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Hi-Bit Pixel Graphics – the New Era of Pixel Art
Hi-Bit Pixel Graphics – The New Era of Pixel Art Olli Heikkinen Thesis May 2021 Degree Programme in Information Business Systems Game Production 2 ABSTRACT Tampere University of Applied Sciences Information Business Systems Game Production Olli Heikkinen Hi-Bit Pixel Graphics – New Era of Pixel Art Bachelor's thesis 35 pages May 2021 This bachelor’s thesis studies how pixel graphics in video games are seen today, and what current trends make classic pixel graphics hi-bit. This thesis briefly covers the beginnings of pixel graphics, how pixel graphics in video games have changed over the years, as well as a few key techniques that make hi-bit pixel art. To further demonstrate the elements of hi-bit pixel graphics, a short game demo “Mr. Skullerton’s Vault” was created in the Unity game engine. In this demonstration a variety of different hi-bit pixel art techniques were tested, including pixel perfect settings, normal mapping, skeletal animation. The techniques tested in this demonstration proved to be significant elements, which distinguish classic pixel graphics from hi-bit pixel art Key words: pixel graphics, pixel art, video game graphics 3 CONTENTS Introduction ................................................................................................ 5 1 Pixel art in general ................................................................................ 7 1.1 Pixel art in video games today ....................................................... 8 1.2 Why Hi bit-pixel art? .................................................................... -
Cole, Tom. 2021. ”Moments to Talk About”: Designing for the Eudaimonic Gameplay Experience
Cole, Tom. 2021. ”Moments to Talk About”: Designing for the Eudaimonic Gameplay Experience. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/29689/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] “Moments to Talk About”: Designing for the Eudaimonic Gameplay Experience Thomas Cole Department of Computing Goldsmiths, University of London April 2020 (corrections December 2020) Thesis submitted in requirements for the degree of Doctor of Philosophy Abstract This thesis investigates the mixed-affect emotional experience of playing videogames. Its contribution is by way of a set of grounded theories that help us understand the game players’ mixed-affect emotional experience, and that support ana- lysts and designers in seeking to broaden and deepen emotional engagement in videogames. This was the product of three studies: First — An analysis of magazine reviews for a selection of videogames sug- gested there were two kinds of challenge being presented. Functional challenge — the commonly accepted notion of challenge, where dexterity and skill with the controls or strategy is used to overcome challenges, and emotional chal- lenge — where resolution of tension within the narrative, emotional exploration of ambiguities within the diegesis, or identification with characters is overcome with cognitive and affective effort. -
GAME CAREER GUIDE July 2016 Breaking in the Easy(Ish) Way!
TOP FREE GAME TOOLS JULY 2016 GAME FROM GAME EXPO TO GAME JOB Indie intro to VR Brought to you by GRADUATE #2 PROGRAM JULY 2016 CONTENTS DEPARTMENTS 4 EDITOR’S NOTE IT'S ALL ABOUT TASTE! 96 FREE TOOLS FREE DEVELOPMENT TOOLS 2016 53 GAME SCHOOL DIRECTORY 104 ARRESTED DEVELOPMENT There are tons of options out there in terms INDIE DREAMIN' of viable game schools, and this list is just the starting point to get you acquainted with the schools near you (or far from you, if that’s what STUDENT POSTMORTEM you prefer!). 32 BEGLITCHED 72 VIRTUALLY DESIGNED NYU Game Center students Alec Thomson and Jennu Jiao Hsia discuss their IGF Award- VR has quickly moved from buzzword, to proto- winning match three game about insecurity type, to viable business. This guide will help you within computers, and within ourselves. get started in VR development, avoiding some common pitfalls. FEATURES 78 SOUNDS GOOD TO ME! 8 BREAKING IN THE EASY(ISH) WAY! Advice for making audio (with or without) How attending expos can land you a job. an audio specialist. 18 ZERO TO HERO Hey! You want to learn low poly modeling but 84 A SELLER’S MARKET don’t know where to start? Look no further! Marketing fundamentals for your first game. With this guide, we hope to provide a good introduction to not only the software, but 90 INTRO TO GAME ENGINES also the concepts and theory at play. A brief discussion of some of the newest and most popular DO YOU NEED A PUBLISHER? 34 game engines. -
