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The Development and Validation of the Game User Experience Satisfaction Scale (Guess)
THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) A Dissertation by Mikki Hoang Phan Master of Arts, Wichita State University, 2012 Bachelor of Arts, Wichita State University, 2008 Submitted to the Department of Psychology and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2015 © Copyright 2015 by Mikki Phan All Rights Reserved THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) The following faculty members have examined the final copy of this dissertation for form and content, and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy with a major in Psychology. _____________________________________ Barbara S. Chaparro, Committee Chair _____________________________________ Joseph Keebler, Committee Member _____________________________________ Jibo He, Committee Member _____________________________________ Darwin Dorr, Committee Member _____________________________________ Jodie Hertzog, Committee Member Accepted for the College of Liberal Arts and Sciences _____________________________________ Ronald Matson, Dean Accepted for the Graduate School _____________________________________ Abu S. Masud, Interim Dean iii DEDICATION To my parents for their love and support, and all that they have sacrificed so that my siblings and I can have a better future iv Video games open worlds. — Jon-Paul Dyson v ACKNOWLEDGEMENTS Althea Gibson once said, “No matter what accomplishments you make, somebody helped you.” Thus, completing this long and winding Ph.D. journey would not have been possible without a village of support and help. While words could not adequately sum up how thankful I am, I would like to start off by thanking my dissertation chair and advisor, Dr. -
COMPARATIVE VIDEOGAME CRITICISM by Trung Nguyen
COMPARATIVE VIDEOGAME CRITICISM by Trung Nguyen Citation Bogost, Ian. Unit Operations: An Approach to Videogame Criticism. Cambridge, MA: MIT, 2006. Keywords: Mythical and scientific modes of thought (bricoleur vs. engineer), bricolage, cyber texts, ergodic literature, Unit operations. Games: Zork I. Argument & Perspective Ian Bogost’s “unit operations” that he mentions in the title is a method of analyzing and explaining not only video games, but work of any medium where works should be seen “as a configurative system, an arrangement of discrete, interlocking units of expressive meaning.” (Bogost x) Similarly, in this chapter, he more specifically argues that as opposed to seeing video games as hard pieces of technology to be poked and prodded within criticism, they should be seen in a more abstract manner. He states that “instead of focusing on how games work, I suggest that we turn to what they do— how they inform, change, or otherwise participate in human activity…” (Bogost 53) This comparative video game criticism is not about invalidating more concrete observances of video games, such as how they work, but weaving them into a more intuitive discussion that explores the true nature of video games. II. Ideas Unit Operations: Like I mentioned in the first section, this is a different way of approaching mediums such as poetry, literature, or videogames where works are a system of many parts rather than an overarching, singular, structured piece. Engineer vs. Bricoleur metaphor: Bogost uses this metaphor to compare the fundamentalist view of video game critique to his proposed view, saying that the “bricoleur is a skillful handy-man, a jack-of-all-trades who uses convenient implements and ad hoc strategies to achieve his ends.” Whereas the engineer is a “scientific thinker who strives to construct holistic, totalizing systems from the top down…” (Bogost 49) One being more abstract and the other set and defined. -
G320: Game Art & Sound
