The Best Schools for Aspiring Game Developers
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The First but Hopefully Not the Last: How the Last of Us Redefines the Survival Horror Video Game Genre
The College of Wooster Open Works Senior Independent Study Theses 2018 The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre Joseph T. Gonzales The College of Wooster, [email protected] Follow this and additional works at: https://openworks.wooster.edu/independentstudy Part of the Other Arts and Humanities Commons, and the Other Film and Media Studies Commons Recommended Citation Gonzales, Joseph T., "The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre" (2018). Senior Independent Study Theses. Paper 8219. This Senior Independent Study Thesis Exemplar is brought to you by Open Works, a service of The College of Wooster Libraries. It has been accepted for inclusion in Senior Independent Study Theses by an authorized administrator of Open Works. For more information, please contact [email protected]. © Copyright 2018 Joseph T. Gonzales THE FIRST BUT HOPEFULLY NOT THE LAST: HOW THE LAST OF US REDEFINES THE SURVIVAL HORROR VIDEO GAME GENRE by Joseph Gonzales An Independent Study Thesis Presented in Partial Fulfillment of the Course Requirements for Senior Independent Study: The Department of Communication March 7, 2018 Advisor: Dr. Ahmet Atay ABSTRACT For this study, I applied generic criticism, which looks at how a text subverts and adheres to patterns and formats in its respective genre, to analyze how The Last of Us redefined the survival horror video game genre through its narrative. Although some tropes are present in the game and are necessary to stay tonally consistent to the genre, I argued that much of the focus of the game is shifted from the typical situational horror of the monsters and violence to the overall narrative, effective dialogue, strategic use of cinematic elements, and character development throughout the course of the game. -
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. -
Conference Booklet
30th Oct - 1st Nov CONFERENCE BOOKLET 1 2 3 INTRO REBOOT DEVELOP RED | 2019 y Always Outnumbered, Never Outgunned Warmest welcome to first ever Reboot Develop it! And we are here to stay. Our ambition through Red conference. Welcome to breathtaking Banff the next few years is to turn Reboot Develop National Park and welcome to iconic Fairmont Red not just in one the best and biggest annual Banff Springs. It all feels a bit like history repeating games industry and game developers conferences to me. When we were starting our European older in Canada and North America, but in the world! sister, Reboot Develop Blue conference, everybody We are committed to stay at this beautiful venue was full of doubts on why somebody would ever and in this incredible nature and astonishing choose a beautiful yet a bit remote place to host surroundings for the next few forthcoming years one of the biggest worldwide gatherings of the and make it THE annual key gathering spot of the international games industry. In the end, it turned international games industry. We will need all of into one of the biggest and highest-rated games your help and support on the way! industry conferences in the world. And here we are yet again at the beginning, in one of the most Thank you from the bottom of the heart for all beautiful and serene places on Earth, at one of the the support shown so far, and even more for the most unique and luxurious venues as well, and in forthcoming one! the company of some of the greatest minds that the games industry has to offer! _Damir Durovic -
The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism
The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism by Sarah E. Thorne 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 © 2018, Sarah E. Thorne Abstract The past decade has seen an increase in the availability of user-friendly game development software, the result of which has been the emergence of a genre of reflexive and experimental games. Pippin Barr, La Molleindustria’s Paolo Pedercini, and Davey Wreden are exemplary in their thoughtful engagement with an ever-expanding list of subjects, including analyses and critiques of game development, popular culture, and capitalism. These works demonstrate the power of games as a site for critical media theory. This potential, however, is hindered by the player-centric trends in the game industry that limit the creative freedom of developers whose work is their livelihood. In the era of communicative capitalism, Jodi Dean argues that the commodification of communication has suspended narrative in favour of the circulation of fragmented and digestible opinions, which not only facilitates the distribution and consumption of communication, but also safeguards communicative capitalism against critique. Ultimately, the very same impulse that drives communicative capitalism is responsible for the player-centric trends that some developers view as an obstacle to their art. Critical game studies has traditionally fallen into two categories: those that emphasize the player as the locus of critique, such as McKenzie Wark’s trifler or Mary Flanagan’s critical play, and those that emphasize design, as in Alexander Galloway’s countergaming, Ian Bogost’s procedural rhetoric, and Gonzalo Frasca’s theory of simulation. -
