Journal of Games Is Here to Ask Himself, "What Design-Focused Pre- Hideo Kojima Need an Editor?" Inferiors

Total Page:16

File Type:pdf, Size:1020Kb

Journal of Games Is Here to Ask Himself, 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. its titular protagonist in a sidescroll- ing adventure of derring-do, pitting Eric Zimmerman trying really hard “Creating a session that combines icono- him against a wide array of ruffians, clastic Japanese designers Fumito Ueda GAME DEVELOPERS CONFER bounders, and cads for the glory of (Ico, Shadow of the Colossus) and Goichi the crown. The game was succeeded Suda (Killer7, No More Heroes) and by the release of 1988's somewhat Eric Zimmerman trying too hard accomplished Bethesda writer-designer Moscone Center to host industry notables, others Emil Pagliarulo (The Elder Scrolls IV: less fondly-remembered The Duke Oblivion, Fallout 3) seems inspired. Con- of Newcolmbe Versus the Radio-active sidering the broad spectrum of styles, set- As in many past years, a group of give you unparalleled context and insight sentations might be most worthy of my All these topics and more are cov- Time Mutants. Eric Zimmerman really trying tings, and gameplay exhibited across the video game developers is scheduled into the proceedings. Within these lavish time?" Look no further, sir, than to our ered by our expert columnists and re- Now, computer game entrepre- trio's games, there should be no shortage to gather at San Francisco's Moscone of contrasting opinions and design ap- pages, the discerning reader can expect handy "Recommended Sessions" fea- porters here within the gilded pages of neurs Arthur Pembrook and Bernard proaches.” -C.R. Center to discuss their craft and related to find only the most incisive commen- ture located slightly to the left of where the Journal. Harrington say Duke Nukem, who subjects. Programmers, artists, design- tary, indispensable recommendations, you're currently looking. He might also So please – kick back between ses- first appeared in the original Duke ers, and others are likely to derive great and unerringly up-to-the-moment news ask himself, "Is 'video games' one word, sions with your free turkey wrap and Nukem DOS game a full five years pleasure from the presentations, pan- items of concern to those entrenched in or two?" "How many Jäger shots should immerse yourself in the rich pages of after Newcolmbe's debut, is a clear Fault Tolerance: From Inten- els, and product exhibitions conducted the making of video game entertainment I take each time a presenter says 'proce- this fine publication. Then sally forth, and unlawful derivation of their own tionality to Improvisation at the Game Developers Conference products. dural?'" "What is immersion and how do aglow with the inner serenity that only dapper duke. In a joint statement re- skills learned at GDC not applied to actual game 2009 event from March 22 to 27. An attendee of the Game Develop- you make it?" "Are players creators, and the unique perspective of the Journal leased yesterday, Pembrook and Har- Clint Hocking And alongside GDC, the Idle ers Conference 2009 might reasonably if so how many types are there?" "Does can provide, the envy of your peers and rington called Nukem's virtual career, Thumbs Journal of Games is here to ask himself, "What design-focused pre- Hideo Kojima need an editor?" inferiors. which has now spanned nearly a doz- production Wednesday 10:30am - 11:30am en published games, a “reprehensible Room 2002, West Hall incursion upon our creative endeav- ors – indeed, upon the very honour Overview: Industry Desk Press Desk As a follow-up to the sec- and memory of Crumpetsoft's fine ond-highest rated talk of GDC 2006, this presentation looks at the specific compugraphical lineage.” challenges of designing game mechan- The co-founders took issue with ics that both allow and encourage play- Optimistic GDC veteran Industry session deemed a number of alleged similarities be- ers to play expressively, while opening tween the two dukes, at one point the door for them to accept small in- citing Nukem's catchphrase, “It's time Molyneux’s tree finally blossoms cremental failures and set-backs as an returns to conference unnewsworthy, inspiring engaging element that adds depth and to kick ass and chew bubblegum, and variety to dynamic play. I'm all out of gum,” and claiming it by Journal Staff many visionaries of the video game by Journal Staff coaxed tears from the sorrowful eyes of bears a striking – and potentially “Simply put, Clint Hocking's talks are medium gathered in one place?” he ng:moco co-founder Neil Young. "It's copyright-infringing – resemblance routinely the most thought-provoking Game development professional asked. A visibly-overwhelmed writer for a too bad he didn't dump on one of the to Newcolmbe's own signature quip, and engaging at GDC. A 'sequel' to his Brian Landman is attending his fourth “It's true; he