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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Hananto, Brian Alvin, and Jennifer Audiah. "ANALISA VISUAL DARI ELEMEN PERMAINAN KARTU ‘THE ART OF BATIK’." Jurnal Bahasa Rupa 2, no. 2 (April 21, 2019): 136–45. http://dx.doi.org/10.31598/bahasarupa.v2i2.367.
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Card games have become a common object that is used not only for playing but also to inform and teach several things through its gameplay. ‘The Art of Batik’ was a card game designed by Adhit WP, illustrated by M. Bahroen and published by Hompimpa! Games. The card game wanted to teach its players about a simplified process and steps of producing Batik with its gameplay. Unfortunately, the game is considered hard to understand and it fails to inform the intended messages to its players. The author tries to study more about the issue and the game’s element and rules, the author also examines the visuals and interface of the game. The author concludes that the main issue is found on the visual of ‘The Art of Batik’ card game. The cards have poor information arrangement and hierarchy, which can be properly addressed by reconsidering the layout of the pieces of information. From this conclusion, the author suggests that a redesign of ‘The Art of Batik’ can be executed based on the author's foundings so that the game can be more effectively played and easier to understand.
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Durusoy, Murat. "In-Game Photography: Creating New Realities through Video Game Photography." Membrana Journal of Photography, Vol. 3, no. 1 (2018): 42–47. http://dx.doi.org/10.47659/m4.042.art.
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Computers and photography has had a long and complicated relationship throughout the years. As image processing and manipulating capabilities advanced on the computer front, photography re-birthed itself with digital cameras and digital imaging techniques. Development of interconnected social sharing networks like Instagram and Twitter feeds the photographers’/users’ thirst to show off their momentaneous “been there/seen that – capture the moment/share the moment” instincts. One other unlikely front emerged as an image processing power of the consumer electronics improved is “video game worlds” in which telematic travellers may shoot photographs in constructed fantasy worlds as if travelling in real life. While life-like graphics manufactured by the computers raise questions about authenticity and truthfulness of the image, the possible future of the photography as socially efficient visual knowledge is in constant flux. This article aims to reflect on today’s trends in in-game photography and tries to foresee how this emerging genre and its constructed realities will transpose the old with the new photographic data in the post-truth condition fostering for re-evaluation of photography truth-value. Keywords: digital image, lens-based, photography, screenshot, video games
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Novikov, Vasily N. "Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?" Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 54–63. http://dx.doi.org/10.17816/vgik10154-63.
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Abstract: According to recent research, video games are recognized as a new kind of art in the 21st century. Is it possible to distinguish the concepts of "entertainment" and "art" when dealing with this phenomenon? The purpose of this article is to analyze the significance of the game in contemporary society, to characterize the dominant features of "personal management" of a work of art, and to consider the influence of game aesthetics on the language of up-to-date cinema. The digital age, new technologies, computer modeling, and virtual aesthetics modernized the classical thesis of "life as a game" into a new philosophical concept. There are more and more attempts in succession to create a full-fledged virtual reality where a person could feel oneself be an individualized god, commanding over all the processes taking place with the one and ones life. The ultimate goal is the creation of such a global "game world" in which every person would be able to try oneself in any social role or avatar, building relationships with anyone, playing and enjoying it. So this desire for an interactive fusion of game forms with the objective reality that we are accustomed to is forming a rich and multilayered cultural platform nourishing diverse areas of contemporary art. The game industry has gone a long way of its development as a form of art. Nowadays video games and movies imitate each other and combine mixed aesthetic trends - the boundary between the Game and the Film is being increasingly blurred. On the one hand, games tend to the cinema, using professional directing, scriptwriting and cast. On the other hand, mainstream fiction of gaming technologies attracts many filmmakers looking for new artistic forms, concepts and visual mechanics that are interesting and relevant for the contemporary mass audience.
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Novikov, Vasily N. "Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?" Journal of Flm Arts and Film Studies 10, no. 2 (June 15, 2018): 50–60. http://dx.doi.org/10.17816/vgik10250-60.
