to solve recurring problems. Doug Church's "Formal Abstract Design Tools" [11] or Hal Barwood's "400 Design Rules" [6,7,18] have the same objective: to establish a formal means of describing, sharing and expanding knowledge about game design. From the very first interactive computer games, game designers have worked around this deficiency by relying on techniques and tools borrowed from other, older media -- predominantly tools for describing narrative media like cinematography, scriptwriting and storytelling. -
Deus Ex (2000) by Ion Storm Inc
A zeitgeist game is reflective of its corresponding social climate. Titles that gain zeitgeist status have in some way challenged the norms of their associated era and revolutionised a pre-established genre by bending traditional conventions. Thus, zeitgeist titles are also timeless. They transcend time, remaining popular and famous due to the societal standpoints they raise and the impact their innovation has on the wider gaming communities and markets. Sci-Fi cyberpunk FPS/RPG Deus Ex (2000) by Ion Storm Inc. is an example of one such title that has built upon its sociological, artistic and technical influences to create a game that resonates innovation through its unique application of emergent gameplay; driven by character interaction and choice. Through analysis of these three fundamental influences in relation to the unique emergent gameplay construction of Deus Ex and correspondingly by comparing the game with its peers gives insight into how this game achieved zeitgeist status. Deus Ex was not the first game to challenge the norm by hybridising FPS/RPG genres. It was inspired by the gameplay of previous FPS/RPG 90’s games Ultima Underworld (1992) and System Shock (1994) by Looking Glass. (Spector, 2000). However, Spector also states he wanted to build upon the foundation laid by these games. He goes on to say his influence for the setting of the game came from his research into millennial conspiracies and his wife’s obsession with the X-Files. (2000). The game world of Deus Ex acts as a basis for the innovative success of its emergent gameplay. Without a lively game world gameplay choices would feel uninspiring. -
Abstract the Goal of This Project Is Primarily to Establish a Collection of Video Games Developed by Companies Based Here In
Abstract The goal of this project is primarily to establish a collection of video games developed by companies based here in Massachusetts. In preparation for a proposal to the companies, information was collected from each company concerning how, when, where, and why they were founded. A proposal was then written and submitted to each company requesting copies of their games. With this special collection, both students and staff will be able to use them as tools for the IMGD program. 1 Introduction WPI has established relationships with Massachusetts game companies since the Interactive Media and Game Development (IMGD) program’s beginning in 2005. With the growing popularity of game development, and the ever increasing numbers of companies, it is difficult to establish and maintain solid relationships for each and every company. As part of this project, new relationships will be founded with a number of greater-Boston area companies in order to establish a repository of local video games. This project will not only bolster any previous relationships with companies, but establish new ones as well. With these donated materials, a special collection will be established at the WPI Library, and will include a number of retail video games. This collection should inspire more people to be interested in the IMGD program here at WPI. Knowing that there are many opportunities locally for graduates is an important part of deciding one’s major. I knew I wanted to do something with the library for this IQP, but I was not sure exactly what I wanted when I first went to establish a project. -
Thiefds Pc Man Fre 18/5/04 3:18 Pm Page 2
ThiefDS_pc_man_fre 18/5/04 3:18 pm Page 2 2 ThiefDS_pc_man_fre 18/5/04 3:18 pm Page 3 Sommaire Démarrage........................................................................4 Lancer Dark Project : Deadly Shadows..............................5 Commandes .....................................................................6 L'histoire...........................................................................8 Ecrans de jeu ....................................................................9 Gérer vos parties ............................................................10 Jouer à Dark Project : Deadly Shadows ...........................11 Utiliser l'ATH...................................................................11 Se déplacer.....................................................................12 Regarder alentour ...........................................................13 Utiliser les armes et les objets ........................................13 Décocher des flèches et lancer des projectiles ................14 Se battre et mourir..........................................................15 Crocheter des serrures ....................................................16 Carte de la Ville ..............................................................17 Trouver et vendre du butin .............................................18 Se faire discret................................................................19 Afficher les objectifs de mission......................................20 Accomplir des missions ..................................................20 -