always comes back to major video game blog was overheard consoles, though." excellent GDC 06 session is hard to re- “It's time to shoot grouse and take sist.” -S.G. straight Game Developers Conference, the office full of ideas,” a development complaining about the morning's key- TheJournal was unable to interview a snifter of port, and I'm all out of the Seattle-area designer told the Jour- colleague confirmed to the Journal, be- note, delivered by a major industry lu- those present, as those in attendance port.” nal today. fore adding that most GDC-gleaned minary, due to its lack of valuable link- were left so moved that they did not Speaking to the Journal immedi- Crysis determined to actually be a tech demo “I get really psyched up for this knowledge has traditionally made its generating news bytes. respond to outside stimuli. ately following the announcement of Spore: Fulfilling the Massively conference every year,” Landman said. way out of Landman-designed games "It's pretty cool that he successfully "I really wish they had brought a legal action, Harrington said the duo Single-Player Promise - How'd “Even just being around all these guys prior to their ship date, due to a com- tackled the topic of creating games with new build or gameplay trailer," the blog- failed to act within the first 18 years We Do? always completely opens my eyes to bination of rousing but vague topics, heretofore unseen emotional weight ger griped. He then disappeared into of Duke Nukem's existence because, new avenues of game design and im- marketing department-related budget- and resonance," the journalist said of the press room in an awestruck trance, due to their then-recent departure Caryl Shaw plementation.” ary decisions, and a deficit of legible the talk, which reportedly left designer commenting, "Boy, I'll never think from the games industry, they simply “Plus, where else can you see so session notes. Warren Spector in catatonic shock, and about games the same way again." Continued on page 3 Wednesday 10:30am - 11:30am Room 135, North Hall The Drafting Table Overview: This presentation will cover the specifics of working with the com- munity-created content in Spore during the first six months after ship. Topics include information on how the online systems in Spore both met expectations The Four Types of and were stretched in ways that weren't anticipated, how the team adjusted their systems, and the goals created in order to meet the needs of customers while trying to foster a sense of community and an atmosphere of creativity. Player/Creators “The volume and range of user-generated content seeded throughout Spore's servers by Bronstring "Marek" Bronstring between “creators” and “consumers” ended up surprising even its developers, and take those two groups into account, forcing them to go back and modify the User generated content is playing but what happens when we zoom in on systems themselves. How does one even an increasing role in gaming. Gamers the creators? Are they all the same? Ac- define degrees of success within such an unusual game design? Hopefully, pro- are not just able to customize aspects tually, not everyone wants to create in ducer Shaw will answer the session's title of the experience, but many games quite the same way.
Recommended publications
  • Fumito Ueda Och Samtalet Mellan Maskin Och Människa
    INSTITUTIONEN FÖR KULTURVETENSKAPER Fumito Ueda och samtalet mellan maskin och människa Filip Ekström Kandidatuppsats: 15 hp Program: Kultur, kandidatprogrammet (KP1125) Nivå: Kandidat Termin/år: VT18 Handledare: Ola Stockfelt Examinator: Viveka Kjellmer ABSTRACT University of Gothenburg Department of Cultural Sciences Gothenburg, Sweden Bachelor of Arts – Program in Cultural Sciences, 15.0 higher education credits Graduating Thesis, spring 2018 Author: Filip Ekström Mentor: Ola Stockfelt Examinator: Title: Fumito Ueda – And the Conversation Between Human and Machine This thesis approaches videogame-designer Fumito Uedas three major works, ICO, Shadow of the Colossus and The Last Guardian, through the theories of cybernetics. Mostly those of the philosopher and mathematician Norbert Wiener. With the focus on the relation and communication between the player/human and the videogame/machine/computer. How the a.i-characters through Uedas games develop more and more liberties of being their own individuals, free from the player-characters full control, and how this effects the gameplay and players relation to the machine and his/hers interaction with them. It shows that through the evolution of Uedas a.i-characters, players learn to adapt more to the demands of a computer, and the digitally generated world. And using the communication made available by videogames, is able to adjust to these artificial creatures requirements, just as if they were real beings. Keywords: Cybernetics, videogames, intergration, machine/human interaction 1 INNEHÅLLSFÖRTECKNING
