Andy Long Johannes Spaulding Buzz Tilford Katamari Damacy the Game

Total Page:16

File Type:pdf, Size:1020Kb

Andy Long Johannes Spaulding Buzz Tilford Katamari Damacy the Game Andy Long Johannes Spaulding Buzz Tilford Katamari Damacy The game we are adapting is Katamari Damacy for the PlayStation 2. In the colorful ​ ​ universe of the game, the player takes on the role of the Prince who must roll a sticky ball called a katamari around various environments picking up objects to make their katamari as large as possible. At the end of each level the Prince's katamari is judged by The King of All Cosmos, who decides whether or not the katamari is worthy of being turned into a star. Katamari Damacy already has a multiplayer mode where The King has forgotten what the Prince looks like. The two players pick their characters from among the Prince and his Cousins, and compete to make the most impressive katamari. Our game competitive play follows from the same premise. Adaptation of Mechanics The two core mechanics of the PlayStation 2 Katamari Damacy are rolling the katamari ​ ​ around the environment and strategically picking up objects to grow the katamari. In our analog game we translated the in-game rolling of the katamari to rolling of dice. As the katamari would become larger and more cumbersome in the videogame, in our game the player has to contend with an ever growing number of dice they must handle. The picking up of objects in the original translates to the picking up of Stuff pieces, and placement onto a player's Katamari Board, in our adaptation. Growing a katamari increase a player's points and increases the number of dice the player will be rolling. Dice Engine vs. Points and Layers Each turn players roll dice depending on the Stuff pieces on their Katamari Board. These dice give the player Rolling Power which lets the player add more stuff to their board. Players have a choice of what Stuff pieces to buy and add to their board. The general conflict in this decision will be one of building and maintaining the Rolling Power of their katamari or buying Stuff that will set them up for a high score at the end of the game. Early on, building Rolling Power is more important, but even early on players are encouraged to think their choice by the appearance of special symbols that can provide a great point boost if a player uses them wisely. There is an additional mechanic that complicates the decision making process. Player must build their katamari up in layers to afford and place the highest scoring purple pieces. Blue pieces must be placed over blue or yellow pieces, and purple over purple or blue. Purple pieces cost the most Rolling Power and do the least for the players engine, but are necessary for scoring a large number of points. The different choices players must make in buying and placing Stuff pieces is the most engaging aspect of our adaptation. Machination 1 Dice Engine vs. Points with a Timer (EngineVPoints.xml) In this machinination the player is giver a semi-random amount of time to obtain 20 points. Each turn the player is given an amount of rolling power depending on the number of Rolling Booster pieces they have. The player buys most Rolling and Point Boosters with Rolling Power. While points do not slow the gain of Rolling Power in this machination, obtaining them does cost the player the opportunity to get more boosts. The main conflict of engine vs points is represented clearly. The semi-random timer represents the possibility of other players gaining or losing advantage. Our adaptation is competitive, but the only way to model that uncertainty was to use a semi-random element. Even though there will usually be 15 turns in this machination, it is not guaranteed. There is uncertainty in a mathematically optimal solution. Machination 2 KatamariBoard (KatamariBoard.xml) This machination models a simplified Katamari Board economy, which houses the pieces a player collects. The player begins with 19 hexes on their Katamari Board, and over the course of a gamethey will fill them up with Stuff pieces of different colors. The various converters simulate how players fill their boards in the analog game. Yellow pieces replace empty spaces, blue replaces yellow, and purple replaces blue. While being quite an abstract representation, it communicates how a Katamari Board changes over the course of a game. The following are samples of a Katamari Board over the course of a playtest game. Going Too Fast and Crashing In the Katamari Damacy video game, players can move too fast and crash, losing pieces ​ ​ of their katamari. We wanted to involve this in the game as a mechanic. In the first version of the game this took the form of a deck of 10 cards with 1 Crash Card in it. Every time a player bought Stuff they would draw a card from their deck. If it's a Crash Card they Crash which means losing their turn and the largest piece on their katamari, otherwise they discard it and buy Stuff pieces as normal. Players could reshuffle their discard pile into their deck by paying some Rolling Power. It was intended that this would act as a “push-your-luck” mechanic. It