The Role of Audio for Immersion in Computer Games
CAPTIVATING SOUND THE ROLE OF AUDIO FOR IMMERSION IN COMPUTER GAMES by Sander Huiberts Thesis submitted in fulfilment of the requirements for the degree of PhD at the Utrecht School of the Arts (HKU) Utrecht, The Netherlands and the University of Portsmouth Portsmouth, United Kingdom November 2010 Captivating Sound The role of audio for immersion in computer games © 2002‐2010 S.C. Huiberts Supervisor: Jan IJzermans Director of Studies: Tony Kalus Examiners: Dick Rijken, Dan Pinchbeck 2 Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. 3 Contents Abstract__________________________________________________________________________________________ 6 Preface___________________________________________________________________________________________ 7 1. Introduction __________________________________________________________________________________ 8 1.1 Motivation and background_____________________________________________________________ 8 1.2 Definition of research area and methodology _______________________________________ 11 Approach_________________________________________________________________________________ 11 Survey methods _________________________________________________________________________ 12 2. Game audio: the IEZA model ______________________________________________________________ 14 2.1 Understanding the structure -
Bioshock® Infinite: Burial at Sea – Episode Two Available for Download Starting Today
BioShock® Infinite: Burial at Sea – Episode Two Available for Download Starting Today March 25, 2014 8:00 AM ET Irrational Games delivers its final episode and concludes the story of BioShock Infinite and Burial at Sea NEW YORK--(BUSINESS WIRE)--Mar. 25, 2014-- 2K and Irrational Games announced today that BioShock® Infinite: Burial at Sea – Episode Two is downloadable* in all available territories** on the PlayStation®3 computer entertainment system, Xbox 360 games and entertainment system from Microsoft and Windows PC starting today. BioShock Infinite: Burial at Sea – Episode Two, developed from the ground up by Irrational Games, is the final content pack for the award-winning BioShock Infinite, and features Elizabeth in a film noir-style story that provides players with a different perspective on the BioShock universe. “I think the work the team did on this final chapter speaks for itself,” said Ken Levine, creative director of Irrational Games. “We built something that is larger in scope and length, and at the same time put the player in Elizabeth’s shoes. This required overhauling the experience to make the player see the world and approach problems as Elizabeth would: leveraging stealth, mechanical insight, new weapons and tactics. The inclusion of a separate 1998 Mode demands the player complete the experience without any lethal action. BioShock fans are going to plotz.” *BioShock Infinite is not included in this add-on content, but is required to play all of the included content. **BioShock Infinite: Burial at Sea – Episode Two will be available in Japan later this year. About BioShock Infinite From the creators of the highest-rated first-person shooter of all time***, BioShock, BioShock Infinite puts players in the shoes of U.S. -
Magic and Spells
ARX_HB_US/UK.qxd 24.09.2002 15:55 Uhr Seite 1 ARX_HB_US/UK.qxd 24.09.2002 15:55 Uhr Seite 2 Health Warnings JoWooD Productions Software AG Technologiepark 4a Some people experience epileptic seizures when viewing flashing lights or patterns. These persons may experience epileptic seizures while watching TV or playing A-8786 Rottenmann computer games. Even players who have never had seizures before may nonetheless have an undetected epileptic condition. If you, or anyone in your family, has an epileptic condition, please consult a doctor before playing computer games. Immediately stop the game and consult a doctor if you experience any of the following symptoms during play: Dizziness, altered vision, eye or muscle twitching, mental confusion, loss of awareness of your surroundings, involuntary movement www.jowood.com and/or convulsions. www.arxfatalis-online.com © 2002 by Arkane Studios, published by JoWooD Productions Software AG, Technologiepark 4a, A-8786 Rottenmann, Austria, All rights reserved. Technical Support and Customer Service Having trouble installing the software, or are you stuck in the game? Contact the JoWooD Productions Software AG hotline: [email protected] All rights reserved. Software, graphics, music, text, names and manual are protected by copyright. No part of the software or manual may be reproduced, disseminated, published or transferred, in any form or by any means, except with the prior written permission of JoWooD Productions Software AG. Most of the hard- and software names used in this manual are registered trademarks and must be treated as such. 2 3 ARX_HB_US/UK.qxd 24.09.2002 15:55 Uhr Seite 4 Installation and System Requirements Table of Contents Installation On Windows 9x/2000/ME and XP, the 1. -