Designing Gameplay Researching and Testing Nintendo’S Game Design
Designing Gameplay Researching and testing Nintendo’s game design Malin Ribäck Arcada Biblioteket och Språkenheten Helsingfors 2019 EXAMENSARBETE Arcada Utbildningsprogram: Mediekultur Identifikationsnummer: 6847 Författare: Malin Ribäck Arbetets namn: Gameplays design – Undersökning och test av Nintendos speldesign Handledare (Arcada): Mirko Ahonen Uppdragsgivare: Sammandrag: Studien gick ut på att utforska hur spelföretaget Nintendo designar gameplay. För att testa resultaten i praktiken skapades ett game design-dokument. Därför börjar arbetet med att diskutera vad game design-dokument är och vad de används för. Game design-dokumentet som gjordes i samband med studien är en kombination av det huvudsakliga game design- dokumentet och ett konceptdokument. Därför tar arbetet också upp skillnaderna mellan dessa dokument. För att utreda hur Nintendo designar gameplay utfördes en litteraturundersökning. Materialet som användes i litteraturundersökningen består av intervjuer. Majoriteten av intervjuerna härstammar från Nintendos egen hemsida. För att utforma en teori tar arbetet upp några befintliga teorier för hur Nintendo designar sina spel. För att kunna diskutera Nintendos gameplay definieras gameplays koncept genom att diskutera olika definitioner av olika författare som tar upp ämnet i fråga. Litteraturundersökningen inleds med en presentation av varifrån materialet för studien har kommit. Inledningsvis tar också arbetet upp två viktiga spelutvecklare från Nintendo, för att ge insikt i varför just de personerna är viktiga. För att presentera en helhet över hur Nintendo designar gameplay studeras, organiseras, presenteras och diskuteras innehållet från litteraturundersökningen. Resultatet från undersökningen visar bland annat att när Nintendo designar sina spel, fokuserar man på följande saker: Att göra spelen användarvänliga, att formge dem enligt deras funktion, att göra spelvärlden responsiv i förhållande till spelaren och att undvika störa eller avbryta spelarens inlevelse i spelet. -
Balasko-Mastersreport-2020
The Report Committee for Alexander Balasko Certifies that this is the approved version of the following report: An Untitled Goose by Any Other Name: A Critical Theorization of the Indie Game Genre APPROVED BY SUPERVISING COMMITTEE: Supervisor: _____________________________________ James Buhler _____________________________________ Bryan Parkhurst An Untitled Goose by Any Other Name: A Critical Theorization of the Indie Game Genre by Alexander Balasko Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Music The University of Texas at Austin May 2020 An Untitled Goose by Any Other Name: A Critical Theorization of the Indie Game Genre Alexander Balasko, M.Music The University of Texas at Austin, 2020 Supervisor: James Buhler As the field of ludomusicology has grown increasingly mainstream within music studies, a methodological trend has emerged in discussions of genre that privileges the formal attributes of game sound while giving relatively little attention to aspects of its production. The problems with this methodological bent become apparent when attempting to discuss the independent (“indie”) game genre, since, from 2010-2020 the indie game genre underwent a number of significant changes in aesthetic trends, many of which seem incoherent with one another. As such, the indie genre has received relatively little attention within the ludomusicological literature despite its enormous impact on broader gaming culture. By analyzing the growth of chiptune aesthetics beginning in 2008 and the subsequent fall from popularity towards 2020, this paper considers how a satisfying understanding of the indie game genre can be ascertained through its material cultures, rather than its aesthetics or gameplay. -
Worldbuilding Voices in the Soundscapes of Role-Playing Video Games
