DOCSLIB.ORG

Why We're Here

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Adventures in video game litigation: Patent cases past and present Ross Dannenberg, Esq. Banner & Witcoff, Ltd. 1100 13th St., NW, Suite 1200 Washington, DC 20005 (202) 824-3153 [email protected] www.BannerWitcoff.com www.PatentArcade.com Xbox Live: Aviator March 27, 2009 inSL: Aviator Kidd Why we’re here •Learn about intellectual property •Discuss the cross section of video games and intellectual property law •Analyze 10 different video game lawsuits •Understand why patents are important to video game developers •Play games in the exhibit hall until we pass out from exhaustion © 2009 Banner & Witcoff Ltd. © 2005 Gamasutra.com 1 The fine print •Patents are a reality, even if you don’t like them or believe in their merit. • This is not a debate about whether or not video games should be patentable—They are. •The views expressed herein should not be attributed to my firm or to any of my clients (and they might not even be my own views, either). •If you hire me, I will be happy to believe whatever you pay me to believe. © 2009 Banner & Witcoff Ltd. What is intellectual property? • Trademarks –Source identifier • Copyrights –Creative Expression •Trade Secrets –Secrets w/ commercial value •Patents –Functional IDEAS! Duke Nukem Forever will be released on … ? © 2009 Banner & Witcoff Ltd. 2 Video game patent examples • 6,733,383 –EA caution periods in auto‐race simulations •RE 28,507 –PONG! • 6,695,694 –Konami Dance Dance Revolution arcade •U.S. 7,077,749 – Weather game simulation in MS Flight Simulator • 6,764,402 – Pokemon • 6,641,481 –MS quitters • 6,935,954 –Sanity level in a play together patent video game • 6,132,314 –Namco’s rowing • 6,729,954 –Dynasty arcade game Warriors • 6,261,179 – StarFox allows • 6,923,717 –Adrenaline rush user to select level in sports games • 6,604,008 –Kudos in PGR © 2009 Banner & Witcoff Ltd. Design patents •Design Patents – Hardware Designs –Software Designs ‐ Any image displayed on a display screen, e.g., •Icons •Fonts •Graphical User Interfaces •Characters ‐ D404,390 © 2009 Banner & Witcoff Ltd. 3 1. The first lawsuit “I believe that the novelty and patentability “Now turning to the question of reside entirely in this feature of the player- infringement, I believe that the controlled hitting symbol, which coincides defendants' games do infringe with a hit symbol and causes a distinct the claims of the '507 patent to change of direction in the motion of the hit the extent that they contain or symbol, whether that change in motion be use a player-controlled movable from a moving position or from a stopped hitting symbol which, when it position of the hit symbol.” coincides with a hit symbol, And now, the causes a change in direction of “The '480 patent, I think, is the 10 cases… that hit symbol.” pioneer patent in this art, and I refer to the art of playing “My own view as to what art is involved games on a small scale, with here is that we are dealing with the art the players participating in the of playing games on cathode ray tubes game in an environment such by means of electronic circuitry. The as a home or someplace state of that art immediately prior to the where a large computer would '480 invention, I think, was rather clearly not be available.” primitive.” © 2009 Banner & Witcoff Ltd. Video Game Patents 1. The first lawsuit are Enforceable! • The Magnavox Co. v. Chicago Dynamic Industries, 201 USPQ 25 (N.D. Ill 1977) •The Odyssey Patent: RE28,507 •Ralph Baer invented the Magnavox Odyssey •Nolan Bushnell: Pong •Check out www.RalphBaer.com for more history of the early video game lawsuits (Photo courtesy of David Winter, Pong Story) © 2009 Banner & Witcoff Ltd. 4 Don’t rely on copyrights alone. A 2. The backup plan mix of IP is best. • Atari Games Corp. v. Nintendo of Am., Inc. –Prelim. Inj: 975 F.2d 832 (Fed. Cir. 1992). –Final disposition: 30 USPQ2d 1401 (N.D. Cal. 1993) •Nintendo has lock & key software (“10NES”) for NES console to prevent unauthorized games from being played on the console •Atari didn’t want to pay license fee to Nintendo for a “key” to the 10NES “lock” •Nintendo loses functional part of copyright infringement claim, but… •Nintendo has patent 4,799,635 © 2009 Banner & Witcoff Ltd. 2. The backup plan 1. A system for determining whether a videographics software program is authorized for use in an information processing apparatus, comprising: –a main data processor unit for executing a videographics software program; –an external memory for storing the videographics software program and for removable connection to said main processor unit, said external memory and main processor unit together constituting the information processing apparatus for executing the videographics software program; –a first authenticating processor device associated with said external memory for executing a first predetermined authenticating program to determine the authenticity of said external memory; –a second authenticating processor device which