Relevant bibliographies by topics / Game art

Academic literature on the topic 'Game art'

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Game art"

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Gintere, Ieva. "ART SPACE: AN EXPERIMENTAL DIGITAL ART GAME." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 649. http://dx.doi.org/10.17770/sie2020vol5.4817.

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The article examines the discourse concerning modern game theory and suggests a new method of research and knowledge transfer in the field of digital art game creation. The method is embodied in the new game Art Space that utilizes current research results in the field of contemporary aesthetics. Art Space is an experimental digital game that is being created in collaboration between researcher, Dr.art. Ieva Gintere (Vidzeme University of Applied Sciences, Latvia) and the game artist, Mag.art. Kristaps Biters (Liepāja University, Latvia) within the framework of a post-doctoral project. The concept of this new art game arises from the historical heritage of modern art. The aim of the game is knowledge transfer: the author has been carrying out research into contemporary digital games in order to transfer the results of the research to develop an appreciation and understanding of aesthetics in Art Game’s players. The game links aesthetics to art games by identifying modern trends such as pixel art, glitch, noise, and others. Due to the dearth of written information on the subject of modern art heritage in digital games, the study presents an innovative approach to art gaming explaining modern art’s cultural backgrounds. The methods used are audio-visual and stylistic analyses of games as well as studies of the existing literature. The project hopes to raise the interest of the wider public concerning contemporary art and music, point out the newest creative tendencies in art, and suggest potential changes in the language of art in the near future. This paper continues previously published research that helped to create the concept and design of Art Space, and focuses on the trends of photorealism and futurism.
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Shedko, I. I. "Video Game Art Styles." Art & Culture Studies, no. 4 (December 2021): 382–95. http://dx.doi.org/10.51678/2226-0072-2021-4-382-395.

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The article examines the graphic styles that have arisen in the video game industry due to the technical features and development of this media. These styles are widely used and starting to go beyond the industry into the field of contemporary art. Despite the fact that pixel art is mainly used in the creation of video games, it has already become an independent form of visual style. Contemporary artists such as the Russian digital artist and designer under the pseudonym Uno Morales and the artist Natalya Struchkova turn to the pixel style when creating their works. Like the pixel art, voxel graphics has moved into the category of the game visual style, which employs an impressive community of digital artists. Low рoly graphics have modified from the main graphics of three-dimensional games, which look technically imperfect, into the category of an artistic style that forms a recognizable, attractive and unique geometric aesthetics of the image. We can trace the transformation of video game graphics, which have arisen as a result of technical constraints, into separate art styles: pixel art, voxel art, low рoly style, the minimalist style of the first classic video games. These styles are gradually becoming an independent visual unit that does not depend on the video game product as a whole.
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Hoekema, Jim. "Art game." Interactions 24, no. 3 (April 27, 2017): 26–35. http://dx.doi.org/10.1145/3064812.

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Gintere, Ieva. "A NEW DIGITAL ART GAME: THE ART OF THE FUTURE." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 21, 2019): 346. http://dx.doi.org/10.17770/sie2019vol4.3674.

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The task of this study is to create an innovative digital art game of contemporary aesthetics on the basis of research. Research implies the analysis of digital art games and the historical background of their aesthetics, as well as their classification following the stylistic trends. Digital games have a great potential to integrate people into fields that would otherwise not meet their interest. The new game would develop the creative skills of players and teach them the current trends in digital art. The game would project the inheritance of art from the age of modernism into the digital world by teaching the player to recognize it (for instance, pixel aesthetics is a successor to cubism and constructivism). The new game will let its user play around with the trends in digital art such as vaporwave, glitch and others, and to create new ones. Thus, it would deal with the problem of knowledge cache and cultural segregation that characterizes modern art: being an esoteric subject to a great extent, it is difficult to access a large segment of the public. The aim of this study is to raise the interest of a wide-ranging public for contemporary art and to point out the newest creative tendencies in art. The paper presents an overview of digital art games, introduces a novel term, vaporwave, that has not been registered in the art game discourse so far, and offers an updated definition of the art game. The Design Science Research method is used in order to cross-cut such remote fields as the general public and the arthouse world, codes of modern art and the taste of the general public.
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Nguyen, C. Thi. "Games and the Art of Agency." Philosophical Review 128, no. 4 (October 1, 2019): 423–62. http://dx.doi.org/10.1215/00318108-7697863.