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According to recent research, video games are recognized as a new kind of art of the 21st century. Is it possible to distinguish the concepts of entertainment and art when dealing with this phenomenon? The purpose of this article is to analyze the significance of the game in contemporary society, to characterize the dominant features of personal management of a work of art, and to consider the influence of game aesthetics on the language of up-to-date cinema. The digital age, new technologies, computer modeling and virtual aesthetics modernized the classical thesis of the life as a game into a new philosophical concept. There are more and more attempts in succession to create a full-fledged virtual reality where a person could feel oneself to be an individualized god, commanding over all the processes taking place with the one and ones life. The ultimate goal is the creation of such a global game world in which every person would be able to try oneself in any social role or avatar, building relationships with anyone, playing and enjoying it. So this desire for an interactive fusion of game forms with the objective reality that we are accustomed to is forming a rich and multilayered cultural platform nourishing diverse areas of contemporary art. The game industry has gone a long way of its development as a form of art. Nowadays video games and movies imitate each other and combine mixed aesthetic trends - the boundary between the Game and the Film is being increasingly blurred. On the one hand, games tend to cinema, using professional directing, scriptwriting and cast. On the other hand, mainstreamification of gaming technologies attracts many filmmakers looking for new artistic forms, concepts and visual mechanics that are interesting and relevant for contemporary mass audience.
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Gintere, Ieva. "TOWARDS A NEW DIGITAL GAME OF CONTEMPORARY AESTHETICS." SOCIETY. TECHNOLOGY. SOLUTIONS. Proceedings of the International Scientific Conference 1 (April 17, 2019): 18. http://dx.doi.org/10.35363/via.sts.2019.14.
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INTRODUCTION
This paper partly envisages the research results of the European Regional Development Fund (ERDF) project (see Acknowledgements). The task is to create an innovative digital game in the cross-cutting genres of art game and educational game. The game presents the specific aspects of digital art games and their historical background. Work on the new game will be carried out in a collaboration of the researcher, Dr.art. Ieva Gintere (Vidzeme University of Applied Sciences, Latvia) and the game artist, Mag.art. Kristaps Biters (Latvia). The game is being created in the framework of a Post-doctoral project led by Ieva Gintere during 2018-2021.
MATERIALS AND METHODS
Unity3d for game design. Blender 3d object design. Audacity and Abletone music generation and editing. Photoshop, illustrator for game texture, art design.
RESULTS
The study presents an insight into contemporary digital game theory and a new threefold method of game creation named RKTR (research / knowledge transfer / research). In this model, the game is created on the basis of research and knowledge transfer: knowledge gained in the research process is transferred to the players. The game also functions as a platform of new knowledge construction as the secondary task of the game is to collect the results of the players in order to analyse the new creative tendencies and to foresee the art trends of tomorrow.
The proposed method focused on the aspect of knowledge transfer is constructed as a three-level spiral:
- research-based game creation (the game is based on the results of research),- knowledge transfer (the game transfers the research results to the player),- use of the gameplay results in research (the game creators collect the data of the gameplay for new research).
The existing game designers and theoreticians carry out research in action where the game design is united with the game research. In the discourse of digital gaming, this is a widespread method. However, there is a missing part in this model. Knowledge gained in this type of research does not flow beyond the circle of the game’s creators and researchers. This knowledge stays within the society of the game’s designers and researchers, and functions as a tool for their future work. Knowledge is an instrument for experts, and it is not transferred to the regular player. The existing model of a research-based game helps to obtain formal and professional knowledge: it is a know-how, it tells a designer how to build a game, but it is not meant for the player. The aim of the new digital game that is being created in this project, is to connect the research results with the player so that the knowledge acquired in the research process is effectively transferred to the general public.
DISCUSSION
Taking into account that art today is largely interactive, the new art game will let its user play with trends of digital art such as noise, generative art and others, and to create new ones. The aim of this project is to raise the interest of a wide-ranging public for contemporary art and to point out the newest creative tendencies in art. The game would develop the creative skills of players and teach them the current trends in digital art. At the same time 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, generative art is a successor to the Fluxus movement in modernism). The new art game is intended to educate the player and to stimulate his/her creative forces.
The Design Science Research method is being used in this study in order to cross-cut such remote fields as the general public, the arthouse world, codes of modern art and the tastes of the general public. The Design Science Research method helps boost efficiency and interest towards contemporary art games. It intends to integrate seemingly distant disciplines and seeks parallels in different areas in order to gain new knowledge and adapt fresh approaches. By finding common aspects in different areas, Design Science Research fuses areas and invites new trends into a research field.