is installed in said main data processor unit for executing a second predetermined authenticating program to determine the authenticity of said external memory; and – control means for resetting said main data processor unit unless the execution of said first authenticating program by said first processor device exhibits a predetermined relationship to the execution of said second authenticating program by said second processor device. © 2009 Banner & Witcoff Ltd. 5 Statements made during patent 3. But I didn’t mean it… prosecution can come back to haunt you. • Alpex Computer Corp. v. Nintendo Co. –102 F.3d 1214 (Fed. Cir. 1996) • U.S. Pat. 4,026,555: Alpex invented rotating paddles, but did so using bit‐mapping •Nintendo used 8 shift registers • Trial Court: Infringement = $253,641,445 • Appellate Court: –In prosecution history, Alpex argued differences between bit‐mapping and the use of shift registers –No infringement, based on prosecution history estoppel © 2009 Banner & Witcoff Ltd. A solid patent is worth 4. The pen is mightier… millions. • Immersion v. Sony, District Court for the Northern District of California, Case No. 02‐cv‐0710 • Tactile feedback in man‐machine interface device, i.e., game controllers • U.S. Pat. 6,275,213 and 6,424,333 • Microsoft settles for $26M + percentage of award received from Sony, if any •Sony loses, later settles for $150M (of which ~$20M goes to Microsoft) © 2009 Banner & Witcoff Ltd. 6 Copyrights are not enough for protecting 5. If I only had a… video games. • Sega v. Accolade, 977 F.2d 1510 (9th Cir. 1992) –Accolade’s reverse engineering of Sega’s code is not copyright infringement, despite Accolade’s intermediate copying to do so – Reverse engineering to gain access to unprotectable functional elements of copyrighted work is ok –“In order to enjoy a lawful monopoly over the idea or functional principle underlying a work, the creator of the work must satisfy the more stringent standards imposed by the patent laws.” • COPYRIGHTS DO NOT PROTECT FUNCTION! © 2009 Banner & Witcoff Ltd. Only patents protect 5. If I only had a… “useful” ideas. • Incredible Tech. v. Virtual Tech. –400 F.3d 1007 (7th Cir. 2005) –IT makes Golden Tee Golf –VT made PGA Tour Golf –VT copied user interface of Golden Tee Golf – Copyright protection not strong enough •“The exclusion of functional features from copyright protection grows out of the tension between copyright and patent laws. Functional features are generally within the domain of the patent laws.” © 2009 Banner & Witcoff Ltd. 7 Don’t let emotion make your business 6. Proving a point decisions. • Sega of America, Inc. v. Fox Interactive, et al. –Sega publishes Crazy Taxi, covered by USP 6,200,138 (priority to 10/30/ 1997) –Fox published Simpson’s Road Rage, which uses many similar game play features –Broad claims in the ‘138 patent. –Case settled, likely because of expected cost of litigation versus chance of recovery © 2009 Banner & Witcoff Ltd. 6. But is the point worth proving? •‘138 patent had variety of very broad claims –1. A game display method for displaying a game in which a movable object is moved in a virtual space, comprising the steps of: • setting a dangerous area around the movable object; and •when a character enters the dangerous area, moving the character in a direction in which the character is moved away from the movable object. –7. A game display method for moving to a destination in a virtual space a movable object which is moved in the virtual space, comprising the step of: • displaying at a prescribed position in the virtual space a virtual object which indicates a direction from the prescribed position to the destination. –21. A display method for displaying a game in which a movable object which is movable in a virtual space is moved to a destination in the virtual space, •at least when a current position of the movable object is within a prescribed distance from the destination, the destination is emphatically displayed. –25. An electronic device for displaying a game in which a movable object which is movable in a virtual space gets a specific object at a prescribed position in the virtual space and is moved to a destination in the virtual space, comprising: •display means for emphatically displaying a position of the specific object. You mean like putting the object on a pedestal?... © 2009 Banner & Witcoff Ltd. 8 Claim construction often (effectively) 7. Markman, you did it again… decides the case. • Activision v. Gibson, CV‐08‐1653, C.D. Cal. (Pending) –Gibson’s U.S. Pat. 5,990,405 – Claim construction (aka, the Markman order): –A “musical instrument” must be capable of making musical sounds independent of the mechanism that outputs the instrument audio signal –Last Actions: •Gibson: request to reconsider claim construction (1/14/09) • Activision: motion for summary judgment (12/10/08) © 2009 Banner & Witcoff Ltd.
Recommended publications
  • CLONES, BONES and TWILIGHT ZONES: PROTECTING the DIGITAL PERSONA of the QUICK, the DEAD and the IMAGINARY by Josephj