Playing in the Continuum: Moral Relativism in the Last of Us
Praxes of popular culture No. 1 - Year 9 12/2018 - LC.7 [sic] - a journal of literature, culture and literary translation Shalini Harilal, English and Foreign Languages University, India ([email protected]) Playing in the Continuum: Moral Relativism in The Last of Us Abstract Contrary to common understanding that an objective is a distinctive feature of every game, the success of process-oriented games (Nielson et al.) shows that linear narratives are not the only way to tell game stories. The Last of Us , despite being a goal-oriented video game, undermines the focus on its objective of “saving humanity” by refusing to let the player fulfil that goal. Saving humanity is a “noble” sentiment that is not only a “universal” moral value but one of import from a biological standpoint. This paper argues that the game’s insistence on making “questionable” choices on behalf of the player and its depiction of a selection of contrasting social structures are a narrative ruse to unsettle ethical complacencies of the generic player, who brings to the game such moral systems to analyze the game as are incompatible with its temporal and spatial specificity. The question of the admissibility of textual analyses based on external moral parameters is of relevance not exclusively to literary studies but to narratives in new audio-visual media as well. This paper attempts to place player reactions to the questionable character choices at the heart of the game story in a continuum between absolute player identification with narrative elements and complete detachment from the game narrative which facilitates play in an objective manner. -
Recommended Resources from Fortugno
How Games Tell Stories with Nick Fortugno RECOMMENDED RESOURCES FROM NICK FORTUGNO Articles & Books ● MDA: A Formal Approach to Game Design and Game Research ● Rules of Play Game Textbook ● Game Design Workshop Textbook ● Flow: The Psychology of Optimal Experience Festivals ● Come Out and Play Festival Games ● The Waiting Game at ProPublica ● Rez ● Fallout 4 ● Red Dead Redemption 2 ● Dys4ia ● The Last of Us ● Shadow of the Colossus ● Kentucky Route Zero ● Gone Home ● Amnesia ● Pandemic: Legacy ● Once Upon A Time A SELECTION OF SUNDANCE NEW FRONTIER ALUMNI / SUPPORTED PROJECTS About New Frontier: New Frontier: Storytelling at the Intersection of Art & Technology ● Walden ● 1979 Revolution ● Laura Yilmaz ● Thin Air OTHER GAMING RESOURCES ● NYU Game Center - dedicated to the exploration of games as a cultural form and game design as creative practice ● Columbia Digital Storytelling Lab - focusing on a diverse range of creative and research practices originating in fields from the arts, humanities and technology 1 OTHER GAMING RESOURCES continued ● Kotaku - gaming reviews, news, tips and more ● Steam platform indie tag - the destination for playing, discussing, and creating games ● IndieCade Festival - International festival website committed to celebrating independent interactive games and media from around the globe ● Games for Change - the leading global advocate for the games as drivers of social impact ● Immerse - digest of nonfiction storytelling in emerging media ● Emily Short's Interactive Storytelling - essays and reviews on narrative in games and new media ● The Art of Storytelling in Gaming - blog post 2 . -
賽車遊戲的視角之研究A Study of Viewing Angle in Racing Video Game