ACKNOWLEDGEMENTS
This study has been supported by a grant from the European Regional Development Fund research “Leveraging ICT product innovations by enhancing codes of modern art” No. 1.1.1.2/VIAA/1/16/106 within the Activity 1.1.1.2 “Post-doctoral Research Aid” of the Specific Aid Objective 1.1.1 “To increase the research and innovative capacity of scientific institutions in Latvia and the ability to attract external financing, investing in human resources and infrastructure” of the Operational Program “Growth and Employment”. Homepage of the research: http://va.lv/en/research/research/leveraging-ict-product-innovations-enhancing-codes-modern-art
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Shedko, I. I. "Pictorial Sources of the Images of Mythological Creatures in the Video Game Nioh." Art & Culture Studies, no. 4 (December 2022): 502–27. http://dx.doi.org/10.51678/2226-0072-2022-4-502-527.
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The purpose of this article is to review the characters in the two-part Japanese video game series Nioh so as to identify their origins and artistic relationships with the visual arts. Based on the names and appearance of the characters created in the game, the author attempts to perform a comparative analysis of the images in the game and those known in Japanese art. The subject of the research is identifying and studying the connection between the art of the past and modern video game character design on the example of the Nioh video game series, using the methods of art analysis. Modern researchers consider video games to be one of the forms of interaction between modern culture and cultural heritage. Therefore, this study is relevant as it reveals the cultural significance of video games and demonstrates the method of working with the artistic heritage in building game worlds. The article provides a comparative analysis of the characters yoki and one-eyed oni, kappa and kamaitachi and the pictorial sources of the 8th–12th and 17th–19th centuries. The author comes to the conclusion that the video game Nioh is a modern catalogue of Japanese demonology, based on well-known pictorial and written sources.
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Aditya, Christian. "The Development Of Visual Aspects In Video Games Over The Years." ULTIMART Jurnal Komunikasi Visual 7, no. 2 (November 12, 2016): 18–22. http://dx.doi.org/10.31937/ultimart.v7i2.385.
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This report investigates the importance of creating a realistic environment in order to create an immersive world in digital games. The discussion will start from the history of Digital game development until now, discussing on the limitations of gaming consoles from time to time, and how game designers nowadays keep pushing the boundaries of the visual aspects of their game. Then focusing the discussion on the technical and art aspect of digital game design. By doing the analysis in this report, we can conclude that there are several reason that affects the visual quality of video games, such as the technology of the game console, the limitation of game engine, and also the skill of the game artist itself.
Key words : Video Games, Digital Games, Game Console, Environment, Game Engine.
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Sung, Jung Hwan, and Huibeom Yu. "Abusive Game Design Pattern as a Game Art Form." Advanced Science Letters 22, no. 11 (November 1, 2016): 3537–40. http://dx.doi.org/10.1166/asl.2016.7913.
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Rowe, M. W. "The Definition of ‘Game’." Philosophy 67, no. 262 (October 1992): 467–79. http://dx.doi.org/10.1017/s0031819100040663.
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Besides its intrinsic interest, the definition of ‘game’ is important for three reasons. Firstly, in Wittgenstein's Philosophical Investigations ‘game’ is the paradigm family resemblance concept. If he is wrong in thinking that ‘game’ cannot be defined, then the persuasive force of his argument against definition generally will be considerably weakened. This, in its turn, will have important consequences for our understanding of concepts and philosophical method. Secondly, Wittgenstein's later writings are full of analogies drawn from games—chess alone is mentioned scores of times—and a proper understanding of ‘game’ can lead us to exercise more caution when considering the parallels between games and non-games. Thirdly, games and play are intriguingly and closely related to art and ritual, and an analysis of games can throw considerable light on both of the latter.
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Austin, Hailey J., and Lydia R. Cooper. "Feeling the narrative control(ler): Casual art games as trauma therapy." Replay. The Polish Journal of Game Studies 8, no. 1 (November 21, 2022): 119–33. http://dx.doi.org/10.18778/2391-8551.08.07.