    CLONES, BONES and TWILIGHT ZONES: PROTECTING the DIGITAL PERSONA of the QUICK, the DEAD and the IMAGINARY by Josephj

    CLONES, BONES AND TWILIGHT ZONES: PROTECTING THE DIGITAL PERSONA OF THE QUICK, THE DEAD AND THE IMAGINARY By JosephJ. Beard' ABSTRACT This article explores a developing technology-the creation of digi- tal replicas of individuals, both living and dead, as well as the creation of totally imaginary humans. The article examines the various laws, includ- ing copyright, sui generis, right of publicity and trademark, that may be employed to prevent the creation, duplication and exploitation of digital replicas of individuals as well as to prevent unauthorized alteration of ex- isting images of a person. With respect to totally imaginary digital hu- mans, the article addresses the issue of whether such virtual humans should be treated like real humans or simply as highly sophisticated forms of animated cartoon characters. TABLE OF CONTENTS I. IN TR O DU C T IO N ................................................................................................ 1166 II. CLONES: DIGITAL REPLICAS OF LIVING INDIVIDUALS ........................ 1171 A. Preventing the Unauthorized Creation or Duplication of a Digital Clone ...1171 1. PhysicalAppearance ............................................................................ 1172 a) The D irect A pproach ...................................................................... 1172 i) The T echnology ....................................................................... 1172 ii) Copyright ................................................................................. 1176 iii) Sui generis Protection
  • Links to the Past User Research Rage 2

    Links to the Past User Research Rage 2

    ALL FORMATS LIFTING THE LID ON VIDEO GAMES User Research Links to Game design’s the past best-kept secret? The art of making great Zelda-likes Issue 9 £3 wfmag.cc 09 Rage 2 72000 Playtesting the 16 neon apocalypse 7263 97 Sea Change Rhianna Pratchett rewrites the adventure game in Lost Words Subscribe today 12 weeks for £12* Visit: wfmag.cc/12weeks to order UK Price. 6 issue introductory offer The future of games: subscription-based? ow many subscription services are you upfront, would be devastating for video games. Triple-A shelling out for each month? Spotify and titles still dominate the market in terms of raw sales and Apple Music provide the tunes while we player numbers, so while the largest publishers may H work; perhaps a bit of TV drama on the prosper in a Spotify world, all your favourite indie and lunch break via Now TV or ITV Player; then back home mid-tier developers would no doubt ounder. to watch a movie in the evening, courtesy of etix, MIKE ROSE Put it this way: if Spotify is currently paying artists 1 Amazon Video, Hulu… per 20,000 listens, what sort of terrible deal are game Mike Rose is the The way we consume entertainment has shifted developers working from their bedroom going to get? founder of No More dramatically in the last several years, and it’s becoming Robots, the publishing And before you think to yourself, “This would never increasingly the case that the average person doesn’t label behind titles happen – it already is.
  • The Uses of Animation 1