國立交通大學 應用藝術研究所視覺傳達設計組 碩士論文 賽車遊戲的視角之研究 A Study of Viewing Angle in Racing Video Game 指導教授:張恬君博士 研究生:曹訓誌 中華民國九十四年七月 i 摘要 電動遊戲裡所呈現真實感是一個簡化後的真實,這和真實世界裡的真實感 其實是不一樣的。先前的許多研究並未針對遊戲裡的物理行為、視覺效果如何影 響玩家的感受等議題做進一步的探討。本研究是針對賽車遊戲裡的遊戲視角做研 究與分析,研究中發現速度的快慢,與路旁有無參考物對視角大小(路寬)的認知 沒有影響,但是視野大小的寬與窄對視角有顯著的影響。除此之外,在本次研究 的條件下,速度的快慢、路旁有無參考物、視野大小的寬與窄對女性受試者視角 大小的認知均沒有影響,但視野大小的寬與窄(Y 方向)對男性受試者的視角大小 的認知有影響。另外,有 33%受試者會將路寬調整至接近視野的寬度(X 方向) , 這群受試者中又以男性受試者佔大多數(91%),相較之下女性受試者這個現象較 不明顯。此外, 受試者喜愛與不喜愛賽車電玩之間也沒有顯著的差異。 關鍵字:電動遊戲、賽車遊戲、視角。 ii Abstract The realistic world of video game is different from reality, it only provide reduced reality to players. This study focus on the viewing angle of racing video game, and try to understand how the viewing angle influence of the speed of moving, side walk object and field size of viewing. The results show the speed of moving and side walk object don’t affect the perception of viewing angle, but the field size of viewing (Y-axis direction) do. Otherwise, the speed of motion, side walk object, and view area size is nothing to do with the viewing angle perception of female testers, but male testers are influenced by the size of view area. This study also observes 33% testers intend to align the width of road to the width of view area (X-axis direction), most of them are male (90%). Besides, the factor that a man who favors the racing video game or not doesn’t make any difference to the viewing angle perception. Keywords: Video game, Racing Video game, view angle iii 目錄 摘要................................................................................................................................ii -
The Last of Us Honored with 10 Awards Including Game of the Year at 17Th Annual D.I.C.E
THE LAST OF US HONORED WITH 10 AWARDS INCLUDING GAME OF THE YEAR AT 17TH ANNUAL D.I.C.E. AWARDS Top Honors Celebrating the Creative Accomplishments in Interactive Entertainment Also Went to Bioshock Infinite, Grand Theft Auto V, Plants vs. Zombies 2, and More LAS VEGAS – Feb. 6, 2014 – Suspense, horror, and surreal worlds dominated the 17th Annual D.I.C.E. Awards, the video game industry’s most prestigious honors. Naughty Dog’s dystopian, post-apocalyptic reimagining of the zombie thriller, The Last Of Us, stole the show with 10 awards, including Outstanding Achievement in Story, Outstanding Innovation in Gaming, Adventure Game of the Year, Outstanding Achievement in Game Direction and the industry’s top honor, Game of the Year. The evening’s other big winners included Irrational Games’ provocative alternate-historical FPS, Bioshock Infinite, which took home Action Game of the Year and Outstanding Achievement in Original Music Composition. PopCap’s runaway mobile hit Plants vs. Zombies 2 won both Casual Game of the Year and Mobile Game of the Year, while EA Canada’s FIFA 14 continued the FIFA franchise’s run of five consecutive wins with Sports Game of the Year. Brothers – A Tale of Two Sons, Starbreeze Studios’ touching, story-driven adventure, took home the hardware for Downloadable Game of the Year. Wargaming’s multiplayer online game World of Tanks took home the honor for the D.I.C.E. Awards’ newest category, Online Game of the Year. “Tonight’s big winner, The Last of Us, is a prime example of how today’s modern video game studios expertly blend art, game play, and storytelling to transcend the traditional notion of video games,” said Martin Rae, president, Academy of Interactive Arts & Sciences. -
Ellie: Buddy AI in the Last of Us
35 Ellie: Buddy AI in The Last of Us Max Dyckhoff 35.1 Introduction 35.5 Combat Utility 35.2 Starting from Scratch 35.6 Armed Combat 35.3 Ambient Following 35.7 Finishing Touches 35.4 Taking Cover 35.8 Conclusion 35.1 Introduction In the last couple of chapters, you have read about the hunter and infected AI from Naughty Dog’s third-person action adventure game The Last of Us. This chapter moves on to discuss the buddy AI. The whole game focuses on relationships between characters and none more strongly than that of Ellie and Joel, the player’s avatar. Ellie accompanies the player throughout most of the game, and we needed the player to love her companionship. We were acutely aware of the common pitfalls with AI companions: the risk of them turning into a tedious “escort” quest, generally getting underfoot, or turning into mindless drones with no agency in the world. We had to make sure that Ellie never annoyed or frustrated the player and that she remained a compelling entity throughout the game. Most importantly, we had to build a character that the player cared for. Ellie is new to the world outside the military safe zone in which she grew up and new to the brutality and violence of the infected and humanity at large. She is seeing landscapes, cities, and actions as the player would, instead of through the world weary eyes of Joel. She is a young and fragile character in a dangerous world, and we wanted the AI to highlight this as well as support her growth and strength later in the game. -
Gaming and Esports: the Next Generation