    [Show full text]
  • Walking Simulators As Response to the Problem of Optimization
    The Philosophy of Computer Games Conference, Copenhagen 2018 The Aesthetics of the Aesthetics of the Aesthetics of Video Games: Walking Simulators as Response to the problem of Optimization Jesper Juul: “The Aesthetics of the Aesthetics of the Aesthetics of Video Games: Walking Simulators as Response to the problem of Optimization”. 12th International Conference on the Philosophy of Computer Games Conference, Copenhagen, August 13-15, 2018. www.jesperjuul.net/text/aesthetics3 Figure 1: Dear Esther (The Chinese Room 2012). Walking a linear path, listening to the narrator. Figure 2: Proteus (Key and Kanaga 2013). Exploring a pastoral and pixelated generated island with little challenge. 1 Figure 3: Gone Home (The Fullbright Company 2013). Returning to your childhood home to learn of your sister’s life through minimal puzzles. In games, we traditionally expect that the effort we exert will influence the game state and outcome, and we expect to feel emotionally attached to this outcome (Juul 2003) such that performing well will make us happy, and performing poorly will make us unhappy. But a number of recent games, derogatorily dismissed as walking simulators, limit both our options for interacting with the game world and our feeling of responsibility for the outcome. Examples include Dear Esther (The Chinese Room 2012), Proteus (Key & Kanaga 2013), and Everybody’s Gone to the Rapture (The Chinese Room 2015), and Gone Home (The Fullbright Company 2013). “Walking simulator” is a divisive term, originally coined to dismiss these experiences as “not real games” lacking gameplay, thus only simulating “walking”. Developers are divided over whether to reject (KILL SCREEN STAFF 2016) the term or reclaim (Butler 2015 p.
    [Show full text]
  • Investigating Meaning in Videogames
    UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title Investigating Procedural Expression and Interpretation in Videogames Permalink https://escholarship.org/uc/item/1mn3x85g Author Treanor, Mike Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA AT SANTA CRUZ INVESTIGATING PROCEDURAL EXPRESSION AND INTERPRETATION IN VIDEOGAMES A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in COMPUTER SCIENCE by Mike Treanor June 2013 The Dissertation of Mike Treanor is approved: Professor Michael Mateas, Chair Professor Noah Wardrip-Fruin Professor Ian Bogost Rod Humble (CEO Linden Lab) Tyrus Miller Vice Provost and Dean of Graduate Studies Table of Contents List of Figures ........................................................................................................... vii Abstract…….. ............................................................................................................. x Acknowledgements ................................................................................................... xii Chapter 1. Introduction .............................................................................................. 1 Procedural Rhetoric ...................................................................................... 4 Critical Technical Practice ............................................................................ 7 Research
    [Show full text]
  • DESIGN-DRIVEN APPROACHES TOWARD MORE EXPRESSIVE STORYGAMES a Dissertation Submitted in Partial Satisfaction of the Requirements for the Degree Of
    UNIVERSITY OF CALIFORNIA SANTA CRUZ CHANGEFUL TALES: DESIGN-DRIVEN APPROACHES TOWARD MORE EXPRESSIVE STORYGAMES A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in COMPUTER SCIENCE by Aaron A. Reed June 2017 The Dissertation of Aaron A. Reed is approved: Noah Wardrip-Fruin, Chair Michael Mateas Michael Chemers Dean Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright c by Aaron A. Reed 2017 Table of Contents List of Figures viii List of Tables xii Abstract xiii Acknowledgments xv Introduction 1 1 Framework 15 1.1 Vocabulary . 15 1.1.1 Foundational terms . 15 1.1.2 Storygames . 18 1.1.2.1 Adventure as prototypical storygame . 19 1.1.2.2 What Isn't a Storygame? . 21 1.1.3 Expressive Input . 24 1.1.4 Why Fiction? . 27 1.2 A Framework for Storygame Discussion . 30 1.2.1 The Slipperiness of Genre . 30 1.2.2 Inputs, Events, and Actions . 31 1.2.3 Mechanics and Dynamics . 32 1.2.4 Operational Logics . 33 1.2.5 Narrative Mechanics . 34 1.2.6 Narrative Logics . 36 1.2.7 The Choice Graph: A Standard Narrative Logic . 38 2 The Adventure Game: An Existing Storygame Mode 44 2.1 Definition . 46 2.2 Eureka Stories . 56 2.3 The Adventure Triangle and its Flaws . 60 2.3.1 Instability . 65 iii 2.4 Blue Lacuna ................................. 66 2.5 Three Design Solutions . 69 2.5.1 The Witness ............................. 70 2.5.2 Firewatch ............................... 78 2.5.3 Her Story ............................... 86 2.6 A Technological Fix? .