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Through a combination of aesthetics and game mechanics, casual art games offer unique engagements with trauma, allowing players to practice grief or empathise with the traumatic experiences of others. Both “Spiritfarer” (Thunder Lotus Games 2020) and „Mutazione” (Die Gute Fabrik 2019) utilise similar aesthetics (2D art, pastel colours and calming music) alongside agency-driven gameplay mechanics (choosing when to let spirits go or how to react to a character’s trauma) that create a safe space. This is possible because neither game is competitive, nor does it allow the player to lose. Instead, agency is given to the player through narrative choice and exploration of the beautiful storyworld. We argue that games like “Spiritfarer” and “Mutazione” can be used as models for the further development of casual art games that can be used as art therapy through their emotional connections embedded in both the aesthetics and gameplay.
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Rizali, Muhammad, Zainal Warhat, and Edwar Zebua. "PENGARUH ELEMEN-ELEMEN DESAIN KOMUNIKASI VISUAL (DKV) BOX ART GAME TERHADAP STORY LINE BERDASARKAN PERSEPSI GAMERS PADA VIDEO GAME POPULER DI INDONESIA." Gorga : Jurnal Seni Rupa 8, no. 2 (September 27, 2019): 295. http://dx.doi.org/10.24114/gr.v8i2.14700.
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AbstrakTujuan penelitian ini adalah untuk mengetahui pengaruh parsial dan simultan elemen gambar, elemen huruf, dan elemen warna DKV desain Box Art Game pada story line video game. Jenis penelitian ini adalah survey eksplanasi. Instrumen dalam penelitian ini menggunakan kuesioner dengan jumlah sampel sebanyak 151 responden gamer yang diperoleh secara on line melalui media sosial face book. Teknik pengambilan sampel menggunakan acak sederhana dengan cara mengupload kuesioner ke jaringan grup media sosial gamer face book. Teknik analisis data yang digunakan dalam penelitian ini adalah analisis regresi berganda. Instrumen penelitian yang digunakan telah diuji terlebih dahulu validitas dan reliabilitasnya. Persamaan regresi linear dengan menggunaan SPSS diperoleh: Y = -1,029 + 0,305 X1 + 0,05 X2 + 0,250 X3 + e. Melalui pengujian hipotesis diperoleh bahwa ada pengaruh parsial elemen gambar (X1) dan elemen warna (X3) terhadap story line (Y) diterima, sedangkan pengaruh elemen huruf (X2) terhadap story line (Y) ditolak. Pengaruh simultan elemen gambar (X1), eleman huruf (X2) dan elemen warna (X3) terhadap story line (Y) diterima. Berdasarkan pengujian hipotesis maka dapat disimpulkan variabel elemen gambar dan elemen warna berpengaruh dalam menjelaskan story line video game. Elemen huruf tidak berpengaruh dalam menjelaskan story line video game. Dalam penelitian ini elemen gambar memberi pengaruh paling besar terhadap story line dengan koefisien regresi 0,305. Secara simultan elemen gambar, eleman huruf dan elemen warna berpengaruh menjelaskan story line video game sebesar 44%.Kata Kunci: desain, box art game, elemen.AbstractThe purpose of this study was to determine the effect of partial and simultaneous image elements, letter elements, and color elements DKV design Box Art Game on the video game story line. This type of research is an explanatory survey. The instrument in this study used a questionnaire with a total sample of 151 gamers who were obtained online through face book social media. The sampling technique uses simple random method by uploading questionnaires to the network network of face book gamers. The data analysis technique used in this study is multiple regression analysis. The research instrument used was tested for its validity and reliability. The linear regression equation using SPSS is obtained: Y = -1,029 + 0,305 X1 + 0,05 X2 + 0,250 X3 + e. Through testing the hypothesis, it was found that there was a partial effect of the image element (X1) and color element (X3) on the story line (Y) received, while the influence of the letter element (X2) on story line (Y) was rejected. The effect of simultaneous image elements (X1), letters (X2) and color elements (X3) on story line (Y) is accepted. Based on hypothesis testing, it can be concluded that the variable image elements and color elements are influential in explaining the story line of video games. The letter element has no effect in explaining the story line of video games. In this study the image element gives the most influence on the story line with a regression coefficient of 0.305. Simultaneously drawing elements, elements of letters and influential color elements explain the video game story line by 44%.. Keywords: desain, box art game, elemen.
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Simamora, Lita Martauli, and Mesran Mesran. "Aplikasi Game Flatfrom Art Lewat Construct 2 Dengan Menggunakan Metode Quadtree." JURIKOM (Jurnal Riset Komputer) 7, no. 2 (April 26, 2020): 269. http://dx.doi.org/10.30865/jurikom.v7i2.2103.