    The Uses of Animation 1

    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
  • Cows, Clicks, Ciphers, and Satire

    Cows, Clicks, Ciphers, and Satire

    This is a repository copy of Cows, Clicks, Ciphers, and Satire. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/90362/ Version: Accepted Version Article: Tyler, TRJ (2015) Cows, Clicks, Ciphers, and Satire. NECSUS : European Journal of Media Studies, 4 (1). ISSN 2213-0217 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Cows, Clicks, Ciphers and Satire Farmville, launched in 2009, is a social game developed by Zynga that can be played on Facebook. The game is, as its name suggests, a farming simulation which allows players to grow crops, raise animals, and produce a variety of goods. Gameplay involves clicking on land tiles in order to plough, plant and then harvest maize, carrots, cabbages or any of a huge variety of crops, both real and fantastic, as well as clicking on cows, sheep, chickens and the like to generate milk, wool, eggs and other products, all of which generates virtual income.
  • Intercultural Perspective on Impact of Video Games on Players: Insights from a Systematic Review of Recent Literature

    Intercultural Perspective on Impact of Video Games on Players: Insights from a Systematic Review of Recent Literature

    EDUCATIONAL SCIENCES: THEORY & PRACTICE eISSN: 2148-7561, ISSN: 2630-5984 Received: 28 November 2019 Revision received: 16 December 2019 Copyright © 2020 JESTP Accepted: 20 January 2020 www.jestp.com DOI 10.12738/jestp.2020.1.004 ⬧ January 2020 ⬧ 20(1) ⬧ 40-58 Review article Intercultural Perspective on Impact of Video Games on Players: Insights from a Systematic Review of Recent Literature Elena Shliakhovchuk Adolfo Muñoz García Universitat Politècnica de València, Spain Universitat Politècnica de València, Spain Abstract The video-game industry has become a significant force in the business and entertainment world. Video games have become so widespread and pervasive that they are now considered a part of the mass media, a common method of storytelling and representation. Despite the massive popularity of video games, their increasing variety, and the diversification of the player base, until very recently little attention was devoted to understanding how playing video games affects the way people think and collaborate across cultures. This paper examines the recent literature regarding the impact of video games on players from an intercultural perspective. Sixty-two studies are identified whose aim is to analyze behavioral-change, content understanding, knowledge acquisition, and perceptional impacts. Their findings suggest that video games have the potential to help to acquire cultural knowledge and develop intercultural literacy, socio-cultural literacy, cultural awareness, self-awareness, and the cultural understanding of different geopolitical spaces, to reinforce or weaken stereotypes, and to some extent also facilitate the development of intercultural skills. The paper provides valuable insights to the scholars, teachers, and practitioners of cultural studies, education, social studies, as well as to the researchers, pointing out areas for future research.
  • Cartoon and the Cult of Reduction

    Cartoon and the Cult of Reduction

    Forced Perspectives: Cartoon and The Cult Of Reduction MARTINE LISA COROMPT Submitted in partial fulfillment of the requirements of the degree of Doctor of Philosophy (by creative work and dissertation) August 2016 School of Art Faculty Of The Victorian College Of The Arts The University of Melbourne 2 FIG 1 Corompt, Martine Torrent – the endless storm 2015 still from the digital animation 3 4 ABSTRACT Summary Commencing with caricature and reductive imaging techniques, this research explores parallel tendencies evident within broader culture. The thesis argues this reductive predisposition became broader and more prominent during Modernism, the digital revolution of the 1990s, and is strongly manifest within various aspects of contemporary art and culture. Theorized as the ‘Cult of Reduction’ this tendency is both a cultural condition, and a studio methodology employed to create two dimensional projected animation and digital prints. Abstract Beginning with pictorial caricature as a historical predecessor to animation, the research attempted to find in caricature a meaningful methodology to provide a framework for two-dimensional animation. Incorporating digital processes with drawing and installation, reduction was understood and examined pictorially, temporally and materially. The thesis project considered caricature as a means of exploring pictorial representation as reduction, but soon recognized reduction had more broad implications, and parallel examples were discovered in areas such as economics, ecology lifestyle ideologies, as well as Fine art and design. While pictorial reduction was most obvious within Modernism, it also was resonant in less obvious ways within the digital art revolution of the 1990’s. It has been prevalent again in contemporary art as a ‘reductivist practice’ recognized by Mike Kelley’s essay ‘Foul Perfection: Thoughts on Caricature’ (1989).
  • Informa 2018 Full Year Results Statement