University of Huddersfield Repository Jennifer, Smith Worldbuilding Voices in the Soundscapes of Role Playing Video Games Original Citation Jennifer, Smith (2020) Worldbuilding Voices in the Soundscapes of Role Playing Video Games. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/35389/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Worldbuilding Voices in the Soundscapes of Role-Playing Video Games Jennifer Caron Smith A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield October 2020 1 Copyright Statement i. The author of this thesis (including any appendices and/ or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. -
Officlal REPORT GAMES:Limitless Evolution
GAMES:Limitless Evolution OFFIClAL REPORT Organizer: Computer Entertainment Supplier's Association(CESA) Co-Organizer: Nikkei Business Publications, Inc.(Nikkei BP) Supporter: Ministry of Economy, Trade and Industry(METI) Period: Sep.19(Thursday)-22(Sunday), 2013 Venue: Makuhari Messe TOKYO GAME SHOW 2013 Official Report 1.Outline of the Show/Number of Visitors Name : TOKYO GAME SHOW 2013 Theme : GAMES : Limitless Evolution Organizer : Computer Entertainment Supplier's Association(CESA) Co-Organizer : Nikkei Business Publications, Inc(. Nikkei BP) Supporter : Ministry of Economy, Trade and Industry(METI) Period : Business Days Sep. 19(Thursday) - Sep. 20(Friday) From 10:00 a.m. to 5:00 p.m. Public Days Sep. 21(Saturday) - Sep. 22(Sunday) From 9:30 a.m. to 5:00 p.m. Venue: Makuhari Messe(Mihama-ku, Chiba-shi, Chiba) Exhibition Halls 1-9(exhibition area : about 63,000 square meters) International Conference Halls Event Hall Number of exhibitors : 352〈Domestic :190,Overseas : 162〉(209 in 2012〈Domestic :126,Overseas : 83〉) Exhibiting countries and regions 33(19 in 2012) Asia(16 countries and regions)Brunei Darussalam*, Cambodia*, China, Hong Kong, Indonesia, Japan, Macau*,Malaysia, Myanmar*, Philippines*, Singapore*, South Korea, Taiwan, Thailand*, Vietnam, Laos* North and Latin America(4 countries)Canada*, Mexico*, United States, Venezuela* Europe( 13 countries)Denmark, Finland, Germany*, Holland*, Ireland, Israel*, Luxembourg*, Poland, Russia, Spain*, Sweden, Switzerland*, United Kingdom( Alphabetical order)*New for 2013 Number of booths -
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. -
Deep Game Design: Una Nueva Metodología Para Crear Juegos Innovadores
Sebastián Blanco y Gonzalo Zabala Deep Game Design: Una nueva metodología (...) Fecha de recepción: febrero 2019 Deep Game Design: Una nueva Fecha de aceptación: julio 2019 Versión final: noviembre 2020 metodología para crear juegos innovadores Sebastián Blanco * y Gonzalo Zabala ** Resumen: El presente trabajo consiste en la propuesta de una nueva metodología llamada Diseño Profundo de Juegos cuyo objetivo es sentar las bases para desarrollar videojuegos que expandan los límites del medio. La propuesta parte del estado del arte actual, de las mecánicas experimentales y los procesos de diseño, así como también del enfoque sis- témico de los juegos y su significado antropológico. Se expone además un conjunto de videojuegos cuyo desarrollo fue observado y utilizado como base para la realización de la presente metodología. Palabras clave: desarrollo de videojuegos - mecánicas experimentales - diseño profundo - metodología de diseño - enfoque sistémico - puzzle [Resúmenes en inglés y portugués en las páginas 118 - 119] (*) Ingeniero en Sistemas Informáticos (Universidad Abierta Interamericana). Director del Laboratorio en Innovación de Videojuegos Experimentales (Universidad Abierta Intera- mericana). Auxiliar de Investigación en Robótica (Universidad Abierta Interamericana). (**) Licenciado en Ciencias de la Computación (Universidad de Buenos Aires). Investiga- dor en Robótica (Universidad Abierta Interamericana). Director de Playbots S.A. Organi- zador de la FIRST LEGO League en Argentina. Creador de las Olimpíadas Argentinas de Robótica. Representante de Robocup Junior y FIRA. Introducción En el año 2017 se publicaron 7.672 videojuegos en Steam, la plataforma digital más grande de distribución de juegos para PC (Kuchera, 2018). Por otro lado, el catálogo de juegos ac- tualizado a Enero 2019 de las consolas de última generación posee la siguiente cantidad de títulos: 1857 en XBOX One, 1856 en Playstation 4 y 1286 en Nintendo Switch. -
ANCIENT ASTRONAUTS Exploring Inkle’S Translation Adventure, Heaven’S Vault Subscribe Today 12 Weeks for £12*