was not fun and felt arbitrary in play. After the first playtest we changed the mechanic so players Crash if they roll a certain number of '6's when generating Rolling Power on their turn. This allows Crashing to act as a braking engine, slowing down super effective dice engines. This meant that while players gain more dice, they also increase the chances they crash. We began with five 6's but Crashing happened only once that game. The third playtest we changed it to four or more 6's. Crashing was still quite rare, but every time a player rolled three 6's while generating rolling power, there was a wave of relief from avoiding disaster. Counting Dice We simplified how Rolling Power is counted after the first playtest. Initially, players were expected to count up the pips on the dice they were rolling. After rolling a dozen dice, this slowed down the game way too much for it to be enjoyable. Turns were going too slow. We decided to allow each die to generate 1 Rolling Power, and to modify the cost of the Stuff pieces to fall in line. We also decided to introduce types of dice that are associated with the colors of Stuff. Stuff pieces give players dice of their color. Yellow Dice are very effective, generating Rolling Power on a 3 or greater. Blue dice generate on a 4 or greater. Purple dice generate on a 5 or 6. The shifting effectiveness of the dice became integral to the choices players make when buying the different Stuff pieces to put on their katamari. Purple will give you more points, and more dice, but they will be less effective (but just as likely to contribute to a crash). This change really brought a lot of the game together. It made turns faster and players are entertained by recalculating their dice when it isn't their turn. Written Rules There were no written rules for the first play test. By the second we had most of the rules written, but not enough to give to someone to play without guidance. One person wrote the rules out and had them looked over by the other members of the team who cut out all the fat. After getting feedback from the in-section playtest, one of us rewrote some sections of the rules, and again they were reviewed by the other members of the team. Iteration Playtest 1 Playtest2 Playtest 3 (in section) and 4 ● Adding dice is slow in ● Game of 15 turns takes ● Some rules are unclear the late game 25-30 min with 2 ● Symbol combinations ● took 13 or so turns players are not strong that raw ● Symbol bonus ● Crashing almost never points attainable happens ● Almost Crashing is a ● Crashing feels arbitrary ● Yellow Dice are really rush! ● No player interaction good ● Dice often fall off table ● Symbols are ● Prototype Stuff pieces completely worthless if are ugly you have fewer than another player Response Response Response ● Crashing is tied to ● Symbols each grant ● Another Rules draft rolling 5 '6's players a point, just for ● Boosted the symbol ● Symbols bonus is now having them bonus to 7 points based on symbol ● Dice that fall off table ignoring Stuff color cause a crash (player with most of a ● Added in a Dice Tray kind gets 5 points) ● Changed Crashing to a ● New Dice colors with result of 4 or more '6's different success ● Fancy Stuff Pieces weights .
Recommended publications
  • 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.
    [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]
  • The Play of Contradictions in the Music of Katamari Damacy
    Chaos in the Cosmos: The Play of Contradictions in the Music of Katamari Damacy. Steven B. Reale (Youngstown, OH) Ausgabe 2011/2 ACT – Zeitschrift für Musik & Performance, Ausgabe 2011/2 2 Steven B. Reale: Chaos in the Cosmos: The Play of Contradictions in the Music of Katamari Damacy. Abstract. At first glance, Katamari Damacy (Namco, 2004) is a simple and cheery video game. Yet the game is full of thematic complexities and complications, which raise a number of ethical and aesthetic prob- lems, including the relationships between childhood and terror, father and son, and digital and analog; furthermore, the complexities gov- erning each of these pairs are cleverly underscored by the game’s mu- sic. The article traces a musical theme that serves as the game’s idée fixe which is transformed in the music across several of the game’s levels. Because the music has the potential to affect player performance, even non-diegetic, non-dynamic video game music can serve profoundly different functions than non-diegetic film music. Zusammenfassung. Auf den ersten Blick ist Katamari Damacy (Namco, 2004) ein simples und heiteres Computerspiel. Dennoch steckt es voller thematischer Verwicklungen und Komplikationen, die eine Reihe von ethischen und ästhetischen Fragen aufwerfen, beispielsweise die Beziehung von Kind- heit und Schrecken, zwischen Vater und Sohn sowie von digital und analog; darüber hinaus werden all die Verwicklungen, die diese Paa- rungen bestimmen, geschickt von der Musik des Spiels unterstrichen. Der Artikel spürt einem musikalischen Thema nach, welches als idée fixe des Spiels fungiert und im Verlauf mehrerer Levels des Spiels musikalisch umgestaltet wird.