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The use of media as a learning tool is appropriate and interesting in the introduction of traffic signs to increase knowledge. Traffic game application is a media that is run on an android smartphone as a means to recognize and learn the types of traffic signs. The research method in designing a traffic sign game is Quad-Tree which collision collision / collision of two different objects in the game area by dividing the arena of the same size game if there are two or more objects in the same area so divide the area again into four equal sized parts until no objects are in the same area. Providing interesting knowledge and while playing to the community, a traffic game application is designed to provide knowledge of road equipment containing symbols, letters, numbers, sentences or a combination of them, which are used to provide warnings, prohibitions, commands and instructions in the past educational games cross.
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García Martínez, Alba. "Games as an Art Medium: Critical Art Game Exhibitions in the Twenty-first Century." International Journal of New Media, Technology and the Arts 15, no. 1 (2020): 21–39. http://dx.doi.org/10.18848/2326-9987/cgp/v15i01/21-39.
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Davis, Jessica Hoffmann. "Unsung heroes: Reconceptualizing a video game as a work of art." Visual Inquiry 10, no. 1 (June 1, 2021): 141–47. http://dx.doi.org/10.1386/vi_00030_1.
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A veteran arts educator’s entrance into the heretofore unknown world of video games, from encountering the community of players to daring a first-hand experience playing Red Dead Redemption 2. Buoyed by her desire to see her actor son’s performance in the game, the author plays to the end and emerges with an understanding of the game as a work of art.
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Apperley, Thomas H. "The body of the gamer: game art and gestural excess." Digital Creativity 24, no. 2 (June 2013): 145–56. http://dx.doi.org/10.1080/14626268.2013.808967.
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Gee, James Paul. "Why Game Studies Now? Video Games: A New Art Form." Games and Culture 1, no. 1 (January 2006): 58–61. http://dx.doi.org/10.1177/1555412005281788.
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SHEVCHENKO, A., A. KUGAY, A. KLYUCEVSKA, and A. GAPON. "GENESIS OF CG ART AND VISUAL GAME STYLE." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 3 (December 7, 2022): 389–97. http://dx.doi.org/10.31494/2412-9208-2022-1-3-389-397.
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The purpose of this work is to explore the prerequisites for the emergence of CG Art, in particular, to determine the role of the artist and designer in the process of creating the visual component of the virtual gaming space. Describe the technological methods of creating visual content. Methodology. An integrated approach to the study of CG art samples was used, which made it possible to establish the features of the technology for their creation. In the course of the study, the historical and comparative method of scientific analysis of sources was used to identify the main trends in figurative expression in the design of the visual style of game content. Results. The causes, conditions and consequences of the formation of CG art are investigated. The role of the game designer and CG artist in the development of the visual style of the game is characterized. The features of the idea generation process are considered. The essence and characteristic features of concept art, the stages of its creation are reflected. The compositional techniques and means that are used to implement various design solutions are analyzed. Scientific novelty. The article singles out, structures and analyzes the main stages of creating game entities from the point of view of the principles of selection as artistically expressive means and various technological limitations due to the digital environment of the project. The data obtained on the basis of studying numerous domestic and foreign authoritative sources, and scientific periodicals devoted to the problems of digital technologies and game design, allow us to systematize the artistically expressive means used to design game entities. These tools can increase the level of empathy of the player, as well as the overall appeal and artistic and aesthetic qualities of the project. Practical significance. The materials of the work can be used to optimize the process of selecting suitable artistic and expressive means at the stage of developing the visual component of the project. In turn, this will help reduce labor and time costs with a minimum number of stylistic contradictions and imperfections that can significantly worsen the overall consumer and aesthetic properties of the project. The proposed techniques and methods of conceptual solutions can be used when designing both directly the graphic elements of the visual system of computer games, and when creating advertising layouts and marketing products. Key words: CG Art; graphic design; concept art; technological methods; game design; game industry.
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Hartono, Meilani, Andri Guna Santoso, Crisantus Lebu Raya, Budi Yulianto, and Suwarno Suwarno. "Audio Visual Media Components in Educational Game for Elementary Students." ComTech: Computer, Mathematics and Engineering Applications 7, no. 4 (December 31, 2016): 255. http://dx.doi.org/10.21512/comtech.v7i4.2515.