    [Show full text]
  • Playstation Desvela Tráiler De La Historia De Shadow of the Colossus
    PlayStation desvela tráiler de la historia de Shadow of the Colossus También al compositor Kow Otani hablando de la espectacular obra maestra que pone música a este videojuego tan especial. Sony Interactive Entertainment (SIE) ha presentado hoy dos nuevos vídeos del remake de Shadow of the Colossus™ para PlayStation®4 (PS4™) en los que se muestran el principio de esta épica historia y al compositor Kow Otani hablando de la espectacular obra maestra que pone música a este videojuego tan especial. En el tráiler de la historia se observan los inicios de la aventura tal y como fue concebida por Fumito Ueda en el videojuego original de PlayStation®2 publicado en 2005. Wander llega a la ciudad prohibida a lomos de su fiel yegua Agro con la bella Mono en sus brazos, la deposita cuidadosamente en el altar del Templo de Adoración y pide al misterioso Dormin que la ayude. Éste le dice que la única manera de ayudarla es derrotar a los 16 colosos que habitan la Tierra Prohibida, unos extraordinarios seres acorazados de dimensiones enormes que deberá encontrar siguiendo el haz de luz emanado de su espada. Uno de los aspectos que hacen de Shadow of the Colossus™ una obra de arte es, sin lugar a dudas, su maravillosa banda sonora. En ella se encuentra música de batalla, ambiental y de victoria y en palabras de su compositor Kow Otani, “Shadow of the Colossus™ ha renacido y el nivel de inmersión es increíble. Al actualizar la música quisimos dar más intensidad al inicio y al final, así que introdujimos más músicos y también instrumentos de cuerda.
    [Show full text]
  • 10 for $10 Pak Table of Contents Minimum System Requirements
    10 FOR $10 PAK TABLE OF CONTENTS MINIMUM SYSTEM REQUIREMENTS ........................................................................ l WINDOWS 95 USERS...................................................................................................... 2 INSTALLATION ................................................................................................................ 2 STARTING A GAME ........................................................................................................ 3 USING THE ON-LINE DOCUMENTATION ................................................................ 4 CHUCK YEAGER'S AIR COMBAT.................................................................................. 6 EXTREME PINBALL ........................................................................................................ 6 THE COMPLETE ULTIMA VII ...................................................................................... 7 GRAND SLAM BRIDGE 11 . ............. ..... ........ ..... .................................. ..... ..... ..... ..... ........ 7 POPULOUS II .................................................................................................................. 8 POWERPOKER ................................................................................................................ 8 SEAL TEAM ...................................................................................................................... 9 STRIKE COMMANDER .................................................................................................
    [Show full text]
  • Lollipop Chainsaw Goichiego Sudy I Problem Autorstwa W Medium Gier Wideo
    2015 / Homo Ludens 2(8) Lollipop Chainsaw Goichiego Sudy i problem autorstwa w medium gier wideo DOMINIKA STASZENKO Uniwersytet Łódzki Abstract Goichi Suda's Lollipop Chainsaw and the problem of authorship in video games This paper examines the phenomenon of the game designed by Goichi Suda, also known as Suda 51. It focuses on the analysis of Lollipop Chainsaw, detailing the characteristics of his work, such as a sense of humor, unique aesthetics and controversial solutions. This Japanese designer is sometimes considered as an artist who manifests his original ideas even in high-budget games. This paper also describes the problem of authorship in the video games medium using Suda’s creation as an example. KEYWORDS: Goichi Suda, aesthetics, remediation, authorship 1. Wprowadzenie Kategoria autora w przypadku medium gier wideo nastręcza wiele trud- ności nie tylko w kwestii interpretacji, kim tak właściwie jest autor gry, ale Homo Ludens 2(8) / 2015 © Polskie Towarzystwo Badania Gier 2015 154 Dominika Staszenko także w kontekście pytania, czy w ogóle używanie takiego pojęcia jest zasad- ne w stosunku do interaktywnego dzieła powstałego przy współpracy wielu osób. W teorii filmu przyjmuje się, że reżyser odpowiada zarówno za aspekty techniczne związane z produkcją utworu, jak i estetyczne, co pozwala określić reżysera mianem autora sprawującego pieczę nad wszystkimi etapami powsta- wania dzieła, a także elementami decydującymi o wartości artystycznej obrazu (Carr, 2013, s. 11). Ze względu na fakt, że zarówno filmy, jak i gry powstają dzię- ki zaangażowaniu wieloosobowych zespołów, próba przełożenia takiej defi- nicji autorstwa na grunt badań nad nowym medium wydaje się uzasadniona. Jednakże problemem uniemożliwiającym zastosowanie analogii jest przede wszystkim trudność w rozstrzygnięciu, kto odpowiada za całokształt projektu.