VIDEO GAMING & ESPORTS GAMING AND ESPORTS: THE NEXT GENERATION YouGov analysis of the global video games and esports landscape yougov.com CONTENTS 04 Introduction 11 PlayStation, Xbox and the ninth generation of gaming consoles 20 Gaming video content and streaming 26 The global esports market 34 Deep dive: hardcore gamers in the US 40 COVID-19 and the future of gaming 42 COVID case study: Minecraft 44 The next level 46 Our data INTRODUCTION With the arrival of the next generation of consoles, the release of major titles such as The Last of Us: Part II and Marvel’s Avengers, and new entries into the competitive multiplayer landscape such as Valorant, journalists and analysts predicted that 2020 would be an important year for the gaming and esports industries. Thanks to COVID-19, they were more right than they knew. Data from YouGov shows that on average, four in ten gamers have been playing more during the coronavirus outbreak than they were last year. Compared to last year, how much more or less are you playing video games on any device (PC, console, mobile/tablet, etc.), during the COVID-19 outbreak? Frequency Australia Germany Singapore UK US More 44% 31% 47% 43% 40% About the same 40% 52% 32% 42% 42% Less 11% 8% 12% 8% 11% Don’t know 5% 8% 9% 7% 7% Beyond the pandemic, gaming’s success in 2020 have conducted an extended ‘deep dive’ survey to is an extension of its increasing significance as gain a deeper understanding of the preferences a force in worldwide entertainment: one with and behaviours of gamers – whether they play on revenues that comfortably exceed those of the mobile devices, consoles, or PCs, and whether global film, TV, and digital music industries. -
Nearfinalfinal
Wednesday, 30th of October Opening Ceremony - Damir Durovic (ReBoot), Patrice Desiléts (Panache Digital Games) 10:00-11:00 Goichi Suda, Grasshopper Manufacture - Morning Talk with SUDA 51 11:00 - 11:30 Coffee Breaks MADHEAD GAMES STAGE AMD STAGE KHRONOS GROUP STAGE OCULUS STAGE BIG BLUE BUBBLE STAGE ZEUZ STAGE Rand Miller, Hannah Gamiel, Jon Goldman, Greycroft / Hendrik Lesser, rc productions Benjamin Mitchell, Samsung Chris Jurney, Oculus Matt Turner, EA Cyan Skybound The Character of Play - Emotional 11:30-12:30 Principles to run game 30 Years in the Making: The MoBilising Call of Duty: Bringing a character moments through companies - survival, VR Business Best Practices Session TBA Indie Evolution of Cyan BlockBuster title to Android cinematic storytelling and game sustainaBility and success mechanics Patrice Desiléts, Panache Graham McAllister, Tom Ohle, Evolve PR Nuno Subtil, Nvidia Matt Conte, Oculus Damir Slogar, Big Blue Bubble Digital Games Independent 12:30-13:30 Stop Making Sense - Evolution and SYNC: A Practical System for The Courage to Be Different: The Evolution of PR - Adapt or Bringing Ray Tracing to Vulkan SESSION TBA the changes in the direction of Defining the Player Experience Ancestors Post-Mortem Die independent studios and Creating Successful Teams 13:30 - 15:00 Lunch Break Dough North Cook (Chatham Tom Ohle, Ante Vrdelja, Dan Raphael Van Lierop, University), Hannah Gamiel PANEL: Future of UX Aleksander Kauch, 11 bit studios Anna Carolin Weber, Independent Pearson, moderated by Matt Hinterland (Cyan), Alex SchWartz -
Article Top Game Design 2020
THE TOP 50 BEST GAME DESIGN UNDERGRADUATE PROGRAMS 5. ROCHESTER INSTITUTE OF 14. UNIVERSITY OF CENTRAL TECHNOLOGY FLORIDA 2019 Grads Hired: 97% Total Courses: 138 2019 Grads Salary: $64,500 Graduates: Richard Ugarte (Epic Games), Alexa Madeville (Facebook 6. UNIVERSITY OF UTAH Games), Melissa Yancey (EA). 2019 Grads Salary: $72,662 Graduates: Doug Bowser (COO, 15. HAMPSHIRE COLLEGE Nintendo of America) and Nolan Faculty: Chris Perry (Pixar), Rob Bushnell (founder, Atari). Daviau (designer of Risk Legacy). 2019 Grads Hired: 60% 7. MICHIGAN STATE UNIVERSITY UNIVERSITY OF 2019 Grads Hired: 80% 16. CHAMPLAIN COLLEGE BECKER Fun Fact: MSU offers a west coast Total Courses: 119 1 SOUTHERN game industry field trip experience 2019 Grades Hired: 75% 2 COLLEGE each year, offering networking and CALIFORNIA learning opportunities. 17. RENSSELAER POLYTECHNIC INSTITUTE THE BEST SCHOOLS Total Courses: 230 Total Courses: 132 8. BRADLEY UNIVERSITY 2019 Grads Hired: 71% 2019 Grads Hired: 90% 2019 Grads Hired: 67% Faculty: Mark Hamer (art director, Faculty: Maurice Suckling (Driver 2019 Grads Salary: $65,000 2019 Grads Salary: $56,978 Telltale Games and Double Fine). series, Borderlands). Faculty: Marianne Krawcyzk Faculty: Jonathan Rudder (The Fun Fact: Game development teams FOR ASPIRING (writer, God of War series) Lord of the Rings Online). at Bradley are close to 50% male, 18. COGSWELL POLYTECHNIC Graduates: George Lucas Fun Fact: Becker College also 50% female. COLLEGE (creator of Star Wars) and features an esports Faculty Who Worked at Game Jenova Chen (Journey director). management program.. 9. SHAWNEE STATE UNIVERSITY Company: 96% GAME DEVELOPERS 2019 Grads Hired: 80% Faculty: Jerome Solomon (ILM, Faculty Who Worked at a Game LucasArts, EA), Stone Librande (Riot, Company: 100% Blizzard).