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Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. Game-playing, then, illuminates a distinctive human capacity. We can take on ends temporarily for the sake of the experience of pursuing them. Game play shows that our agency is significantly more modular and more fluid than we might have thought. It also demonstrates our capacity to take on an inverted motivational structure. Sometimes we can take on an end for the sake of the activity of pursuing that end.
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Vitytė, Birutė. "Possibilities of the Application of Digital Games in the Implementation of the Curriculum of Arts Subject." Pedagogika 123, no. 3 (September 2, 2016): 120–38. http://dx.doi.org/10.15823/p.2016.37.

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Digital games that involve entertainment, relaxation and technology are very attractive to modern students, while the traditional learning/teaching methods are inefficient and unattractive to them due to the change in learning habits. Surveys testify the successful incorporation of digital games into the curricula of Nature, Mathematics, Foreign Languages and other subjects and allow assuming that they might also be incorporated into the curriculum of the subject of Arts; therefore, this article investigates and reveals the possibilities of the application of digital games in the implementation of the curriculum of Arts subject. Many different interpretations of the concept of a digital game show that it is a manifold and multifaceted phenomenon. In addition to the concept of a “digital game” which can be understood in its broadest sense as the integration of technology and entertainment, the concepts of serious games, game-based learning / digital game-based learning, edutainment, and lecture games can also be encountered in the education contexts. Digital games can be incorporated into the subject of Arts first of all as a phenomenon of modern art. In certain aspects, digital games can be attributed to pop art and they have certain connections with installation art and, no doubt, with video and optic art and other art branches. The idea of digital games as a form of art is still questioned but some researchers suggest that their artistic value should be grounded on the analogy with art cinema. Cinema is undoubtedly considered a form of art although it is understood that not all films are works of art but, instead, an expression of the popular culture. Digital games can be incorporated into art classes as a means of artistic expression in several different ways. The first method is the creation of a digital game as an art object during art classes. The second method involves playing already created digital games as the tool/means of development of certain artistic expression abilities. Surveys show that children under 10 years of age are already capable of designing games: their script, graphics and other elements. Teenagers and older students are often capable of controlling programs intended for professionals. The process of creation of a digital game is analogous to the process of creation of any other art work but, according to the researchers, the nature of such creative work offers more education possibilities in certain aspects in comparison to traditional creative activities. The playing of digital games during art classes could be applied instead of traditional methods aiming to train the composing, designing and modelling abilities of the students or to deepen their knowledge on art history. Learning through digital gaming is an attractive and engaging experience to modern students who cannot learn and read consistently but are rather inclined to act and learn through experimenting; therefore, digital games can also be incorporated into art classes as a motivating element.
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Thabet, Tamer. "A mente e a máquina: desempenho, design de jogos e humanidades." Boitatá 8, no. 15 (June 29, 2013): 22. http://dx.doi.org/10.5433/boitata.2013v8.e31544.

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This article argues in favor of teaching video game design as a humanistic discipline. In The Art of Videogames (2009), Grant Tavinor defines video games as a form of fiction and art. Based on some of the ideas that Tavinor highlights, Chris Crawford’s standpoint on game designers’ preparation in Chris Crawford on Game Design (2003), and Huizinga’s description of the functions of play in Homo Ludens (1964), I will reason for the approach of housing the undergraduate game studies and design in the faculty of humanities as one discipline. The rationale of why the art and technology of games should meet in humanities emerges from the present state of games’ content in the mainstream games; that is, what they show and what they tell. This is of course a case for intellectual, enlightened, inspired, and thought-provoking game stories, and how this could be achieved in the humanities.
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Hanussek, Benjamin. "Playing distressed art: Adorno’s aesthetic theory in game design." Replay. The Polish Journal of Game Studies 8, no. 1 (August 9, 2022): 73–87. http://dx.doi.org/10.18778/2391-8551.08.04.

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The discussion on games as (not) art has been raging for decades without reaching a consensus. It is argued here that the ontological status of games is irrelevant for the perception and development of aesthetic experiences in videogames. Instead, game design should be regarded as ripe to convey the experience of art according to established aesthetic theories. The essay presents Adorno’s aesthetic theory and highlights its reflections in the games Papers, Please and Observer. It then describes how they were synthesized into a critical gameplay experience in the author’s game Distressed. The latter may be regarded as an example of a method in game studies in which the aesthetic potential of games is explored by creation rather than analysis. Arguably, this reveals the importance of epistemological approaches towards games and art instead of the predominant ontological ones.
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Szymański, Michał. "Computer Games in Art History. Traditional architecture and painting presented in virtual reality." E-methodology 5, no. 5 (April 23, 2019): 84–99. http://dx.doi.org/10.15503/emet.v5i5.449.