    Informa 2018 Full Year Results Statement

    Informa LEI: 5493006VM2LKUPSEDU20 Press Release 7 March 2019 Informa PLC Results for 12 Months to 31 December 2018 2018: Combination & Creation 2019: Performance & Growth KEY FINANCIAL AND OPERATING HIGHLIGHTS1 • Strong Revenue Growth: +3.7% underlying and +34.9% reported to £2,369.5m, including six months of UBM (2017: £1,756.8m) • Higher Adjusted Operating Profit: +2.3% underlying and +34.4% reported to £732.1m (2017: £544.9m) • Improved Statutory Operating Profit: £363.2m (2017: £344.7m) • Increased Adjusted Diluted Earnings per Share: +7.0% to 49.2p (2017: 46.0p); Statutory EPS of 19.7p (2017: 37.6p), with prior year including non-cash credit from US tax reforms • Attractive Free Cash Flow: £503.2m and £600m+ including a full year of UBM (2017: £400.9m) • Robust Balance Sheet, in line with plan: Net debt/EBITDA1 at 2.9x (2017: 2.5x) • Enhanced Dividend: up 7.1% to 21.90p (2017: 20.45p) London: Informa (LSE: INF.L), the International Exhibitions, Events, Information Services and Scholarly Research Group, today published its financial results for the 12 months to 31 December 2018, reporting a further period of operational progress and improving financial performance. Stephen A. Carter, Group Chief Executive, said: “In 2018, the Informa Group delivered a fifth consecutive year of improving growth, increasing adjusted profits, adjusted earnings per share, cashflow and dividends.” He added: “In 2019, our focus is on continuing Performance and Growth as we consolidate our market positions and further reduce complexity. This will enable
  • Newagearcade.Com 5000 in One Arcade Game List!

    Newagearcade.Com 5000 in One Arcade Game List!

    Newagearcade.com 5,000 In One arcade game list! 1. AAE|Armor Attack 2. AAE|Asteroids Deluxe 3. AAE|Asteroids 4. AAE|Barrier 5. AAE|Boxing Bugs 6. AAE|Black Widow 7. AAE|Battle Zone 8. AAE|Demon 9. AAE|Eliminator 10. AAE|Gravitar 11. AAE|Lunar Lander 12. AAE|Lunar Battle 13. AAE|Meteorites 14. AAE|Major Havoc 15. AAE|Omega Race 16. AAE|Quantum 17. AAE|Red Baron 18. AAE|Ripoff 19. AAE|Solar Quest 20. AAE|Space Duel 21. AAE|Space Wars 22. AAE|Space Fury 23. AAE|Speed Freak 24. AAE|Star Castle 25. AAE|Star Hawk 26. AAE|Star Trek 27. AAE|Star Wars 28. AAE|Sundance 29. AAE|Tac/Scan 30. AAE|Tailgunner 31. AAE|Tempest 32. AAE|Warrior 33. AAE|Vector Breakout 34. AAE|Vortex 35. AAE|War of the Worlds 36. AAE|Zektor 37. Classic Arcades|'88 Games 38. Classic Arcades|1 on 1 Government (Japan) 39. Classic Arcades|10-Yard Fight (World, set 1) 40. Classic Arcades|1000 Miglia: Great 1000 Miles Rally (94/07/18) 41. Classic Arcades|18 Holes Pro Golf (set 1) 42. Classic Arcades|1941: Counter Attack (World 900227) 43. Classic Arcades|1942 (Revision B) 44. Classic Arcades|1943 Kai: Midway Kaisen (Japan) 45. Classic Arcades|1943: The Battle of Midway (Euro) 46. Classic Arcades|1944: The Loop Master (USA 000620) 47. Classic Arcades|1945k III 48. Classic Arcades|19XX: The War Against Destiny (USA 951207) 49. Classic Arcades|2 On 2 Open Ice Challenge (rev 1.21) 50. Classic Arcades|2020 Super Baseball (set 1) 51.
  • Griefing, Massacres, Discrimination, and Art: the Limits of Overlapping Rule Sets in Online Games Sal Humphreys University of Adelaide (Australia)