G320: Game Art & Sound Indiana University Media School Professor: Rachel Lin Weaver [email protected] Office Hours (FA 410): Wednesday 1-3 pm (or send e-mail to schedule an appointment) Game Art & Sound is an introductory course to those very topics. The objective is simple: create an environment in which students learn how to create visual and audio assets for games and other related forms of immersive, interactive, or playable media. This course is not intended to develop specialists. Rather it gives students a foundation for many different techniques that will allow them to create functional audio and visual media in future projects and courses. Students will be introduced to a variety of software used to create music, sound effects, still images, and animations. In addition to practice, this course will explore theory related to the history and application of these techniques. G320 is recommended for students with an interest in game design, experience design, digital art, and mediated interaction in general. Constructivist Epistemology? Some concepts of education put teachers in a position of power. Dutiful students are expected to absorb all they can from these “holders of knowledge.” Constructivism takes an opposite stance: Knowledge does not exist in the world. Nor is it "out there" to be discovered whether one is alone or has the assistance of a guide or teacher to impart it. Instead, knowledge is constructed by the individual learner as an internal, mental system. G320 takes a constructivist stance. Students will encounter unique, unusual— potentially absurd—assignments that are intended to confound expectations and erode all preconceptions of what is expected and possible. -
First Quarter 2009 DANCEDANCE DANCEDANCE
First Quarter 2009 DANCEDANCE DANCEDANCE REVOLUTIONREVOLUTION HEROHERO Peek at our technology in Tech Geeks. Plus ... Go old-school with Retrograde reviews Fourth time’s charming for game sound. Page 2 Gaming Insurrection First Quarter 2009 Welcome to the first quarter of a new year for GI! Contributor Marcus Barnes is featured as we look back at GI’s days of traveling for Dance Dance Revolu- tion. The fourth installment of our video game music fea- ture focuses on musically diverse series Mortal Kombat, Mystical Ninja Starring Goemon, DDR and Smash Bros. Cry of War In Tech Geeks, we look at tools used to produce Cry of War From the Dungeon Lyndsey M. Mosley GI. Lyndsey M. Mosley James T. L. Mosley You should not have Imagination a must Contents — First Quarter 2009 to sacrifice your life when dealing with for video games gaming haters Columns Features Usual ormally, I discuss how think about what I’ve gained Suspects Cry of War … 2 DDR Hero … 3-7 to improve gaming ad- and sacrificed for the sake of ventures so games are playing video games, and most Retrograde … 11 Video game music… N enjoyable. In this issue, I days it balances out. However, Sage’s Chronicles … 8, 10 however, I am going to take a different there are times when I have to weigh What we’re playing … 2 track. In this issue I want to talk about the good and the bad, and sometimes 9 haters. games don’t get the fair end of the Haters believe that people who play stick. -
Game Developer Index 2012 Swedish Games Industry’S Reports 2013 Table of Contents
GAME DEVELOPER INDEX 2012 SWEDISH GAMES INDUSTRY’S REPORTS 2013 TABLE OF CONTENTS EXECUTIVE SUMMARY 2 WORDLIST 3 PREFACE 4 TURNOVER AND PROFIT 5 NUMBER OF COMPANIES 7 NUMBER OF EMPLOYEES 7 GENDER DISTRIBUTION 7 TURNOVER PER COMPANY 7 EMPLOYEES PER COMPANY 8 BIGGEST PLAYERS 8 DISTRIBUTION PLATFORMS 8 OUTSOURCING/CONSULTING 9 SPECIALISED SUBCONTRACTORS 9 DLC 10 GAME DEVELOPER MAP 11 LOCATION OF COMPANIES 12 YEAR OF REGISTRY 12 GAME SALES 13 AVERAGE REVIEW SCORES 14 REVENUES OF FREE-TO-PLAY 15 EXAMPLE 15 CPM 16 eCPM 16 NEW SERVICES, NEW PIRACY TARGETS 16 VALUE CHAIN 17 DIGITAL MIDDLEMEN 18 OUTLOOK 18 SWEDISH AAA IN TOP SHAPE 19 CONSOLES 20 PUBISHERS 20 GLOBAL 20 CONCLUSION 22 METHODOLOGY 22 Cover: Mad Max (in development), Avalanche Studios 1 | Game Developer Index 2012 EXECUTIVE SUMMARY The Game Developer Index maps, reports and analyzes the Swedish game devel- opers’ annual operations and international trends by consolidating their respective annual company accounts. Swedish game development is an export industry and operates in a highly globalized market. In just a few decades the Swedish gaming industry has grown from a hobby for enthusiasts into a global industry with cultural and economic importance. The Game Developer Index 2012 compiles Swedish company accounts for the most recently reported fiscal year. The report highlights: • Swedish game developers’ turnover grew by 60 percent to 414 million euro in 2012. A 215% increase from 2010 to 2012. • Most game developer companies (~60 percent) are profitable and the industry reported a combined profit for the fourth consecutive year. • Job creation and employment is up by 30 percent. -
