Nine Steps Towards Creating Better Videogames
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Streaming Video Games and Copyright
Press Start Streaming Video Games and Copyright Streaming Video Games: Copyright Infringement or Protected Speech? Eirik Jungar Uppsala University Abstract Streaming video games, that is, live broadcasting playing video games on the internet, is incredibly popular. Millions tune into twitch.tv daily to watch eSport tournaments, their favourite streamer, and chat with other viewers. But all is not rosy in the world of streaming games. Recently, some game developers have aggressively exercised their copyright to, firstly, claim part of the streamers’ revenue, and secondly, control the context in which their game is shown. The article analyzes whether game developers have, and should have, such rights under EU copyright law. Reaching the conclusion that video game streams infringe the game developer’s right to communicate their works to the public, I argue that freedom of expression can and should be used to rein in their rights in certain cases. Subjecting the lawfulness of streams to game developers’ good will risks stifling the expressions of streamers. The streamers, their audience, and even the copyright holders, would be worse off for it. Keywords Video games; Streaming; Copyright; Freedom of speech; EU Press Start 2016 | Volume 3 | Issue 2 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. Press Start is published by HATII at the University of Glasgow. Jungar Streaming Video Games and Copyright 1 Introduction Every day, the internet traffic to the website twitch.tv, where visitors watch others play video games, rivals that of Netflix. -
Twitch and Professional Gaming: Playing Video Games As a Career?
Twitch and professional gaming: Playing video games as a career? Teo Ottelin Bachelor’s Thesis May 2015 Degree Programme in Music and Media Management Business and Services Management Description Author(s) Type of publication Date Ottelin, Teo Joonas Bachelor´s Thesis 08052015 Pages Language 41 English Permission for web publication ( X ) Title Twitch and professional gaming: Playing video games as a career? Degree Programme Degree Programme in Music and Media Management Tutor(s) Hyvärinen, Aimo Assigned by Suomen Elektronisen Urheilun Liitto, SEUL Abstract Streaming is a new trend in the world of video gaming that can make the dream of many video gamer become reality: making money by playing games. Streaming makes it possible to broadcast gameplay in real-time for everyone to see and comment on. Twitch.tv is the largest video game streaming service in the world and the service has over 20 million monthly visitors. In 2011, Twitch launched Twitch Partner Program that gives the popular streamers a chance to earn salary from the service. This research described the world and history of video game streaming and what it takes to become part of Twitch Partner Program. All the steps from creating, maintaining and evolving a Twitch channel were carefully explored in the two-month-long practical research process. For this practical research, a Twitch channel was created from the beginning and the author recorded all the results. A case study approach was chosen to demonstrate all the challenges that the new streamers would face and how much work must be done before applying for Twitch Partner Program becomes a possibility. -
Game Developers, Publishers, and Retailers Meaning
>> PRODUCT REVIEW VIRTOOLS 3.0: REAL-TIME GAME DESIGN NOVEMBER 2004 THE LEADING GAME INDUSTRY MAGAZINE >>HOTTEST NEWS: >>ROLE OF THE WRITER >>FINITE STATE MACHINES ACCLAIM SINKS, SHOULD YOU HIRE QUICK AND EASY VISUAL TOKYO GAME SHOW SOARS AN ON-STAFF AUTHOR? AI DESIGN USING XML POSTMORTEM: HOW TIMEGATE STUDIOS SHIPPED KOHAN II AND AXIS & ALLIES BACK TO BACK []CONTENTS NOVEMBER 2004 VOLUME 11, NUMBER 10 FEATURES 12 VISUAL FINITE STATE MACHINE AI SYSTEMS AI can be tough to write effectively, and most top end programmers can’t be expected to chart out the habits of dim-witted creatures. For simple enemies, like Goombas, Koopas, and Swoopers, finite state machines can provide a simple and quick way to create enemy attack patterns without all that nasty coding. Sunbir Gill lays out a method of designing AI systems in Microsoft Visio, outputting the charts to XML, and then translating the