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Aim. The aim of the research is to show the applications of art reception in computer games. Moreover it is important to show the game as a visual object worth to analysis for art historian, because of complex structure and relations with traditional artistic media like architecture and painting. Many disciplines, like ludology, narratology and culture study research computer games, but we can see a large lack in the state of research in visual aspects of games, which should be supplemented. Methods. The subject of study are five games belonging to different game genres. The first, Assasin’s Creed II is set in a historical context, the next Witcher III and Dark Souls embedded in the realities of fantasy and finally, two games in an independent games category. The basic method is iconographic identification of the object and comparative difference and similarity between original source of inspiration and transposition of this in computer media. Therefore basic tools gained from history of art are used, which are necessary for visual analysis of a piece of art. Also important is notion of a commonplace forming a frame for images from different media. Results. Indicated examples show that classic art has a strong influence on numerous computer games. The citations and allusions from art brings an additional narration completing the story in the game. Objects of architecture or paintings also give symbolic meanings, influencing the interpretation of the whole game. Game developers oscillate between education in the history of art and the use of these references to create your own world. Conclusion. The examples presented in the article are only part of the rich area of art inspirations that can be found in many games. This should become a contribution to further research, not only taking into account the indicated types of references, but also the visuality of the games themselves The visual complexity of the games would require separate, more extensive research that would bring a lot into the perception of games and researching them
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Gruev, Emil. "Art Methods for Capturing an Environment in Video Games." Visual Studies 6, no. 1 (June 29, 2022): 80–83. http://dx.doi.org/10.54664/ojvk6124.

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The article presents part of the art methods for visualizing models from the environment captured on a screen in video games. Computer graphics are developed to such a degree in terms of visualization that they perfectly apply the rules of our perspective knowledge, so that they can help us imitate threedimensional objects on those flat surfaces. We will look at essential perspective concepts and how they help depict the environment in video games, as well as the tools that are developed in the virtual space. Artists can use them to show a specific action, emotion and atmosphere connected with the computer game. Such tools are the so-called virtual digital cameras. They use all the rules from the well-known perspective and implement them in the computer for creating the image. We will also look at types of cameras and different settings that game developers use for developing a game. The position and placement in the game level are important for achieving the desired result and how we want the player to look at the picture. There are compositional solutions and a camera angle in different types of video games. So, the best solution can be given regarding the view of the environment in the video game with the action that is happening in it. These are some basic art elements that are implemented in computer technology to create the image in a computer game.
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Dissertations / Theses on the topic "Game art"

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Harper, Todd L. "The Art of War: Fighting Games, Performativity, and Social Game Play." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1283180978.

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Gartland, Connor. "Making Mori: Emotional Depth and the Art of Video Games." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1400681933.

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Marques, Rodrigo Dorta. "Games e arte : processos em games alternativos /." São Paulo, 2019. http://hdl.handle.net/11449/191080.

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Orientador: Milton Terumitsu Sogabe
Resumo: Nesta pesquisa de caráter teórico-pratica, procuramos discutir os processos do desenvolvimento de games, mais especificamente aqueles que existem em paralelo da grande indústria de games. Para contextualizar sua linguagem construímos um breve panorama da sua história e suas manifestações no campo da Arte. Refletimos sobre processos utilizados na produção de games alternativos através da modificação, subversão e apropriação de ferramentas, valores e tecnologias dos games comerciais, através de exemplos e reflexões sobre a Game Art e games independentes. Nossa prática utiliza esses processos e abordagens para desenvolver uma produção de games experimentais. Foram produzidos 4 jogos, entre 2 projetos individuais e 2 coletivos.
Abstract: In this theoretical-practical research, we seek to discuss the processes of game development, more specifically those that exist in parallel to the game industry. To contextualize its language we build a brief overview of its history and its manifestations in the field of Art. We reflect on processes used in the production of alternative games through modification, subversion, and appropriation of commercial game tools, values and technologies in tandem with examples and reflection on Game Art and independent games. Our practice uses these processes and approaches to develop an experimental game production. Four games were made, between 2 individual and 2 collaborative projects.
Mestre
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Strandell, Patrik. "Art of Balance : In context of complexity." Thesis, University of Skövde, School of Humanities and Informatics, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-3364.