    [Show full text]
  • Mukokuseki and the Narrative Mechanics in Japanese Games
    Mukokuseki and the Narrative Mechanics in Japanese Games Hiloko Kato and René Bauer “In fact the whole of Japan is a pure invention. There is no such country, there are no such peo- ple.”1 “I do realize there’s a cultural difference be- tween what Japanese people think and what the rest of the world thinks.”2 “I just want the same damn game Japan gets to play, translated into English!”3 Space Invaders, Frogger, Pac-Man, Super Mario Bros., Final Fantasy, Street Fighter, Sonic The Hedgehog, Pokémon, Harvest Moon, Resident Evil, Silent Hill, Metal Gear Solid, Zelda, Katamari, Okami, Hatoful Boyfriend, Dark Souls, The Last Guardian, Sekiro. As this very small collection shows, Japanese arcade and video games cover the whole range of possible design and gameplay styles and define a unique way of narrating stories. Many titles are very successful and renowned, but even though they are an integral part of Western gaming culture, they still retain a certain otherness. This article explores the uniqueness of video games made in Japan in terms of their narrative mechanics. For this purpose, we will draw on a strategy which defines Japanese culture: mukokuseki (borderless, without a nation) is a concept that can be interpreted either as Japanese commod- ities erasing all cultural characteristics (“Mario does not invoke the image of Ja- 1 Wilde (2007 [1891]: 493). 2 Takahashi Tetsuya (Monolith Soft CEO) in Schreier (2017). 3 Funtime Happysnacks in Brian (@NE_Brian) (2017), our emphasis. 114 | Hiloko Kato and René Bauer pan” [Iwabuchi 2002: 94])4, or as a special way of mixing together elements of cultural origins, creating something that is new, but also hybrid and even ambig- uous.
    [Show full text]
  • Game Developer’S Advice the Fine Art of for the Industry’S Sake? for the Great Job Hunt Corel Painter X
    >> PROFESSIONAL CAREER ADVANCEMENT ISSUE MAY 2007 THE LEADING GAME INDUSTRY MAGAZINE >>A WHOLE LOTTA COLLADA >>MOVING ON UP >>PRODUCT REVIEW STANDARD FILE FORMAT GAME DEVELOPER’S ADVICE THE FINE ART OF FOR THE INDUSTRY’S SAKE? FOR THE GREAT JOB HUNT COREL PAINTER X POSTMORTEM: ELEBITSKONAMI’S ¼ËÉ9gÉÛпÉP¿g9ËÃÉ Ù9ËÉËÉGgPgÉ¿g9ËÛÉ Larger data sets and escalating build times are the harsh realities that face anyone trying to achieve a greater sense of realism in 3D simulations and games. That’s why SGI and PipelineFX have teamed to deliver a scalable, easy-to-deploy render management solution—including SGI® Altix® XE integrated server systems built on Quad-Core Intel® Xeon® 5300 processors and Qube!