ALL FORMATS BOSS BATTLES GENERATION ZERO THE INDIE DESIGNERS AVALANCHE ON MAKING THE INNOVATING BIG BADS ULTIMATE KILLER MACHINES Issue 10 £3 TWINE wfmag.cc CREATE YOUR FIRST INTERACTIVE FICTION 10 72000 16 7263 97 ANCIENT ASTRONAUTS EXPLORING INKLE’S TRANSLATION ADVENTURE, HEAVEN’S VAULT Subscribe today 12 weeks for £12* Visit: wfmag.cc/12weeks to order * UK Price. 6 issue introductory offer Let’s talk about games and xenophobia laying video games doesn’t cause otherwise their potency, I’d ask: how many people over the course non-violent people to go on shooting of history have structured their lives, lived, named sprees. Let’s get that out of the way right children, killed, and died for the story of a man who died P off the bat. Video games no more cause on a cross? violence than action movies, violent TV shows, crime Our stories are powerful, and they can be novels, The Ballad of Billy the Kid, The Iliad, or any other JESSICA PRICE extraordinarily powerful: the rational response to the storytelling that contains violence. Your kid isn’t going to economy, political environment, and looming climate Jessica Price is a go shoot up their school if you let them play Call of Duty. producer, writer, and catastrophe for millennials and those who come after Unfortunately, efforts to demonise video games in the manager with over a us would probably be despair and helplessness. But wake of tragedies, and the spectre of hostile crusaders decade of experience we get involved, we vote, we act, and we keep going. -
Concepting for the Indie Market
CONCEPTING FOR THE INDIE MARKET By Carissa Vadella OVERVIEW………………………………………………………………………………...2 RISKS AND RISK MANAGEMENT……………………………………………………...2 UTILIZING NOSTALGIA…………………………………………………………………..3 REVIVING OLD AESTHETICS…………………………………………………………..4 REVIVING OLD GENRES………………………………………………………………..8 HIGH DIFFICULTY LEVEL……………………………………………………………….10 ATTENTION TO DETAIL…………………………………………………………………13 COMBINING POPULAR GENRES……………………………………………………..14 FRESH PERSPECTIVE………………………………………………………………….15 HEAVY NARRATIVE INFLUENCE……………………………………………………...17 GAMES AS HIGH ART…………………………………………………………………..18 FURTHER INSPIRATION………………………………………………………………..19 UNDERSTANDING ONE’S ENGINE…………………………………………………...19 WORKS CITED…………………………………………………………………………....20 ADDITIONAL RESOURCES……………………………………………………………..22 Vadella 2 OVERVIEW Commercial success often, though not always, corresponds with successful design. In examining the market as a whole for both its strengths and weaknesses, understanding what makes a concept “good” or “bad” is made easier. In indie development especially, although relevant to all game design, the main objective is to create as powerful and fun of a game with as minimal of work as possible, thus making every element impactful. The strategies discussed herein should be looked at as merely one way of achieving success. RISKS AND RISK MANAGEMENT One should have a clear target audience in mind. People will dislike your game; it is frankly impossible to make everyone happy. What is important is understanding why they dislike your game and what, if anything, you should change based on their feedback. In a highly simplistic example, if one was creating a cutesy Sailor Moon inspired shooter, the advice of a dedicated Call of Duty player to add more explosions won’t always mesh well with the direction of the game. Whether feedback is discarded or used, a developer should always know why they chose what they did. Indie development doesn’t need to be that much riskier than bigger name development. -
Simoncutajar-Phd-Dissertation.Pdf
Open Research Online The Open University’s repository of research publications and other research outputs Automatic Generation of Dynamic Musical Transitions in Computer Games Thesis How to cite: Cutajar, Simon (2020). Automatic Generation of Dynamic Musical Transitions in Computer Games. PhD thesis The Open University. For guidance on citations see FAQs. c 2018 Simon Cutajar https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.00010e48 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Typeset in LATEX using TEX Gyre Pagella and PT Serif. Declaration of Authorship I, Simon Cutajar, confirm that the research in this dissertation is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. I attest that I have exercised reasonable care to ensure that the work is original, and to the best of my knowledge does not break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I confirm that this dissertation has not been previously submitted for the award of a degree by this or any other university. I understand that my dissertation may be made available to the public, electronically or otherwise.