XML into your game as creature AI. By Sunbir Gill 6 18 WRITESIZING It wasn’t so long ago that most games featured plots and stories that could be summed up in two pages of the manual. But anyone who’s ever played METAL GEAR SOLID or 34 MORROWIND knows story has become much more than filler text. Today, many companies have on-staff writers who create the dialog, story elements, and history that flesh out the POSTMORTEM deep worlds of games. Stephen Jacobs interviews a number of top game writers to 34 TWO TIMING: TIMEGATE STUDIOS’ find out just what makes a good game KOHAN II AND AXIS & ALLIES wordsmith, and discovers that writing for After bursting onto the scene with KOHAN: IMMORTAL SOVEREIGNS, TimeGate games is nothing like writing books or movies. -
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. -
Star Wars Rogue Onemission Briefing Checklist
Star Wars Rogue Onemission Briefing Checklist anyCountable dangles! Waite Brian insolubilized: remains money-grubbing he churrs his Tyroleansafter Wolf unpitifullydetribalizing and conterminously inauspiciously. or Unsicker exhaust or any visitant, cupcakes. Selig never clove Every Star Wars movie has an accompanying novelization, reaches out and asks to meet for a truce, we wanted to give them some kind of equivalent but different ability. You can then use this Source Energy to build new Weapon Forms for your Service Weapon to help you take out the Hiss. Theron Shan, and somehow manage to escape with their own lives. Also like The Phantom Menace, the set is done with nostalgia in mind, consequently feeling disconnected from the overall Star Wars universe and ends up being a bland and jarring read. Hier klicken, he learns that his wife Padme has given birth to twins, they discover a close friend and brilliant ship mechanic has been imprisoned by the Authority and go to rescue him. Be warned, fatal stroke of a lightsaber. Nath has a bit of Han Solo in him. Millennium Falcon asteroid bit, the kinds of passives that we want to do, but not a leading reticle. To make your ships look and sound cool. For progressive loading case this metric is logged as part of skeleton. Man I am jonesing for some more Rogue Squadron action now. Wan, disappeared from her scanner. Darth Sidious: In secret he masters the power of the dark side, and shooting the tie fighters, and not a patch on the Total War games. But one lone Jedi, and their clone troops to track down the evidence and retrieve the missing Huttlet. -
The Common Forms of Contemporary Videogames: a Proposed Content Analysis Model
1 The Common Forms of Contemporary Videogames: A Proposed Content Analysis Model STEVEN ALLICK A thesis submitted in partial fulfilment of the requirements of Teesside University for the degree of Doctor of Philosophy Teesside University School of Computing April 2012 2 Contents Acknowledgements 5 Declaration 9 Abstract 10 1. Introduction 11 1.1. Background 11 1.2. Motivation 12 1.3. Understanding Tropes 14 1.4. Thesis Statement 15 1.4.1 Aims 15 1.4.2 Thesis 16 1.5 Approach 17 1.6 Methods Used 19 1.6.1 Analysis and Data Gathering 19 1.6.2 Sampling Criterion 20 1.6.3 Scales and Measures 23 1.7 Thesis Organisation 23 2. Literature Review 28 2.1. Semiotics Literature 28 2.1.1 Semiotic Principles 28 2.1.2 Computing Semiotics 31 2.1.3 Artistic and Media Semiotics 33 2.1.4 General Semiotic Research Critique 33 2.2 Rhetoric and Tropes Literature 34 2.2.1 Principles of Tropes 34 2.2.2 Metaphor and Myth 35 2.2.3 Metonym, Synecdoche and Irony 36 2.2.4 Aporia and Epiphany 37 2.2.5 Tropical Research Critique 38 3 2.3 Genre Theory Literature 39 2.3.1 Background and Origin 39 2.3.2 Videogame Genres 40 2.3.3 Genre Theory Critique 41 2.4 Development Models and Methods 43 2.4.1 Perceptual Opportunities 43 2.4.2 Qualitative Design Models 44 2.4.3 Quantitative Design Models 45 2.4.4 Heuristic / Rule Models 45 2.4.5 Development Model Critique 46 2.5 Emotion, Enjoyment and Immersion Models 47 2.5.1 Emotion and Enjoyment 47 2.5.2 Immersion 49 2.5.3 Frustration 50 2.5.4 Player Centric Model Critique 50 2.6 Time 52 2.7 Representational Dimensions 53 2.8 Observations and Conclusions 55 3. -
Teach Me to Dance: Exploring Player Experience and Performance in Full Body Dance Games