™ software from PipelineFX—that can move projects from rendering to reality in no time. Read how you can accelerate your rendering workflow with our new White Paper, “Managing Rich-Media Workflows,” at www.sgi.com/go/create ©ÏßßÆÉ,­ÉÉ¿zËÃÉ¿gÃg¿Øg^­É,ÉÃÉ9ÉË¿9^g9¿ÉsÉ,PÉ¿9§PÃ[ÉP­[ÉÉËgÉ.Ëg^É,Ë9ËgÃÉ9^È¿ÉËg¿ÉPÐË¿gÃÉÙ¿^Ù^g­É Ëg[ÉËgÉz[É5g[É9^É5gÉÃ^gÉ9¿gÉË¿9^g9¿ÃÉ¿É¿gzÃËg¿g^ÉË¿9^g9¿ÃÉsÉËgÉ ¿§¿9ËÉ¿ÉËÃÉÃÐGÃ^9¿gÃÉÉËgÉ.Ëg^É,Ë9ËgÃÉ9^ÉËg¿ÉPÐË¿gí -gÉ)§gg5É9^É*ÐGgqÉzÃÉ9¿gÉË¿9^g9¿ÃÉsÉ)§gg5[É [ÉÐÐ[É9Ù9­ []CONTENTS MAY 2007 VOLUME 14, NUMBER 5 PROFESSIONAL CAREER GUIDE 7 FEATURE Moving On Up A career move doesn’t always involve leaving a company. Developers have a bounty of choices within reach, from changing job titles to moving to a different studio within the same company.
    [Show full text]
  • Taylor, Fowler Seek Office
    SPORTS Walk-off homerun lifts Tide to victory the Sc getsne technical 14 9 in extra innings Thursday, February 26, 2009 Serving the University of Alabama since 1894 Vol. 115, Issue 94 SGA | VP OF EXTERNAL AFFAIRS PEDESTRIAN SAFETY Taylor, Fowler seek offi ce Right of way only secure in crosswalks By Patty Vaughan Contributing Writer Fast Facts Over the past few years, • If a pedestrian enters a Alabama’s student population crosswalk then the pedes- has increased by thousands of students. With this increase trian has the right of way came a growing number of cars, • Cross at crosswalks, and an increase in the odds the two will collide. when the crosswalk says “Students cross the street “WALK” at any place they want to and • Pedestrians not using they assume people will stop for them,” Ronnie Robertson, crosswalks must yield to director of transportation ser- oncoming traffi c vices, said. “It’s difficult for us to make students aware that contact, I would be very hesi- that is not always the case.” tant to step out in a crosswalk,” If a pedestrian enters a cross- Robertson said. walk, then they have the right According to the State Codes CW | Marion R Walding away and cars are obligated to of Alabama, pedestrians are Collin Taylor, left, and James Fowler, right, are the two candidates running for the offi ce of vice president of external affairs. stop, said Robertson. However, obligated to use the signs it is common sense for the “WALK,” and “DON’T WALK.” pedestrian crossing to make The codes also said that when Taylor sets sights volunteer work, Fowler proposes railroad quiet zones, eye contact with the driver there are no traffic-control sig- before they step out into the nals, the driver should always lobbying state, communtity growth Sunday sales, Dining Dollar Reform street.