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Game balance can be considerd complex - there are many factors that play a role in the perception of balance. This thesis examines complexity, game theory and intution in an effort to disconver more about the perception of balance. The findings are that tactical and strategical choices that are presented for a player need to be interesting, not to complex and not to obvious. The importance lies in the estimation of the result that the player does when making a choice.


Spelbalansering är komplext – det finns många faktorer som påverkar det som uppfattas som balans. I mitt verk undersöks speciellt komplexitet, spelteori och intuition i jakten på att gräva fram mer ut ämnet. Denna reflexiva rapport tar upp metod och arbetsprocessen runt verket och mitt arbete på ability-systemet på Lockpick Entertainment. Om de taktiska och strategiska val som presenteras för en spelare anses som intressanta beror både på spelaren och svårigheten i valet. Är valet komplext är det svårare att avgöra korrekt, och taktiska och strategiska avvägningar måste göras. Detta är grunden i spelbalansering, att spelaren har flera vettiga, men inte uppenbara, val att välja bland.

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Eklow, Joshua Ryan. "My second word was "game"." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/958.

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Dispatched from deep within the Orbital Video Archive, Josh Eklow submits a follow-up to "My First Word Was Video". This thesis de caeli, entited, "My Second Word Was Game" focuses on the importance of the play element of art, hummus, stickers, exercise, and other fun things.
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Tingley, Edward. "Game of knowledge: The modern interpretation of art." Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/9820.

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Summation. A specifically modern approach to the interpretation of art is distinguished, rooted in the insight that cognitivity in interpretation must be oriented by sensitivity to the subject-object paradigm. It is shown that specific modern theory of interpretation has become established in twentieth-century theory and practice. That theory is demonstrated to be a set of interpretative rules. The hidden dependence of those rules on specific conceptions of the nature of a work of art (qua hermeneutic entity) is revealed. Three such conceptions of the work of art that are basic to modern art history are articulated and critically examined by careful attention to actual works. Interpretation is shown to exceed the strictures of each model, with the specific consequence that the meaning of the work of art in modern times is systematically narrowed. Motives for that narrowing are discussed. (Abstract shortened by UMI.)
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Aspenfelt, Zebastian. "Game art workflow: Open-source and comercial programs." Thesis, Högskolan i Gävle, Avdelningen för Industriell utveckling, IT och Samhällsbyggnad, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-12121.

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For years, game companies have been using different programs for the creation of the newest most inspiring games. A short presentation about different programs used for game art is provided with key aspects in developing art for games in character production. One aim is to showcase the potential of open-source programs. Two projects with two different characters were created for games testing the workflow between open-source, free application and also commercial programs. The results of the projects are discussed and then the document focuses on explaining what the negative side of open-source programs is and why they should not be used. After the discussion, a conclusion is made explaining the similarities and differences between open-source and commercial programs.
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Mittra, Anirudh. "Libero." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/76688.

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Libero is a 2D video game that aims to explore the concepts of dealing with personal issues such as insomnia and anxiety. It is a 2D stealth puzzle game that takes influence from older dungeon-crawlers and rogue-likes from the 1990s as well as inspiration from modern games designed for mobile platforms such as iOS and Android phones. The game experiments with new 2D normal mapping technologies for a unique take on pixel art.
Master of Fine Arts
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Jensen, Michelle. "New Media and Interactivity." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1522.

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Digital/video games1 have entertained for 40 years and are a medium with the ability to reach a vast audience. In an article published in the Sydney Morning Herald, Charles Purcell reports that; “Globally, Halo 2 has sold more than 7 million copies. Both in the US and Australia it broke the film box-office record for the most earnings in the first 24 hours of release. The worldwide Halo 2 community on X-box Live has about 400,000 players… at the World Cyber Games in Seoul. Last year, gold medallist Matthew Leto won $US20,000 ($AUS27,0000) after his second consecutive Halo title.” 2. Game consoles have become a part of many lounge rooms just as the television did before them. Games are even commonplace in many coat pockets and carrying bags. This dissertation is concerned with the medium of digital/video games in relation to its effect on Game Art. It is also concerned with the concept of my studio work that deals with “evil” and the “uncanny” which are discussed in chapter four. My research looks at games and how they have developed and the relationship to contemporary art. A history of this development is explored in chapter two. My research will help me in developing an interactive piece. Throughout my current research the thoughts of author of The Second Self: Computers and the Human Spirit Sherry Turkle resonate: “…not what will the computer be like in the future, but instead, what will we be like? What kind of people are we becoming?” 3 It is interesting to consider the video/digital games as experiments of who we are or who we would like to be, little fantasies of empowerment. In a game we are able to live out our frustrations or fantasies in a closed and predictable experience.
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Jensen, Michelle. "New Media and Interactivity." University of Sydney, 2006. http://hdl.handle.net/2123/1522.