Not of Woman Born: Monstrous Interfaces and Monstrosity in Video Games
NOT OF WOMAN BORN: MONSTROUS INTERFACES AND MONSTROSITY IN VIDEO GAMES By LAURIE N. TAYLOR A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2006 Copyright 2006 by Laurie N. Taylor To Pete. ACKNOWLEDGMENTS I have many people to thank for this dissertation: my friends, family, and teachers. I would also like to thank the University of Florida for encouraging the study of popular media, with a high level of critical theory and competence. This dissertation also would not have been possible without the diligent help and guidance from my committee members, Donald Ault and Jane Douglas, as well as numerous other faculty members and graduate students both at the University of Florida and at other institutions. Thanks go to friends and loved ones (and cats): Colin, Jeremiah, Nix, Galahad, and Mila. And, thanks go always to Pete, for helping with research, discussion, giving me love and support, and for being wonderful. iv TABLE OF CONTENTS Page ACKNOWLEDGMENTS ..............................................................................................iv ABSTRACT.................................................................................................................viii CHAPTER 1 INTRODUCTION....................................................................................................1 Introduction..............................................................................................................1 -
Interview with Warren Spector
Interview with Warren Spector Conducted by Carl Therrien Carl Therrien: In 2007, the Library of Congress made a significant move to integrate video games in their collection. Through a project set forth by Henry Lowood, ten video games were selected to be part of the “game canon.” New games are now added to the collection more systematically; game publishers have to give a copy of the game to the Library of Congress to complete the copyright process. If you had to go through this type of process, what selection criteria would you push forward? Is there a place for underdogs and lesser-known games in such a process? Warren Spector: I’m thrilled that the institution is taking an interest in videogames. In the long run, I think everyone, both in the industry and at the Library itself, will see the importance of this recognition. Having said that, if I were on the committee, the first thing I’d push for is a very clear definition of what the Library hoped to achieve with the growing collection. The list of games you select would vary greatly depending on the definition you select. To get an idea what I’m talking about, play the “desert island” game. You’re stuck on a desert island and can only take ten games with you – what are they? To answer the question, you have to decide what criteria you want to use. _____________________________________________________________ Kinephanos, ISSN 1916-985X History of Games International Conference Proceedings, January 2014, www.kinephanos.ca Interview with Warren Spector ▶ Do you take your ten favourite -
The Dark Project
Game Narrative Review ==================== Your name: Michel Sabbagh Your school: Worcester Polytechnic Institute Your email: [email protected] Month/Year you submitted this review: December 2016 ==================== Game Title: Thief: The Dark Project Platform: Microsoft Windows Genre: First-person stealth game Release Date: November 30, 1998 Developer: Looking Glass Studios Publisher: Eidos Interactive Writer/Project Leader/Lead Designer: Ken Levine/Greg LoPiccolo/Tim Stellmach Overview Set in a steampunk metropolis dubbed “the City,” Thief: The Dark Project puts players in the shoes of Garrett, a witty and highly disciplined master thief. After proving his abilities by stealing priceless artifacts and escaping an assassination attempt by a crime lord, Garrett is offered a fortune to retrieve a mysterious artifact known as the Eye. As he gathers the talismans necessary to access the haunted cathedral harboring this mystical relic, Garrett becomes embroiled in a conflict between the City’s two major warring factions, the technocratic Order of the Hammer and the nature-worshipping Pagans. Characters • Garrett “I guess if you’re rich enough you can build any sort of madhouse to live in.” Garrett is a sarcastic kleptomaniac whose only wish in life is to steal in peace. He spent his orphaned youth on the City’s streets surviving as a pickpocket so he could “keep his ribs from meeting his spine.” Garrett was taken in by the Keepers, a secret organization devoted to preserving balance in the City, after impressing one of their agents by attempting to rob him. He was trained in the arts of stealth and subterfuge as he grew up, but found it more enticing to make use of these skills as an independent thief than to remain with the Keepers.