Video Game Trader Magazine & Price Guide
Winter 2009/2010 Issue #14 4 Trading Thoughts 20 Hidden Gems Blue‘s Journey (Neo Geo) Video Game Flashback Dragon‘s Lair (NES) Hidden Gems 8 NES Archives p. 20 19 Page Turners Wrecking Crew Vintage Games 9 Retro Reviews 40 Made in Japan Coin-Op.TV Volume 2 (DVD) Twinkle Star Sprites Alf (Sega Master System) VectrexMad! AutoFire Dongle (Vectrex) 41 Video Game Programming ROM Hacking Part 2 11Homebrew Reviews Ultimate Frogger Championship (NES) 42 Six Feet Under Phantasm (Atari 2600) Accessories Mad Bodies (Atari Jaguar) 44 Just 4 Qix Qix 46 Press Start Comic Michael Thomasson’s Just 4 Qix 5 Bubsy: What Could Possibly Go Wrong? p. 44 6 Spike: Alive and Well in the land of Vectors 14 Special Book Preview: Classic Home Video Games (1985-1988) 43 Token Appreciation Altered Beast 22 Prices for popular consoles from the Atari 2600 Six Feet Under to Sony PlayStation. Now includes 3DO & Complete p. 42 Game Lists! Advertise with Video Game Trader! Multiple run discounts of up to 25% apply THIS ISSUES CONTRIBUTORS: when you run your ad for consecutive Dustin Gulley Brett Weiss Ad Deadlines are 12 Noon Eastern months. Email for full details or visit our ad- Jim Combs Pat “Coldguy” December 1, 2009 (for Issue #15 Spring vertising page on videogametrader.com. Kevin H Gerard Buchko 2010) Agents J & K Dick Ward February 1, 2009(for Issue #16 Summer Video Game Trader can help create your ad- Michael Thomasson John Hancock 2010) vertisement. Email us with your requirements for a price quote. P. Ian Nicholson Peter G NEW!! Low, Full Color, Advertising Rates! -
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. -
NPC Skateboarder AI in EA's Skate
Proceedings of the Fourth Artificial Intelligence and Interactive Digital Entertainment Conference Navigating Detailed Worlds with a Complex, Physically Driven Locomotion: NPC Skateboarder AI in EA’s skate Mark Wesley EA Black Box 19th Floor, 250 Howe Street Vancouver, BC, Canada V6C 3R8 [email protected] The Author • Mark Wesley is a veteran video game programmer with 8 Races years experience developing commercial games across a • Point Scoring (by performing tricks) variety of platforms. He’s worked for major developers such • Follow-Me (skate a pre-determined route whilst as Criterion, Rockstar and EA Black Box, shipping the player follows) numerous titles including Burnout, Battalion Wars, Max • S.K.A.T.E. (setting and copying specific tricks or Payne 2, Manhunt 2 and skate. Although a generalist who trick sequences) has worked in almost every area of game programming from systems to rendering, his current focus is on gameplay and AI. Most recently, he was the skater AI lead on skate Technical Design Considerations and is currently the gameplay lead on skate 2. 1. Complex, exacting, physically-driven locomotion 2. No off-board locomotion (i.e. no ability to walk) Introduction 3. Detailed, high-fidelity collision environment 4. Static world combined with dynamic entities to This talk describes the motivation, design and avoid (pedestrians, vehicles and other skaters) implementation behind the AI for the NPC Skateboarders 5. Short timeframe to implement the entire system in skate. 6. Experiences from the SSX team on their somewhat related solution The complexity of the physically driven locomotion used in skate means that, at any given point, there is an The combination of (1), (2) and (3) add a significant extremely large number of degrees of freedom in potential amount of complexity to even just the basics of motion. -
Game Developer Power 50 the Binding November 2012 of Isaac
THE LEADING GAME INDUSTRY MAGAZINE VOL19 NO 11 NOVEMBER 2012 INSIDE: GAME DEVELOPER POWER 50 THE BINDING NOVEMBER 2012 OF ISAAC www.unrealengine.com real Matinee extensively for Lost Planet 3. many inspirations from visionary directors Spark Unlimited Explores Sophos said these tools empower level de- such as Ridley Scott and John Carpenter. Lost Planet 3 with signers, artist, animators and sound design- Using UE3’s volumetric lighting capabilities ers to quickly prototype, iterate and polish of the engine, Spark was able to more effec- Unreal Engine 3 gameplay scenarios and cinematics. With tively create the moody atmosphere and light- multiple departments being comfortable with ing schemes to help create a sci-fi world that Capcom has enlisted Los Angeles developer Kismet and Matinee, engineers and design- shows