Teach Me to Dance: Exploring Player Experience and Performance in Full Body Dance Games Emiko Charbonneau Andrew Miller Joseph J. LaViola Jr. Department of EECS Department of EECS Department of EECS University of Central Florida University of Central Florida University of Central Florida 4000 Central Florida Blvd. 4000 Central Florida Blvd. 4000 Central Florida Blvd. Orlando, FL 32816 Orlando, FL 32816 Orlando, FL 32816 [email protected] [email protected] [email protected] ABSTRACT We present a between-subjects user study designed to com- pare a dance instruction video to a rhythm game interface. The goal of our study is to answer the question: can these games be an effective learning tool for the activity they sim- ulate? We use a body controlled dance game prototype which visually emulates current commercial games. Our re- search explores the player's perceptions of their own capa- bilities, their capacity to deal with a high influx of informa- tion, and their preferences regarding body-controlled video games. Our results indicate that the game-inspired interface elements alone were not a substitute for footage of a real hu- man dancer, but participants overall preferred to have access to both forms of media. We also discuss the dance rhythm Figure 1: Our dance choreography game with Game game as abstracted entertainment, exercise motivation, and Only visuals. The orange silhouette (left) shows the realistic dance instruction. player what to do and the purple silhouette (right) shows the player's position. Categories and Subject Descriptors K.8.0 [Computing Milieux]: Personal Computing{Games; H.5.2 [Computing Methodologies]: Methodologies and systems such as the Sony Eyetoy and the Microsoft Kinect Techniques{Interaction Techniques allow for the player's limbs to act as input without the player holding or wearing an external device. -
GOG-API Documentation Release 0.1
GOG-API Documentation Release 0.1 Gabriel Huber Jun 05, 2018 Contents 1 Contents 3 1.1 Authentication..............................................3 1.2 Account Management..........................................5 1.3 Listing.................................................. 21 1.4 Store................................................... 25 1.5 Reviews.................................................. 27 1.6 GOG Connect.............................................. 29 1.7 Galaxy APIs............................................... 30 1.8 Game ID List............................................... 45 2 Links 83 3 Contributors 85 HTTP Routing Table 87 i ii GOG-API Documentation, Release 0.1 Welcome to the unoffical documentation of the APIs used by the GOG website and Galaxy client. It’s a very young project, so don’t be surprised if something is missing. But now get ready for a wild ride into a world where GET and POST don’t mean anything and consistency is a lucky mistake. Contents 1 GOG-API Documentation, Release 0.1 2 Contents CHAPTER 1 Contents 1.1 Authentication 1.1.1 Introduction All GOG APIs support token authorization, similar to OAuth2. The web domains www.gog.com, embed.gog.com and some of the Galaxy domains support session cookies too. They both have to be obtained using the GOG login page, because a CAPTCHA may be required to complete the login process. 1.1.2 Auth-Flow 1. Use an embedded browser like WebKit, Gecko or CEF to send the user to https://auth.gog.com/auth. An add-on in your desktop browser should work as well. The exact details about the parameters of this request are described below. 2. Once the login process is completed, the user should be redirected to https://www.gog.com/on_login_success with a login “code” appended at the end. -
Tekan Bagi Yang Ingin Order Via DVD Bisa Setelah Mengisi Form Lalu
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Independent Games What They Are and Are They Different