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The purpose of this research was to review and implement interactive audio visual media used in an educational game to improve elementary students’ interest in learning mathematics. The game was developed for desktop platform. The art of the game was set as 2D cartoon art with animation and audio in order to make students more interest. There were four mini games developed based on the researches on mathematics study. Development method used was Multimedia Development Life Cycle (MDLC) that consists of requirement, design, development, testing, and implementation phase. Data collection methods used are questionnaire, literature study, and interview. The conclusion is elementary students interest with educational game that has fun and active (moving) objects, with fast tempo of music, and carefree color like blue. This educational game is hoped to be an alternative teaching tool combined with conventional teaching method.
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이혜영 and LEEWONHYONG. "The Digital game art considerative to flow element of game." Journal of Korea Design Knowledge ll, no. 26 (June 2013): 231–38. http://dx.doi.org/10.17246/jkdk.2013..26.022.
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Hawk Polk, Dyani White. "The Long Game." Arts 9, no. 2 (June 11, 2020): 67. http://dx.doi.org/10.3390/arts9020067.
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We are pleased and honored to include the keynote address delivered by award-winning Sičáŋǧu Lakota artist, Dyani White Hawk Polk at the Native American Art Studies Association Conference (NAASA) on 2 October 2019. The NAASA is the leading professional and scholarly organization supporting and promoting the study and exchange of ideas related to Indigenous arts in the United States and Canada. At the organization’s biennial conference in Minneapolis, Minnesota, and while standing on Dakota traditional lands, Dyani White Hawk Polk delivered her important address, “The Long Game.” In it, she movingly and powerfully explores her life experiences, the history of and ongoing effects of colonialism, and how both inform her artistic practice. Her address traces the roles of mentors in her life, including the late Ho-Chunk artist, Truman Lowe, who taught at the University of Wisconsin, Madison during her time in the MFA program. She eloquently speaks to the challenges she has faced in tackling head-on hierarches in the art world that have continuously sought to diminish the significance of Indigenous art. She also provocatively addresses how artists, scholars, and critics can build the field of Indigenous art and support Indigenous artists. The address was widely praised at the conference, owing to the power and beauty of her words, as she spoke to how the past effects the present and as she illuminated a path for the future. We are grateful to be able to include her address in this Special Issue of Arts journal. Her thought-provoking address is both an artistic statement and a profound and moving commentary on the state of the Indigenous art world.
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Bontchev, Boyan, Desislava Paneva-Marinova, and Lubomil Draganov. "An Educational 3D Maze Game for Bulgarian Orthodox Iconography." Digital Presentation and Preservation of Cultural and Scientific Heritage 6 (September 30, 2016): 283–84. http://dx.doi.org/10.55630/dipp.2016.6.31.
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Thanks to their specific characteristics, educational video games make game-based learning more effective than traditional teaching approaches with regard of students’ motivation, engagement, and learning outcomes. This demonstrator presents an educational 3D maze video game introducing Bulgarian Orthodox iconography. The structure and learning content of the maze game are defined declaratively by applying several contemporary teaching methods and learning scenarios for Orthodox iconographic art study. Next, the game is generated by means of a special software platform for creation of customizable desktop video maze games for education. The demonstrator outlines both the game design and development processes and provides a tour through the generated educational maze rooms and tunnels. It shows how the game can be adapted according player’s achievements, emotions and performance.
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Statham, Nataska, João Jacob, and Mikael Fridenfalk. "Game environment art with modular architecture." Entertainment Computing 41 (March 2022): 100476. http://dx.doi.org/10.1016/j.entcom.2021.100476.
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VASILYEV, A. V. "Design in video game concept art." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 1-2 (2022): 128–43. http://dx.doi.org/10.37485/1997-4663_2022_1_2_128_143.
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Portocarrero, Maria Luísa. "Dance as art and therapeutic game." Revista Filosófica de Coimbra 27, no. 53 (2018): 49–64. http://dx.doi.org/10.14195/0872-0851_53_2.
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Wood, Kelli, and David S. Carter. "Art and technology: archiving video games for humanities research in university libraries." Art Libraries Journal 43, no. 4 (October 2018): 185–95. http://dx.doi.org/10.1017/alj.2018.29.