as nicely as the reference it draws upon. Spark Unlimited to continue the adventures ers are no longer the bottleneck when it “Even though it takes place in the future, in the world of E.D.N. III. Lost Planet 3 is a comes to implementing assets, which fa- we defi nitely took a lot of inspiration from the prequel to the original game, offering fans of cilitates rapid development and leads to a Old West frontier,” said Sophos. “We also the franchise a very different experience in higher level of polish across the entire game. wanted a lived-in, retro-vibe, so high-tech the harsh, icy conditions of the unforgiving Sophos said the communication between hardware took a backseat to improvised planet. The game combines on-foot third-per- Spark and Epic has been great in its ongoing weapons and real-world fi rearms. -
Character Customization in Video Games As Symbolic Consumption - How Characters Are Customized
Character customization in video games as symbolic consumption - how characters are customized Marketing Master's thesis Juhani Mertsalmi 2010 Department of Marketing and Management Aalto University School of Economics ABSTRACT Objective of the study The objective of this study is to develop an understanding of how symbolic consump- tion takes place in video games as video game players customize their character. In real life products serve as symbols of their consumers and help consumers locate themselves in the society, but to this date the consumption in video games has not been studied largely. One recognized way to use customization is to display one’s favorite brands. Existing studies based on other types of virtual environments suggest that customization features are often used to create a representation of the self to the virtual environment. Research method This research takes a cultural approach to consumer research and is qualitative and in- terpretive in its nature. To conduct the study seven semi-structured interviews were conducted with Finnish 17–26 year-old video game players familiar with the games chosen for this study. Findings As its main findings, this study identifies two main themes that describe symbolic con- sumption in video games. First, the symbolic resources that are provided through char- acter customization are used to create self-representations into the virtual environment of the video game. These self-representations can draw from players self-image, but al- so from past or desired self-images. Self-representative consumption in video games is understood to play a role in construction of the self like all voluntary consumption in real life. -
Norse Mythology in Video Games: Part of Immanent Nordic Regional Branding
Norse mythology in video games: part of immanent Nordic regional branding. Lysiane Lasausse Master’s Thesis Master of European and Nordic Studies Department of Area and Cultural Studies, Faculty of Arts, University of Helsinki Spring 2018 Supervisor: Peter Stadius. Tiedekunta/Osasto – Fakultet/Sektion – Laitos – Institution – Department Faculty Department of Area and Cultural Studies Faculty of Arts Tekijä – Författare – Author Lysiane Lasausse Työn nimi – Arbetets titel – Title Norse mythology in video games: part of immanent Nordic regional branding. Oppiaine – Läroämne – Subject European and Nordic Studies Työn laji – Arbetets art – Aika – Datum – Month and Sivumäärä– Sidoantal – Number of pages Level year Master 04/2018 Tiivistelmä – Referat – Abstract An estimated 2,5 billion players in 2017, 143 billion revenues by 2020, video games have conquered the market and the homes of almost half the population. Often considered a niche media, recent figures prove that the market keeps on growing. When looking at it from a marketing point of view, video games appear to be the golden goose. Nation branding is all about marketing: selling the best of one’s nation to other nations to attract investors, tourists, brains and technology. Why then, not consider video games as a mean to brand a nation? With such a large scale of influence and potential, one could argue video games seem like the perfect opportunity to make a nation known. Norse mythology did not -and does not- have that many supporters, but its influence is far-reaching: in movies, books, series and video games, it has been a source of inspiration for decades. Video games with Norse elements have been quite popular, especially since 2015.