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Video Games As Culture
There are only a few works that aim for a comprehensive mapping of what games as a culture are, and how their complex social and cultural realities should be stud- ied, as a whole. Daniel Muriel and Garry Crawford have done so, analyzing both games, players, associated practices, and the broad range of socio-cultural develop- ments that contribute to the ongoing ludification of society. Ambitious, lucid, and well-informed, this book is an excellent guide to the field, and will no doubt inspire future work. Frans Mäyrä, Professor of Information Studies and Interactive Media, University of Tampere This book provides an insightful and accessible contribution to our understand- ing of video games as culture. However, its most impressive achievement is that it cogently shows how the study of video games can be used to explore broader social and cultural processes, including identity, agency, community, and consumption in contemporary digital societies. Muriel and Crawford have written a book that transcends its topic, and deserves to be read widely. Aphra Kerr, Senior Lecturer in Sociology, Maynooth University This page intentionally left blank VIDEO GAMES AS CULTURE Video games are becoming culturally dominant. But what does their popularity say about our contemporary society? This book explores video game culture, but in doing so, utilizes video games as a lens through which to understand contemporary social life. Video games are becoming an increasingly central part of our cultural lives, impacting on various aspects of everyday life such -
ADVENTURE LANTERN APRIL 2014 /# ./*-4*! 1 )/0- ' )/ -) Friends, This Month Represents an Important Milestone for Adventure Lantern
APRIL 2014 T HE STORY OF ADVENTURE LANTERN EDITORIAL EDITORIAL T HE STORY OF ADVENTURE LANTERN APRIL 2014 /# ./*-4*! 1 )/0- ')/ -) Friends, This month represents an important milestone for Adventure Lantern. Our April 2014 PDF is the 50th issue of our magazine. We came a long way since the first edition of AL that was released eight years ago. During those eight years, Adventure Lantern went through many changes. There were periods where we were extremely active and growing. There were also months of silence where other aspects of my life had to take priority over the magazine. We had a plethora of excellent contributors and two exceptional individuals that took over all editing and formatting duties in my absence. Looking back now, it is hard to believe how much content was produced and how much time was put into the magazine. Ugur Sener wanted to use this month’s gentleman and a great boss, saw my name listed among the staff personal use. As such, Adventure the details of that argument seem of a dream from years ago. I editorial to celebrate what structured the experience so that members of Just Adventure. She Lantern was designed entirely entirely trivial. However, since the remembered how a few friends came before and acknowledge I could produce work that would contacted me to ask if I would be using a text editor. It was written in Adventure Lantern domain was and I had attempted to produce a all the hard work that has gone be of value to the company while I willing to write review and preview HTML alone, with no fancy graphics, under my name, my partner walked gaming magazine in high school. -
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. -
Ferrando Monzón
Escola Tècnica Superior d’Enginyeria Informàtica Universitat Politècnica de València GameBrush Plugin de generación de formas abstractas y de alteración visual del entorno para Unity3D Trabajo Fin de Grado Grado en Ingeniería Informática Autor: Guillermo Ferrando Monzón Tutor (UPV): Ramón Pascual Mollá Vayá Cotutora (Empresa): Marina González Oller 2015-2016 GameBrush 2 Resumen Este proyecto final cubre el desarrollo de un plugin para Unity implementado en C# y orientado al desarrollo de videojuegos para Windows. Su objetivo principal es otorgar a cualquier entidad a la que esté vinculado la capacidad de generar fluidos modelados con blobs de distintos aspectos visuales configurables y de estampar tales aspectos en el entorno virtual. Estos aspectos (por ejemplo: pintura plástica, mercurio, burbujas, etc) estarán definidos por shaders escritos en el lenguaje Cg/HLSL que utiliza Unity, y para la creación de los blobs se utilizarán los geometry shaders, disponibles en las implementaciones de DirectX10 y OpenGL3.2 o superiores. Se creará además un proyecto de Unity para demostrar todas las funcionalidades del plugin y con la intención de analizar su potencial en la creación de videojuegos de exploración artística. Con todo esto se busca obtener una visión general del desarrollo de videojuegos y de la programación de shaders. Palabras clave: plugin, Unity, unity, blob, geometry, shader, metaball, cg, hlsl, videojuego. Abstract This final project tracks the development of a Unity plugin implemented in C# focused on Windows videogame development. Its main purpose is to grant the ability of generating fluids modeled with blobs to whichever entity the plugin is attached to. Each blob generated can have a different configurable appearance and each one of these aspects (such as plastic paint, mercury and bubbles, as example) can be printed all around the virtual environment. -
Paolo Nosenzo, Estetica E Storytelling Negli Indie Game