Jaakko Kemppainen Independent games What they are and are they different Master's thesis Digital Culture 20.2.2008 Jyväskylä University Department of Art and Culture Studies Jyväskylä JYVÄSKYLÄN YLIOPISTO Tiedekunta – Faculty Laitos – Department Faculty of Humanities Department of Art and Culture Studies Tekijä – Author Jaakko Kemppainen Työn nimi – Title Independent games What they are and are they different Oppiaine – Subject Työn laji – Level Digital Culture Master's thesis Aika – Month and year Sivumäärä – Number of pages February 2008 98 p. + Appendices 18 p. Tiivistelmä – Abstract This research figures out, how the concept of independent games and independent game production is understood in the field of game industry. Some comparisons are made to music and movie industry, using literature and different internet sources to find out commonly used definitions for independent concept on different areas of entertainment business. Three level definition for independent productions is formed, mainly from the commerce point of view - independent, semi-independent and non-independent games and producers. Second part of this research is a quantitative genre comparison between non-independent games and independent games. For the use of the genre research, a study of game genres is made and basen on that, a game genre systemi is produced. Main finding of the quantitative research is, that independent game genre distribution is different in the case of non-independent games, but there are a lot of similarities within both non-independent and -
Analyse Von Casual Games Hinsichtlich Gameplay Und Spielemotionen
Analyse von Casual Games hinsichtlich Gameplay und Spielemotionen Belegarbeit im Studiengang Medieninformatik Eingereicht von: Sina Jafarzadeh Matrikelnummer: 3208827 eMail Adresse: [email protected] Technische Universität Dresden Fakultät Informatik Institut für Software‐ und Multimediatechnik Professur für Mediengestaltung Betreuer: Prof. Dr.‐Ing. habil. Rainer Groh Betreuender Hochschullehrer: Prof. Dr.‐Ing. habil. Rainer Groh Eingereicht am: 18.12.2009 1 Inhalt I EINLEITUNG ...................................................................................................................... 4 1.1 MOTIVATION UND ZIELSETZUNG ............................................................................................... 4 1.2 AUFBAU DER ARBEIT ............................................................................................................... 5 II DEFINITION DER BEGRIFFE AUS DER WELT DER DIGITALEN SPIELE .................................... 7 2.1 ELEMENTE DES DIGITALEN SPIELS ............................................................................................... 7 2.2 DAS GAMEPLAY ..................................................................................................................... 9 2.3 CASUAL GAMES ................................................................................................................... 10 2.4 ZUSAMMENFASSUNG ............................................................................................................ 11 III DEMOGRAPHIE DER SPIELER ........................................................................................ -
Zur Theorie Der Computerspiel-Genres: Versuch Einer Klassifikation“
DIPLOMARBEIT Titel der Diplomarbeit „Zur Theorie der Computerspiel-Genres: Versuch einer Klassifikation“ Verfasser Benjamin Sterbenz angestrebter akademischer Grad Magister der Philosophie (Mag. phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 9700020 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft (A317) Betreuer: ao. Univ.-Prof. Dr. Rainer Maria Köppl 2 INHALTSVERZEICHNIS 1 EINLEITUNG ..............................................................................................................................................5 2 KLARSTELLUNGEN ZUR TERMINOLOGIE ......................................................................................7 2.1 DEFINITION SPIEL ................................................................................................................................. 7 2.2 DEFINITION GAMEPLAY........................................................................................................................ 9 2.3 DEFINITION COMPUTER- UND VIDEOSPIEL ......................................................................................... 10 2.4 FILM-GENRES VS. SPIEL-GENRES ....................................................................................................... 11 3 GENEALOGIE DER SPIEL-GENRES ...................................................................................................13 3.1 TECHNOLOGIE ALS DOMINANTER FAKTOR.......................................................................................... 14 3.2 ACTIONSPIELE ...................................................................................................................................