    [Show full text]
  • Nintendo Switch
    Nintendo Switch Last Updated on September 30, 2021 Title Publisher Qty Box Man Comments サムライフォース斬!Natsume Atari Inc. NA Publi... 1-2-Switch Nintendo Aleste Collection M2 Arcade Love: Plus Pengo! Mebius Armed Blue Gunvolt: Striker Pack Inti Creates ARMS Nintendo Astral Chain Nintendo Atsumare Dōbutsu no Mori Nintendo Bare Knuckle IV 3goo Battle Princess Madelyn 3goo Biohazard: Revelations - Unveiled Edition Capcom Blaster Master Zero Trilogy: MetaFight Chronicle: English Version Inti Creates Bloodstained: Ritual of the Night 505 Games Boku no Kanojo wa Ningyo Hime!? Sekai Games Capcom Belt Action Collection Capcom Celeste Flyhigh Works Chocobo no Fushigi na Dungeon: Every Buddy! Square Enix Clannad Prototype CLANNAD: Hikari Mimamoru Sakamichi de Prototype Code of Princess EX Pikii Coffee Talk Coma, The: Double Cut Chorus Worldwide Cotton Reboot!: Limited Edition BEEP Cotton Reboot! BEEP Daedalus: The Awakening of Golden Jazz: Limited Edition Arc System Works Dairantō Smash Bros. Special Nintendo Darius Cozmic Collection Taito Darius Cozmic Collection Special Edition Taito Darius Cozmic Revelation Taito Dead or School Studio Nanafushi Devil May Cry Triple Pack Capcom Donkey Kong: Tropical Freeze Nintendo Dragon Marked For Death: Limited Edition Inti Creates Dragon Marked For Death Inti Creates Dragon Quest Heroes I-II Square Enix Enter the Gungeon Kakehashi Games ESP RA.DE. ψ M2 Fate/Extella: Limited Box XSEED Games Fate/Extella Link XSEED Games Fight Crab
    [Show full text]
  • Notes on Superflat and Its Expression in Videogames - David Surman
    Archived from: Refractory: a Journal of Entertainment Media, Vol. 13 (May 2008) Refractory: a Journal of Entertainment Media Notes On SuperFlat and Its Expression in Videogames - David Surman Abstract: In this exploratory essay the author describes the shared context of Sculptor turned Games Designer Keita Takahashi, best known for his PS2 title Katamari Damacy, and superstar contemporary artist Takashi Murakami. The author argues that Takahashi’s videogame is an expression of the technical, aesthetic and cultural values Murakami describes as SuperFlat, and as such expresses continuity between the popular culture and contemporary art of two of Japan’s best-known international creative practitioners. Introduction In the transcript accompanying the film-essay Sans Soleil (1983), Chris Marker describes the now oft- cited allegory at work in Pac-Man (Atarisoft, 1981). For Marker, playing the chomping Pac-Man reveals a semantic layer between graphic and gameplay. The character-in-action is charged with a symbolic intensity that exceeds its apparent simplicity. Videogames are the first stage in a plan for machines to help the human race, the only plan that offers a future for intelligence. For the moment, the insufferable philosophy of our time is contained in the Pac-Man. I didn’t know when I was sacrificing all my coins to him that he was going to conquer the world. Perhaps [this is] because he is the most graphic metaphor of Man’s Fate. He puts into true perspective the balance of power between the individual and the environment, and he tells us soberly that though there may be honor in carrying out the greatest number of enemy attacks, it always comes a cropper (Marker, 1984, p.