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AbstractOver the past half-century video games have become a significant part of our cultural environment, in part, by leading advances in both technology and artistic innovation. In recent years librarians and researchers have recognized these games as cultural objects that require collection and curation. Developing and maintaining collections of this fast moving and somewhat ephemeral media, however, poses challenges due to constantly advancing technology and a corresponding lack of consistent terminology. This article addresses the literature and critical issues surrounding collections of video games within libraries and presents a case study of the University of Michigan’s Computer and Video Game Archive (CVGA), one of the largest academic archives of its kind. Moreover, video games are situated in a humanistic approach to the field of game studies as the article draws on the relevance of methods from art history and film studies.
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Kinkley, Jonathan. "Art Thief: An Educational Computer Game Model for Art Historical Instruction." Leonardo 42, no. 2 (April 2009): 133–37. http://dx.doi.org/10.1162/leon.2009.42.2.133.
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Cognitive research has revealed learning techniques more effective than those utilized by the traditional art history lecture survey course. Informed by these insights, the author and fellow graduate researchers at the University of Illinois at Chicago designed a “serious” computer game demo, Art Thief, as a potential model for a learning tool that incorporates content from art history. The game design implements constructed learning, simulated cooperation and problem solving in a first-person, immersive, goal-oriented mystery set within a virtual art museum.
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Pilkevych, Andrii. "US popular culture in the mirror of video game industry conventions." Ethnic History of European Nations, no. 64 (2021): 97–101. http://dx.doi.org/10.17721/2518-1270.2021.64.13.
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Video game culture is one of the most dynamically developed forms of modern popular culture. Over the past 10 years, the number of communities that represent certain areas has grown rapidly. Being in direct connection with film industry, literature and music the video game culture has occupied a new segment that requires detailed research. New opportunities of online communication have transformed the traditional understanding of gaming culture. Social segment identifies as gamers. This kind of culture can be used to spread a social message using human interactions. It should be noted that in a comprehensive sense, this problem covers the interaction with computer and algorithm art, artmedia, demoscene, cybernetic and digital art, evolutionary and generative art, new media, systems art and other areas which are represented in PC, VR, Console, Handheld, Tabletop. Communities of gamers, as well as game developers have created and promoting quite recognizable festivals and conventions which are described in this article. Games and game-related merchandise by Sony Interactive Entertainment – PlayStation Experience; BlizzCon by Blizzard Entertainment with their major franchises: Overwatch, Warcraft, StarCraft, Heroes of the Storm et al; general video gaming and video game streaming – TwitchCon convention; RTX conventions by Rooster Teeth; Penny Arcade Expo as gaming culture festivals with their PAX Arena, LAN Party, eSports tournament and Omegathon. This article does not describe the US comic con conventions that carry much more content than the focus on video games, such as San Diego Comic-Con International, New York Comic Con et al. Gamers have developed specific communication languages and rituals, they spread their culture on gaming conventions and discussion websites that create a distinct virtual space. An important part of video game culture is the activity of gamers on YouTube, gaming channels are very popular, this is confirmed by millions of subscribers. Post-dynamic structure of changes was formed in all streams of public life during the growth of the pandemic. COVID-19 is accelerating existing trends and indicate future transformations in the video game industry.
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RALIBI, RAYMOND. "PERANCANGAN MOBILE GAME BERDASARKAN PERMAINAN RAKYAT “DODOMBAAN” UNTUK MEMBANGUN INTERAKSI SOSIAL ANTAR PEMAIN." Serat Rupa Journal of Design 1, no. 2 (January 19, 2018): 343. http://dx.doi.org/10.28932/srjd.v1i2.457.
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ABSTRACT“Dodombaan” is an old and popular folk-game amongst children in West Java, although nowadays it becomes rarely played as many children are in favor of playing digital games. Scholars believe that this folk-game actually provides an opportunity for children to develop a sense of social-sensitiveness, as children interactively play with each other. Having exposed to children interests on digital games and the social benefit of Sundanese folk-game, the study sets to design and develop a digital-game based on Sundanese folk-game of dodombaan. This design-study started by collecting and analyzing data of users and plays of dodombaan, which iteratively done in support of the process of designing a digital game. The formal elements of game are composed according to the original game-play of dodombaan. This is to assure that users will have similar game-experiences and social-benefit of the play. The digital game of dodombaan is developed as a mobile multi-player game on android platform and visualized according to the traditional art of sheep’s battle (seni ketangkasan domba) of Garut West Java. It is expected that the developed game of dodombaan can serve as an alternative product of digital game with cultural contents. Keywords: cultural content game; multiplayer mobile games; Sundanese folk-game
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Jurgens, David, and Roberto Navigli. "It’s All Fun and Games until Someone Annotates: Video Games with a Purpose for Linguistic Annotation." Transactions of the Association for Computational Linguistics 2 (December 2014): 449–64. http://dx.doi.org/10.1162/tacl_a_00195.