    [Show full text]
  • Corporate Profile Entire Pages12.9 MB
    CORPORATE PROFILE Top Message Delivering More Fun for Everyone in the World We started out as a games company, but expanded our business to other forms of entertainment, and so BANDAI NAMCO Games was renamed to BANDAI NAMCO Entertainment in 2015. Our company continues to evolve to keep up with the ever-changing world. Our newest domain of business is Real Life Entertainment, focused on various live events and merchandise representing our IP. We're dedicated to creating a new type of fun of entertainment, made possible through cutting-edge technology and innovative ideas. Our goal is to be the company which injects fun into everyday experiences, making people all around the world happier. “More fun for everyone” being our motto, we never stop in our quest to invent brand new ways to bring great entertainment into your life. BANDAI NAMCO Entertainment Inc. President and CEO 1 Top Message BANDAI NAMCO Entertainment Inc. CORPORATE PROFILE Corporate Philosophy BANDAI NAMCO Entertainment Corporate Philosophy BANDAI NAMCO Group Corporate Philosophy 2 Corporate Philosophy BANDAI NAMCO Entertainment Inc. CORPORATE PROFILE Corporate Overview Corporate Name BANDAI NAMCO Entertainment Inc. Established June 1, 1955* Capital ¥10.0 billion Employees 900 BANDAI NAMCO Mirai-Kenkyusho Headquarters 5-37-8 Shiba, Minato-ku, Tokyo, Japan 108-0014 *The date of establishment of former NAMCO LTD., the predecessor of BANDAI NAMCO Entertainment Inc. (As of April 1, 2017) Directors and Corporate Auditors President & CEO Satoshi Oshita Kazuya Kiyoshima Managing Director Makoto Asanuma Hirotaka Reizei Nao Udagawa Director Kazunori Goka Masaaki Tsuji (Part-time Director) Kazuhiro Takenaka (Part-time Director) Jun Higashi Corporate Auditor Masatake Yone (Part-time Director, Outside) Kei Hamada (Part-time Director, Outside) (As of April 1, 2017) 3 Corporate Overview BANDAI NAMCO Entertainment Inc.
    [Show full text]
  • Game Stylistics: Playing with Lowbrow by Hyein Lee a Thesis Supporting
    Game Stylistics: Playing with Lowbrow by Hyein Lee A thesis supporting paper and exhibition presented to the OCAD University in partial fulfillment of the requirements for the degree of Master of Design in the Interdisciplinary Master‘s in Art, Media and Design Program OCADU Graduate Gallery 205 Richmond Street Toronto, Ontario, Canada September 6th – September 9th, 2011 © Hyein Lee, August 2011 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize OCAD University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I understand that my thesis may be made electronically available to the public. I further authorize OCAD University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. Signature __________________________________________________ ii Game Stylistics: Playing with Lowbrow Hyein Lee, Masters of Design, 2011 Interdisciplinary Master‘s in Art, Media and Design OCAD University Abstract Playing with Lowbrow is an art game development/creation project that explores the application of Lowbrow aesthetics to game graphics. The resulting creation, Twinkling Stars Above, is a single-player platform PC game prototype. This paper describes the shared and distinct context of two contemporary art movements important to the creation of Twinkling Stars Above: Japan‘s Superflat and North America‘s Lowbrow. I propose that, given Superflat‘s influence on Japan‘s video game graphics, Lowbrow style could also be applied to video games.
    [Show full text]
  • A Guide to the Videogame System
    SYSTEM AND EXPERIENCE A Guide to the Videogame as a Complex System to Create an Experience for the Player A Master’s Thesis by Víctor Navarro Remesal Tutor: Asunción Huertas Roig Department of Communication Rovira i Virgili University (2009) © Víctor Navarro Remesal This Master’s Thesis was finished in September, 2009. All the graphic material belongs to its respective authors, and is shown here solely to illustrate the discourse. 1 ACKNOWLEDGEMENTS I would like to thank my tutor for her support, advice and interest in such a new and different topic. Gonzalo Frasca and Jesper Juul kindly answered my e-mails when I first found about ludology and started considering writing this thesis: thanks a lot. I also have to thank all the good people I met at the ECREA 2008 Summer School in Tartu, for giving me helpful advices and helping me to get used to the academic world. And, above all, for being such great folks. My friends, family and specially my girlfriend (thank you, Ariadna) have suffered my constant updates on the state of this thesis and my rants about all things academic. I am sure they missed me during my months of seclusion, though, so they should be the ones I thanked the most. Thanks, mates. Last but not least, I want to thank every game creator cited directly or indirectly in this work, particularly Ron Gilbert, Dave Grossman and Tim Schafer for Monkey Island, Fumito Ueda for Ico and Shadow of the Colossus and Hideo Kojima for the Metal Gear series. I would not have written this thesis if it were not for videogames like these.