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Master of Visual Arts
Digital/video games1 have entertained for 40 years and are a medium with the ability to reach a vast audience. In an article published in the Sydney Morning Herald, Charles Purcell reports that; “Globally, Halo 2 has sold more than 7 million copies. Both in the US and Australia it broke the film box-office record for the most earnings in the first 24 hours of release. The worldwide Halo 2 community on X-box Live has about 400,000 players… at the World Cyber Games in Seoul. Last year, gold medallist Matthew Leto won $US20,000 ($AUS27,0000) after his second consecutive Halo title.” 2. Game consoles have become a part of many lounge rooms just as the television did before them. Games are even commonplace in many coat pockets and carrying bags. This dissertation is concerned with the medium of digital/video games in relation to its effect on Game Art. It is also concerned with the concept of my studio work that deals with “evil” and the “uncanny” which are discussed in chapter four. My research looks at games and how they have developed and the relationship to contemporary art. A history of this development is explored in chapter two. My research will help me in developing an interactive piece. Throughout my current research the thoughts of author of The Second Self: Computers and the Human Spirit Sherry Turkle resonate: “…not what will the computer be like in the future, but instead, what will we be like? What kind of people are we becoming?” 3 It is interesting to consider the video/digital games as experiments of who we are or who we would like to be, little fantasies of empowerment. In a game we are able to live out our frustrations or fantasies in a closed and predictable experience.
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Books on the topic "Game art"

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Henry, Jenkins, ed. Video Game Art. New York: Assouline Publishing, 2005.

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Gahan, Andrew. Game Art Complete. San Diego: Elsevier Science, 2009.

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Leo, Hartas, ed. Collins game art: The graphic art of computer games. London: Collins, 2003.

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Game art for teens. Boston, MA: Thomson Course Technology/Premier Press, 2004.

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Game art for teens. 2nd ed. Boston, MA: Thomson Course Technology, 2006.

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Ancona, George. Capoeira: Game! dance! martial art! New York: Lee & Low Books, 2007.

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Sil, Strung, ed. The art of wild game cooking. Stillwater, MN: Voyageur Press, 1995.

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3D game textures: Create professioal game art using Photoshop. 3rd ed. Waltham, MA: Focal Press, 2012.

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3D game textures: Create professional game art using Photoshop. Burlington, MA: Elsevier, 2009.

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Link, Bert. That Little Game. Landisville, Pennsylvania, USA: Coachwhip Publications, 2004.

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Book chapters on the topic "Game art"

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Dekker, Annet, and Marco De Mutiis. "In-game photography." In Documentation as Art, 50–59. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003130963-6.

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Compton, Kate. "Generative Art Toys." In Procedural Generation in Game Design, 161–73. Boca Raton : Taylor & Francis, CRC Press, 2017.: A K Peters/CRC Press, 2017. http://dx.doi.org/10.1201/9781315156378-18.

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Lanzinger, Franz. "More Art Assets." In 3D Game Development with Unity, 141–61. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9780429328725-7.

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Lu, Lilly. "Art Education Avatars in Action." In Serious Educational Game Assessment, 201–19. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-329-7_13.

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Ciesla, Robert. "The (Ancient) Art of Interactive Fiction." In Game Development with Ren'Py, 47–77. Berkeley, CA: Apress, 2019. http://dx.doi.org/10.1007/978-1-4842-4920-8_2.

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Habgood, Jacob, Nana Nielsen, Martin Rijks, and Kevin Crossley. "Of Mice and Pen: Pirate Art." In The Game Maker’s Companion, 219–48. Berkeley, CA: Apress, 2010. http://dx.doi.org/10.1007/978-1-4302-2827-1_10.

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Byl, Penny de. "The Art of Programming Mechanics." In Holistic Game Development with Unity, 1–72. Third edition. | Boca Raton : Taylor & Francis, 2019.: CRC Press, 2019. http://dx.doi.org/10.1201/9781351053693-1.