    Griefing, Massacres, Discrimination, and Art: the Limits of Overlapping Rule Sets in Online Games Sal Humphreys University of Adelaide (Australia)

    UC Irvine Law Review Volume 2 Issue 2 Governing the Magic Circle: Regulation of Article 3 Virtual Worlds 6-2012 Griefing, Massacres, Discrimination, and Art: The Limits of Overlapping Rule Sets in Online Games Sal Humphreys University of Adelaide (Australia) Follow this and additional works at: https://scholarship.law.uci.edu/ucilr Part of the Contracts Commons, Internet Law Commons, and the Rule of Law Commons Recommended Citation Sal Humphreys, Griefing, Massacres, Discrimination, and Art: The Limits of Overlapping Rule Sets in Online Games, 2 U.C. Irvine L. Rev. 507 (2012). Available at: https://scholarship.law.uci.edu/ucilr/vol2/iss2/3 This Article is brought to you for free and open access by UCI Law Scholarly Commons. It has been accepted for inclusion in UC Irvine Law Review by an authorized editor of UCI Law Scholarly Commons. UCILR V2I2 Assembled v4 (Do Not Delete) 7/14/2012 2:14 PM Griefing, Massacres, Discrimination, and Art: The Limits of Overlapping Rule Sets in Online Games Sal Humphreys* and Melissa de Zwart** Introduction ..................................................................................................................... 507 I. Game Rules, the Magic Circle, and Heterotopias .................................................. 510 II. End User License Agreements ................................................................................ 515 III. Breaking the Rules ................................................................................................... 516 IV. Griefing .....................................................................................................................
  • Finding Aid to the Atari Coin-Op Division Corporate Records, 1969-2002

    Finding Aid to the Atari Coin-Op Division Corporate Records, 1969-2002

    Brian Sutton-Smith Library and Archives of Play Atari Coin-Op Division Corporate Records Finding Aid to the Atari Coin-Op Division Corporate Records, 1969-2002 Summary Information Title: Atari Coin-Op Division corporate records Creator: Atari, Inc. coin-operated games division (primary) ID: 114.6238 Date: 1969-2002 (inclusive); 1974-1998 (bulk) Extent: 600 linear feet (physical); 18.8 GB (digital) Language: The materials in this collection are primarily in English, although there a few instances of Japanese. Abstract: The Atari Coin-Op records comprise 600 linear feet of game design documents, memos, focus group reports, market research reports, marketing materials, arcade cabinet drawings, schematics, artwork, photographs, videos, and publication material. Much of the material is oversized. Repository: Brian Sutton-Smith Library and Archives of Play at The Strong One Manhattan Square Rochester, New York 14607 585.263.2700 [email protected] Administrative Information Conditions Governing Use: This collection is open for research use by staff of The Strong and by users of its library and archives. Though intellectual property rights (including, but not limited to any copyright, trademark, and associated rights therein) have not been transferred, The Strong has permission to make copies in all media for museum, educational, and research purposes. Conditions Governing Access: At this time, audiovisual and digital files in this collection are limited to on-site researchers only. It is possible that certain formats may be inaccessible or restricted. Custodial History: The Atari Coin-Op Division corporate records were acquired by The Strong in June 2014 from Scott Evans. The records were accessioned by The Strong under Object ID 114.6238.
  • What We Talk About When We Talk About Game Aesthetics Simon Niedenthal Malmö University School of Arts and Communication Malmö, Sweden Simon.Niedenthal@K3.Mah.Se