    [Show full text]
  • The Art of Video Games
    The Art of Video Games Art Form of the 21st Century Debbie Greh Are Video Games Art? Video games are nothing if not experiential. They are visuals and music and poetry all wrapped up into a single package. A video game isn't just a game — it is a controlled passage through an overwhelming aesthetic experience… (Kyle Chayka) Why Video Games are Works of Art . May 2010 / the Atlantic) . Games certainly have artistic qualities and elements. There are even games that are absolute masterpieces. Two Examples: . Will Wright (Sims)and Sid Meier (Civilization) are true artists, even if the games that they make aren't entirely art. Some interesting comparisons Assassin’s Creed III Everett Shinn, Horse-drawn Bus, 1914 UFC Undisputed 3 George Bellows, Club Night, 1909 Ratchet and Clank John Marin, 1932 Bio Shock Infinite John Sloan: The City from Greenwich Village, 1922 ICO (video game,2001)Furnito Ueda and De Chirichio The Nostalgia Infinite The Art of Video Games The Art of Video Games opened in March to some fan fare; I went this summer to see an exhibit I had long awaited… More later (Hint: I was a little disappointed!) . EMP Museum in Seattle, Washington (February 16, 2013–May 13, 2013) . Phoenix Art Museum in Phoenix, Arizona (June 16, 2013—September 29, 2013) . Everson Museum of Art in Syracuse, New York (October 25, 2013–January 19, 2014) . Hudson River Museum in Yonkers, New York (February 15, 2014–May 18, 2014) . Toledo Museum of Art in Toledo, Ohio (June 19, 2014–September 28, 2014) . Flint Institute of Arts in Flint, Michigan (October 25, 2014–January 18, 2015) .
    [Show full text]
  • Core Collections: Games for Libraries to Circulate
    Core Collections: Games for Libraries to Circulate Games listed in this handout range in cost between $19.99 and $59.99, depending on reseller and game. Check GameSpot (http://www.gamespot.com/) for a more extensive list of game titles. PC Games for Children Cars (THQ Inc, 2006) Fisher Price Little People Discovery Games (Vivendi Universal, 2003) I Spy Spooky Mansion Deluxe (Riverhillsoft, 2005) Nancy Drew: Danger on Deception Island (ValuSoft Inc.) Rollercoaster Tycoon (Hasbro/InfoGrames, 1999) PC Games for Teens Guild Wars (NCSoft/ArenaNet, 2006)‏ The Lord of the Rings: The Battle for Middle-earth (EA, 2004)‏ Sid Meier’s Pirates! (2K Games, 2005)‏ The Sims 2 (Maxis/EA 2005)‏ World of WarCraft (Blizzard, 2004) PC Games for Adults Civilization IV (Firaxis/Infogrames, 2005) Medal of Honor: Allied Assault (EA Games, 2002) Space Invaders Anniversary (Empire Interactive, 2003) SWAT 4 (Irrational Games/Vivendi, 2005) Unreal Tournament (Epic/GT Interactive, 1999) XBox 360 Games for Children Cars Mater National (THQ, 2006) FIFA Soccer 08 (Electronic Arts, 2007) Lego Star Wars I (LucasArts, 2006)‏ Harry Potter and the Goblet of Fire (Electronic Arts, 2005) Viva Pinata (Rare LTD, 2006)‏ XBox 360 Games for Teens Lego Star Wars II: The Original Trilogy (LusasArts, 2007) Guitar Hero II (RedOctane, 2007) Madden NFL 2006 (Electronic Arts, 2005) Need for Speed Underground (EA, 2003) Tony Hawk's Underground THUG (Activision/Neversoft, 2003)‏ XBox 360 Games for Adults Fable (Microsoft Game Studios/ Big Blue Box, 2004) Call of Duty 2 (Activision/Infinity Ward 2005) Halo 3 (Bungie, 2007) Core Collections for CLA 2007 - This material has been created by Beth Gallaway and designed by Sharon Clarke for the Infopeople Project [infopeople.org], supported by the U.S.
    [Show full text]