Università degli Studi di Torino Dipartimento di Studi Umanistici Laurea Magistrale in Cinema e Media Dissertazione Finale Estetica e Storytelling negli Indie Game Relatore: Prof. Alessandro Amaducci Correlatori: Prof. Riccardo Fassone Candidato: Paolo Nosenzo matr. N° 702043 Anno Accademico 2014/2015 INDICE Introduzione: definire un Indie Game ................................................................................................ 4 Capitolo 1: Storia della scena indipendente .................................................................................... 11 1.1 Da mercato frammentato a comunità globale .......................................... 11 1.2 Indie, il nuovo Mainstream...................................................................... 15 1.3 L’evoluzione dello stile indipendente ...................................................... 18 Capitolo 2: Estetica e Graphic Design, il ritorno del Vintage............................. 22 2.1 Pixel Art ................................................................................................... 22 2.1.1 Pixel Art in 2D ................................................................................ 24 2.1.2 Pixel Art in 3D: da quadrati a cubi.................................................. 31 2.2 Il Low Poly .............................................................................................. 36 2.3 Retrò: una rivisitazione in chiave moderna ............................................. 40 Capitolo 3: Astrazione, Minimalismo, e altre soluzioni visive.......................... -
Platform Game Report
1. Introduction 1.1 Background The first ever computer game was developed in 1952: Tic Tac Toe by A.S. Douglas. The next computer game is generally assumed to be the game Spacewar developed in 1962 at MIT (Stephen Russell ). Spacewar originally ran on a PDP-1 computer the size of a large car. The first "text adventure" game, Adventure (Crowther & Woods 1977) was created 15 years after Spacewar. Unlike the action game, an adventure is not based on fast reflexes; the time of the adventure game is on pause when the player does not do anything. In the text adventure, the player communicates with the computer textually - movement is initiated by typing the direction one wants to move in. A typical start of Adventure looks like this (">" marks what the player types.) 1.2 Needs This project will be a means of entertainment and a perfect leisure time activity for the people. Along with this, the game will also contain brainstorming puzzles in its sub-levels which will sharpen the user’s mind. • Games teach problem solving skills and creativity in a way that is entertaining. • Playing games provide an opportunity to teach. • Games help to develop minds of people and sharpen the senses. 1.3 Problem Definition The main motive of a game is to attract players but the games which were made earlier had a single theme throughout the game and this made the games boring. Sometimes the levels were very easy and were completed in a short span of time and due to this the players used to lose interest as the games were not addicting. -
Thimbleweed Park Spielanalyse
Thimbleweed Park Spielanalyse 2 Inhaltsverzeichnis Einleitung 3 These 4 1. Historische Analyse 5 1.1 Spielhistorische Analyse 5 1.2 Technikhistorische Analyse 7 1.3 Kulturhistorische Analyse 10 2. Systematische Analyse 13 2.1 Technisches Genre 13 2.2 Narratives Genre 14 2.3 Ludisches Genre 15 2.4 Performatives Genre 16 2.5 Audiovisuelles Genre 18 3. Medienästhetische Analyse 19 3.1 Audiovisuelle Ästhetik 19 3.1.1 Grafik 19 3.1.2 Animation 20 3.1.3 Sound 21 3.1.4 Filmästhetische Merkmale 22 3.2 Ludition 23 3.2.1 Ludische Charakteristika 23 3.2.2 Graphical User Interface 25 3.3 Narration 26 3.4 Performanz 27 Fazit 28 Quellenverzeichnis 30 Anhang 33 Eigenständigkeitserklärung 34 3 Einleitung “It’s like opening a dusty old desk drawer and finding an undiscovered LucasArts adventure game you’ve never played before.”1 Thimbleweed Park erweckt den Eindruck eines klassischen Adventure Games, obgleich es aktueller kaum sein könnte. Das Spiel wurde am 30. März 2017 ohne das Zutun einer renommierten Publisherfirma2 auf den Plattformen Linux, Macintosh, Windows und Xbox One veröffentlicht und wird seitdem von der einschlägigen Presse hoch gehandelt. IGN gibt eine Bewertung mit 8,5 von 10 Punkten, 4players.de vergibt 87 von 100 Punkten und Adventure Gamers schenkt dem Projekt 5 von 5 Sternen.3 Finanziert und ermöglicht wurde das Projekt über eine Crowdfunding-Kampagne auf der Plattform Kickstarter, welche von den Entwicklern Ron Gilbert und Gary Winnick im November 2014 initiiert wurde. 626.250$ des ursprünglichen Zielbetrags von 375.000$ wurden dabei finanziert.4 Es ist sehr wahrscheinlich, dass der überschwängliche Erfolg der Kampagne unter anderem darin begründet liegt, dass es sich bei den Entwicklern um die Mitbegründer des Genres der Grafik-Adventures handelt.5 Während der Entwicklung wurden weite Teile des Entstehungsprozesses über einen Developer-Blog der Community offenbart. -
Título Del TFG: “Videojuegos, Una Narrativa En Evolución: Knight Lore, Half-Life 2 Y Heavy Rain Como Casos De Estudio”
Título del TFG: “Videojuegos, una narrativa en evolución: Knight Lore, Half-Life 2 y Heavy Rain como casos de estudio” Autor: Antonio Ruiz García DNI: 28723187M Titulación: Grado de Periodismo Centro: Facultad de Comunicación - Universidad de Sevilla Tutor académico: Dr. Fernando R. Contreras Medina Línea de investigación: Tecnología de la Comunicación. Cibercultura. Videojuegos. Índice 1. Introducción 3 2. Objetivos 5 3. Metodología 5 4. La influencia de los videojuegos en otras disciplinas artísticas 7 5. Los videojuegos y el resto de disciplinas: semejanzas y diferencias 11 6. Rasgos definitorios de los videojuegos 16 7. Narrativa e historia en los videojuegos 18 7.1. La cuestión del género 19 7.2. Los videojuegos como vehículo narrativo: lo lineal y lo no lineal 21 7.3. ¿Hasta dónde llegan los videojuegos? 22 8. El papel del jugador: la ilusión de la libertad y el problema de la interactividad 23 9. Los personajes 28 10. El misterio, el ritmo y otras estrategias para mantener el interés del jugador 29 11. Personajes secundarios no jugables 30 12. Historias secundarias, previas o de trasfondo 31 13. Una visión cronológica de la evolución de la narrativa de los videojuegos 34 13.1. Los inicios 34 13.2. La irrupción de las aventuras gráficas y el jugador como arquitecto de la historia 35 13.3. La narrativa de los videojuegos, hoy 38 13.4. La narrativa de los videojuegos, mañana 39 13.5. El realismo y el simulacro de realidad 41 14. Análisis de videojuegos 43 14.1. Knight Lore 43 14.2. Half-Life 2 46 14.3.