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Wolff, Lutz-Christian. "Game Over for Law Teaching?" In The Art of Law Teaching, 119–21. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-9148-8_18.

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"Between Art Games and Game Art." In Understanding Games and Game Cultures, 101–19. 1 Oliver's Yard, 55 City Road London EC1Y 1SP: SAGE Publications Ltd, 2021. http://dx.doi.org/10.4135/9781529739657.n7.

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"Game Art." In Debugging Game History. The MIT Press, 2016. http://dx.doi.org/10.7551/mitpress/10087.003.0021.

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Conference papers on the topic "Game art"

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Pearce, Celia, Robert Nideffer, Eddo Stern, Anne-Marie Schleiner, and Brody Condon. "Game art." In the 2003 symposium. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/641480.641520.

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Jonsson, Staffan, and Annika Waern. "The art of game-mastering pervasive games." In the 2008 International Conference in Advances. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1501750.1501803.

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Eichhorn, Stephan, Tjark Ihmels, K. Ludwig John, and Michael Touma. "Art---an intelligent game." In the second ACM international conference. New York, New York, USA: ACM Press, 1994. http://dx.doi.org/10.1145/192593.197452.

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Lee, Hae Young, and Won Hyung Lee. "The New Paradigm of Digital Art to apply Game Form: Digital Art Game." In Games and Graphics and 2014. Science & Engineering Research Support soCiety, 2014. http://dx.doi.org/10.14257/astl.2014.46.50.

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Wai-keung Fung and Yun-hui Liu. "Repeated game analysis on ART adaptive categorization game." In Proceedings of the IEEE-INNS-ENNS International Joint Conference on Neural Networks. IJCNN 2000. Neural Computing: New Challenges and Perspectives for the New Millennium. IEEE, 2000. http://dx.doi.org/10.1109/ijcnn.2000.861524.

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Huang, Wengao. "Artificial life in art game." In International Conference on Simulation and Modeling Methodologies, Technologies and Applications. Southampton, UK: WIT Press, 2014. http://dx.doi.org/10.2495/smta140191.

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Dufilho, Karen. "Geri's game." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281876.

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"[Cover art]." In 2008 Second IEEE International Conference on Digital Game and Intelligent Toy Enhanced Learning. IEEE, 2008. http://dx.doi.org/10.1109/digitel.2008.54.

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"[Cover art]." In Third IEEE International Conference on Digital Game and Intelligent Toy Enhanced Learning (DIGITEL 2010). IEEE, 2010. http://dx.doi.org/10.1109/digitel.2010.59.

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San, Tiancheng, Koji Mikami, and Yoshihisa Kanematsu. "Visual Center Recognition in Game Concept Art Based on Art Principle." In 2021 Nicograph International (NicoInt). IEEE, 2021. http://dx.doi.org/10.1109/nicoint52941.2021.00030.

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Reports on the topic "Game art"

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Styugina, Anastasia. Internet game "Sign me up as an astronaut" for the formation of the social and psychological experience of younger adolescents with disabilities by means of game psychocorrection. Science and Innovation Center Publishing House, December 2020. http://dx.doi.org/10.12731/sign_me_up_as_an_astronaut.

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In the practice of a teacher-psychologist at the School of Distance Education, the game “Sign me up as an astronaut”, developed by the author, was tested, aimed at developing the skills of social and psychological interaction in younger adolescents with disabilities through the awareness and strengthening of personal resources by means of game psychocorrection. The specifics of the work of a psychologist at the School of Distance Education are determined by the following circumstances: - students have a severe disability and the corresponding psychophysical characteristics: instability of the emotional-volitional sphere, lack of motivation, severe physical and mental fatigue, low level of social skills, etc. - the use of distance educational technologies in psychocorrectional work; - lack of methodological recommendations for psychocorrectional work in conditions of distance technologies with school-age children. Such recommendations are available mainly for adults, they relate to the educational process, but they do not cover the correctional process. There is enough scientific and methodological literature on psychological and pedagogical correction, which is the basis for ensuring the work of a practicing psychologist, but there are difficulties in transferring these techniques, games, etc. - to the remote mode of correctional and developmental work, especially in the form of group work. During the game, various social and psychological situations are solved, which are selected strictly according to the characteristics of the social experience of the participants.
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Лов’янова, І. В. Форми професійно спрямованого навчання математики у профільній школі. The Academy of Management and Administration in Opole, 2016. http://dx.doi.org/10.31812/0564/2355.