    [Show full text]
  • (With) Videogame History Moving Beyond Retrogaming Ahm, Kristian Redhead
    (Re)Playing (with) Videogame History Moving Beyond Retrogaming Ahm, Kristian Redhead Publication date: 2018 Citation for published version (APA): Ahm, K. R. (2018, Sep 12). (Re)Playing (with) Videogame History: Moving Beyond Retrogaming. https://www.academia.edu/37325146/_Re_Playing_with_Videogame_History_Moving_beyond_Retrogaming Download date: 26. sep.. 2021 (Re)Playing (with) Videogame History Moving beyond Retrogaming by Kristian Redhead Ahm Master’s Thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in IT – Games At The IT-University of Copenhagen, Center for Computer Games Research September 2018 Under the Supervision of Associate Professor Hans-Joachim Backe Resumé Forfatteren af dette speciale har foretaget en kvalitativ undersøgelse, hvor 9 spillere af gamle spil, også kaldet retrogamere, er blevet interviewet om deres motivationer for at spille gamle spil, hvordan de spiller dem og hvor længe. Ved at indtage et fænomenologisk ståsted, ønsker dette speciale at undersøge, hvordan disse gamle spil manifesterer sig i respondenternes livsverdener og hvad dette indebærer for deres opfattelse og brug af disse gamle spil. Denne undersøgelse er blevet betragtet som frugtbar, da den kan problematisere og videreudvikle den nuværende akademiske diskurs omkring retrogaming, der reducerer alle nutidige interaktioner med gamle spil til en aktivitet, der er motiveret af nostalgi. Ved at analysere de indsamlede interviewdata, argumenteres der i dette speciale for, at der eksisterer flere motivationer til at spille gamle spil, udover nostalgi. Dette speciale identificerer fire motivationer udover nostalgi. Den første type, kaldet amatørarkæologen, er interesseret i at spille ”dårlige” og kuriøse gamle spil, på grund af en form for ironisk nydelse og historisk nysgerrighed.
    [Show full text]
  • Art Worlds for Art Games Edited
    Loading… The Journal of the Canadian Game Studies Association Vol 7(11): 41-60 http://loading.gamestudies.ca An Art World for Artgames Felan Parker York University [email protected] Abstract Drawing together the insights of game studies, aesthetics, and the sociology of art, this article examines the legitimation of ‘artgames’ as a category of indie games with particularly high cultural and artistic status. Passage (PC, Mac, Linux, iOS, 2007) serves as a case study, demonstrating how a diverse range of factors and processes, including a conducive ‘opportunity space’, changes in independent game production, distribution, and reception, and the emergence of a critical discourse, collectively produce an assemblage or ‘art world’ (Baumann, 2007a; 2007b) that constitutes artgames as legitimate art. Author Keywords Artgames; legitimation; art world; indie games; critical discourse; authorship; Passage; Rohrer Introduction The seemingly meteoric rise to widespread recognition of ‘indie’ digital games in recent years is the product of a much longer process made up of many diverse elements. It is generally accepted as a given that indie games now play an important role in the industry and culture of digital games, but just over a decade ago there was no such category in popular discourse – independent game production went by other names (freeware, shareware, amateur, bedroom) and took place in insular, autonomous communities of practice focused on particular game-creation tools or genres, with their own distribution networks, audiences, and systems of evaluation, only occasionally connected with a larger marketplace. Even five years ago, the idea of indie games was still burgeoning and becoming stable, and it is the historical moment around 2007 that I will address in this article.
    [Show full text]
  • KUZPO's VIDEO GAME WISHLIST Latest Update: September 4, 2018
    KUZPO'S VIDEO GAME WISHLIST Latest update: September 4, 2018 Too much is never enough. Here are some guidelines to the wishlist before you start browsing: – The condition classifications of NES and SNES cartridges don't matter, as long as the cartridges work properly and are in decent condition (clean, scratchless, with the labels still intact on all sides). Starting with PS1, I demand all the games are at least classified B (Boxed). – I am ALWAYS interested in tips on game/peripheral retailers previously unknown to me. At the moment, GameStop is the only local, public retailer of video games (and their selection is limited to the last two or three console generations), and online shopping is still a bit foreign to me after all these years and all this experience, so I certainly don't know of all my options. – If you want to do your part in shortening this list, READ the limitations and preferences CAREFULLY. Here's something that will never happen: ”You bought me PROBOTECTOR? I wanted CONTRA, you stupid mommylover!” In reality, I am more than satisfied with what I can get. But, IF – in regards to the example I just mentioned – you can get the preferred choice with small effort and about the same price, I can guarantee I would be way beyond pleased. (For those who don't know what I'm talking about, let me explain that Probotector and Contra are one and the same in terms of gameplay – I just consider Contra the ”real” version of the game, it's visually cooler than its European counterpart and it fits into my already existing collection better.) – NO CONSOLE THAT I OWN IS A PRIORITY OVER ANOTHER.
    [Show full text]