    What We Talk About When We Talk About Game Aesthetics Simon Niedenthal Malmö University School of Arts and Communication Malmö, Sweden [email protected]

    What We Talk About When We Talk About Game Aesthetics Simon Niedenthal Malmö University School of Arts and Communication Malmö, Sweden [email protected] ABSTRACT well under 4% in both 2005 and 2007. Game industry Digital games are commonly described as phenomena that discomfort with aesthetic questions is expressed in a combine aesthetic, social and technological elements, yet different manner. “Here we go again” was the resigned our understanding of the aesthetic element of games and response of one interviewee in a recent Gamasutra.com play is perhaps the least developed of all. All too often, an article on the question “Are games art?” [34]. Are we to aesthetics perspective within game studies and design conclude that an aesthetics perspective on digital games has discourses is relegated to a marginal role, by conflating fallen upon tough times? Hardly. Although the term game aesthetics with graphics and “eye candy,” or by “aesthetics” (and the implicit and explicit attitudes limiting aesthetic discussion to graphic style analysis or associated with it) needs to be critically reexamined within debates on the question “are games art?” Changing game a game studies context, changes in game technologies, as technologies, as well as arguments from within philosophy, well as arguments drawing upon philosophy, psychology, psychology, interaction design theory and cultural theory, interaction design theory and cultural studies suggest that call for us to examine the implicit and explicit assumptions an aesthetics perspective can contribute greatly to research we make when we write about aesthetics within game discourses on gaming as an embodied and pleasurable studies research, as a prelude to reclaiming a perspective experience, and can give rise to new ways of thinking about that will allow us to better understand the way in which game design.
  • Un Conjunto De Herramientas Para Unity Orientado Al Desarrollo De Videojuegos De Acción-Aventura Y Estilo Retro Con Gráficos Isométricos 3D

    Un Conjunto De Herramientas Para Unity Orientado Al Desarrollo De Videojuegos De Acción-Aventura Y Estilo Retro Con Gráficos Isométricos 3D

    UN CONJUNTO DE HERRAMIENTAS PARA UNITY ORIENTADO AL DESARROLLO DE VIDEOJUEGOS DE ACCIÓN-AVENTURA Y ESTILO RETRO CON GRÁFICOS ISOMÉTRICOS 3D D. Iván José Pérez Colado D. Víctor Manuel Pérez Colado GRADO EN INGENIERÍA DEL SOFTWARE FACULTAD DE INFORMÁTICA UNIVERSIDAD COMPLUTENSE DE MADRID TRABAJO DE FIN DE GRADO DE INGENIERÍA DEL SOFTWARE Madrid, 20 junio de 2014 Director: Prof. Dr. D. Federico Peinado Gil Autorización de difusión y utilización Iván José Pérez Colado y Víctor Manuel Pérez Colado autorizamos a la Universidad Complutense de Madrid a difundir y utilizar con fines académicos, no comerciales y mencionando expresamente a sus autores, tanto la propia memoria, como el código, los contenidos audiovisuales incluso si incluyen imágenes de los autores, la documentación y/o el prototipo desarrollado. Fdo. Iván José Pérez Colado Fdo. Víctor Manuel Pérez Colado Para nuestro nono Quien con su empeño e ilusión, fue un motivo en nuestras vidas para llegar hasta donde hemos llegado y no está hoy con nosotros para verlo Agradecimientos Queremos agradecer, en primer lugar, a nuestro director de proyecto Federico Peinado Gil, por darnos la oportunidad de participar en un proyecto del campo que más nos apasiona, los videojuegos, y por toda la ayuda y dedicación que nos ha prestado durante el curso para completarlo. En segundo lugar, agradecemos a nuestros amigos y familia, su opinión y continua valoración de los resultados que íbamos obteniendo durante la realización del proyecto. Por último, agradecer a la comunidad de usuarios de Unity, y a los usuarios de StackOverflow, la cesión de múltiples fragmentos de código que han servido de referencia para la realización del proyecto.