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Objective of the study presented in this article: identify forms of professionally directed teaching mathematics at profile schools. Identify the criteria of selection forms. Show features of the external forms by: lecture, seminar, game. The functions described lesson lectures aimed at professional training. Types of lectures in methodical system of professional training aimed. Show of the classification and choice of the seminar and games. Conclusions from the study indicate described the use of forms depending of level studies of mathematics.
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Tokarieva, Anastasiia V., Nataliia P. Volkova, Inesa V. Harkusha, and Vladimir N. Soloviev. Educational digital games: models and implementation. [б. в.], September 2019. http://dx.doi.org/10.31812/123456789/3242.

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Nowadays, social media, ICT, mobile technologies and applications are increasingly used as tools for communication, interaction, building up social skills and unique learning environments. One of the latest trends observed in education is an attempt to streamline the learning process by applying educational digital games. Despite numerous research data, that confirms the positive effects of digital games, their integration into formal educational contexts is still relatively low. The purpose of this article is to analyze, discuss and conclude what is necessary to start using games as an instructional tool in formal education. In order to achieve this aim, a complex of qualitative research methods, including semi-structured expert interviews was applied. As the result, the potential of educational digital games to give a unique and safe learning environment with a wide spectrum of build-in assistive features, be efficient in specific training contexts, help memorize studied material and incorporate different learning styles, as well as to be individually adaptable, was determined. At the same time, the need for complex approach affecting the administration, IT departments, educators, students, parents, a strong skill set and a wide spectrum of different roles and tasks a teacher carries out in a digital game-based learning class were outlined. In conclusion and as a vector for further research, the organization of Education Design Laboratory as an integral part of a contemporary educational institution was proposed.
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Martinho, Diogo, Adam Field, and Hugo Sarmento. Soccer referees are also part of the game: a systematic review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, August 2022. http://dx.doi.org/10.37766/inplasy2022.8.0052.

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Review question / Objective: The of this study was to review and organise the literature using a holistic approach about match indicators, testing, nutrition and physiology on soccer refereeing. Condition being studied: This review is focused on physical, physiological, body composition, and physiological outputs among soccer referees. Each main topic will be organized according to the results of extracted studies. Eligibility criteria: (1) population – male and/or female soccer referees and/or assistant referees; (2) relevant data about body size, body composition, physical performance, physiological outputs and nutrition.
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Prokhorov, Оleksandr V., Vladyslav O. Lisovichenko, Mariia S. Mazorchuk, and Olena H. Kuzminska. Developing a 3D quest game for career guidance to estimate students’ digital competences. [б. в.], November 2020. http://dx.doi.org/10.31812/123456789/4416.

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This paper reveals the process of creating a career guidance 3D quest game for applicants who aim to apply for IT departments. The game bases on 3D model of computer science and information technologies department in the National Aerospace University “Kharkiv Aviation Institute”. The quest challenges aim to assess the digital competency level of the applicants and first- year students. The paper features leveraged software tools, development stages, implementation challenges, and the gaming application scenario. The game scenario provides for a virtual tour around a department of the 3D university. As far as the game replicates the real-life objects, applicants can see the department's equipment and class-rooms. For the gaming application development team utilized С# and C++, Unity 3D, and Source Engine. For object modeling, we leveraged Hammer Editor, Agisoft PhotoScan Pro, and the photogrammetry technology, that allowed for realistic gameplay. Players are offered various formats of assessment of digital competencies: test task, puzzle, assembling a computer and setting up an IT-specialist workplace. The experiment conducted at the open house day proved the 3D quest game efficiency. The results of digital competence evaluation do not depend on the testing format. The applicants mostly preferred to take a 3D quest, as more up-to-date and attractive engagement.
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Williams, Thomas. Cell Biology Board Game: Cell Survival Drive. University of Dundee, 2023. http://dx.doi.org/10.20933/100001276.

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When dangers strike a cell, they are detected by sensors. Sensors tell messengers about the danger. Messengers tell the organiser. The organiser plans the cell defence, using responders and recyclers. Researchers in the MRC-PPU are figuring out how these different parts interact with each other.
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Yafimava, Katja. Building new gas transportation infrastructure in the EU - what are the rules of the game? Oxford Institute for Energy Studies, July 2018. http://dx.doi.org/10.26889/9781784671150.

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Williams, Thomas. Cell Biology Board Game: Cell Survival (School Version). University of Dundee, 2022. http://dx.doi.org/10.20933/100001270.

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Cells are the smallest units of life. The environment around cells is always changing. Cells need to adapt to survive. This curriculum linked game and lesson plan introduces the world of cells to pupils 8-13. But can they keep their cells alive? This is a guide to how the cell survival resources can be used in a lesson and can be adapted as the teacher sees fit to do so. This lesson is aimed at 8-13 year olds, and fits into an hour long session. The Cell Survival Game has been adapted for both home use and for use in the classroom, and is accompanied by a series of videos. Learning Outcomes – Cells are the smallest unit of life – There are many different types of cells, and some examples of cell types – Cells experience many dangers, and some examples of dangers – How cells notice and defend themselves against dangers Links to the Curriculum – Health and Wellbeing: I am developing my understanding of the human body – Languages: I can find specific information in a straight forward text (book and instructions) to learn new things, I discover new words and phrases (relating to cells) – Mathematics: I am developing a sense of size and amount (by using the dice), I am exploring number processes (addition and subtraction) and understand they represent quantities (steps to finish line), I am learning about measurements (cell sizes) and am exploring patterns (of cell defences against dangers) – Science: I am learning about biodiversity (different types of microbes), body systems, cells and how they work. – Technology: I am learning about new technologies (used to understand how cells work).
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Vakaliuk, Tetiana, Valerii Kontsedailo, Dmytro Antoniuk, Olha Korotun, Serhiy Semerikov, and Iryna Mintii. Using Game Dev Tycoon to Create Professional Soft Competencies for Future Engineers-Programmers. [б. в.], November 2020. http://dx.doi.org/10.31812/123456789/4129.

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The article presents the possibilities of using game simulator Game Dev Tycoon to develop professional soft competencies for future engineer programmers in higher education. The choice of the term “gaming simulator” is substantiated, a generalization of this concept is given. The definition of such concepts as “game simulation” and “professional soft competencies” are given. Describes how in the process of passing game simulations students develop the professional soft competencies. Professional soft competencies include: the ability to work in a team; ability to cooperate; ability to problem-solving; ability to communicative; ability to decision-making; ability to orientation to the result; ability to support of interpersonal relations; ability to use of rules and procedures; ability to reporting; ability to attention to detail; ability to customer service; ability to sustainability; ability to the manifestation of professional honesty and ethics; ability to planning and prioritization; ability to adaptation; ability to initiative; ability to Innovation; ability to external and organizational awareness.
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TETINA, S. V., Yu V. GUTROVA, I. E. ZHIDKOVA, Yu G. MAKOVETSKAYA, E. S. KRASNITSKAYA, E. G. KOLIKOVA, and N. O. NIKOLOV. BUSINESS DIDACTIC GAME "INDIVIDUAL METHODOLOGICAL STYLE OF TEACHER'S ACTIVITY". SIB-Expertise, March 2022. http://dx.doi.org/10.12731/er0543.17032022.

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Abstract: the proposed business didactic game is aimed at developing the creative attitude of the teacher to his own professional activity. The motivational material of a business didactic game allows the teacher to understand that his activity has sometimes elusive pedagogical algorithms and strategies, the totality of which can be called such a concept as an individual methodological style of activity. In addition to pedagogical strategies, this concept reflects the unique psychological qualities of the individual, which allow the teacher to influence the quality of the acquired knowledge. It is also emphasized that the concept of an individual style of activity is the result of the teacher's internal hard work, the result of a long search, value. On this basis, the individual style of activity rejects the concept of "charisma", since it is self-sufficient and does not need to be theatrically announced to any audience. All the value bases of an individual methodological style of activity are aimed not at narcissism, but at helping students in mastering the internal content of a particular academic subject. The leading sign of the formation of an individual methodological style of activity is the ability to correctly combine one's original author's position on the content principles of the taught subject with the guiding and prescriptive lines of the work program. The author's position of the teacher, which combines the emotional and rational components, is also reflected in external behavioral mechanisms. At the same time, expressive forms of behavior are not a mandatory feature of the individual style of methodological activity. A special style of preparing educational material, a list of methods and forms of teaching is structured on the basis of a situational understanding of the subtle mechanisms of teaching, educating and developing schoolchildren
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