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Annotated data is prerequisite for many NLP applications. Acquiring large-scale annotated corpora is a major bottleneck, requiring significant time and resources. Recent work has proposed turning annotation into a game to increase its appeal and lower its cost; however, current games are largely text-based and closely resemble traditional annotation tasks. We propose a new linguistic annotation paradigm that produces annotations from playing graphical video games. The effectiveness of this design is demonstrated using two video games: one to create a mapping from WordNet senses to images, and a second game that performs Word Sense Disambiguation. Both games produce accurate results. The first game yields annotation quality equal to that of experts and a cost reduction of 73% over equivalent crowdsourcing; the second game provides a 16.3% improvement in accuracy over current state-of-the-art sense disambiguation games with WordNet.
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Frias, Jordi Angelo Timón, and Antonio Carlos Vargas. "Game-Art: considerações sobre a presença de grafitti em games digitais." DAPesquisa 9, no. 12 (September 12, 2018): 58–74. http://dx.doi.org/10.5965/1808312909122014058.
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Schiffel, S., and M. Thielscher. "Representing and Reasoning About the Rules of General Games With Imperfect Information." Journal of Artificial Intelligence Research 49 (February 14, 2014): 171–206. http://dx.doi.org/10.1613/jair.4115.
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A general game player is a system that can play previously unknown games just by being given their rules. For this purpose, the Game Description Language (GDL) has been developed as a high-level knowledge representation formalism to communicate game rules to players. In this paper, we address a fundamental limitation of state-of-the-art methods and systems for General Game Playing, namely, their being confined to deterministic games with complete information about the game state. We develop a simple yet expressive extension of standard GDL that allows for formalising the rules of arbitrary finite, n-player games with randomness and incomplete state knowledge. In the second part of the paper, we address the intricate reasoning challenge for general game-playing systems that comes with the new description language. We develop a full embedding of extended GDL into the Situation Calculus augmented by Scherl and Levesque's knowledge fluent. We formally prove that this provides a sound and complete reasoning method for players' knowledge about game states as well as about the knowledge of the other players.
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Jennifer Audiah and Brian Alvin Hananto. "REDESAIN VISUAL PERMAINAN KARTU ‘THE ART OF BATIK’." Jurnal Bahasa Rupa 3, no. 1 (October 28, 2019): 09–21. http://dx.doi.org/10.31598/bahasarupa.v3i1.392.
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Previously, the author had done a study towards ‘The Art of Batik’ board game in terms of graphic design, especially in the aspect of information grouping and visual hierarchy. From that study, it is found that some game component there was too much information that wasn’t properly visualized and there was lack of visual hierarchy. This drives the author to conduct a redesign in response to the findings that were previously found. This paper will discuss the redesign of the 'The Art of Batik' card game that was made by the authors. The paper will describe the steps and design considerations that were made in the design process. At the end of the design, the authors conclude the paper and give a recommendation on how to design a game from the perspective of a visual communication designer. The authors hope that this paper can be a reference for further game design and game visual designs. The design process was based on the paradigm that each design needs to accommodate a hierarchy of needs before attempting to pursue additional features. With that principle in mind, the authors remapped the pieces of information of the game and redesigned the form of the game components. The result was a playable new set of 'The Art of Batik' that is ready to be evaluated in further research.
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Dannenberg, Ross, and Josh Davenport. "Top 10 video game cases (US): how video game litigation in the US has evolved since the advent of Pong." Interactive Entertainment Law Review 1, no. 2 (December 2018): 89–102. http://dx.doi.org/10.4337/ielr.2018.02.02.
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Video game litigation in the United States is neither new nor infrequent, and video game developers can learn valuable lessons from cases won, and lost, by others before them. This article examines the evolution of United States intellectual property law from historically narrow roots to classifying video games as an art form deserving broad free speech protection. This article examines seminal cases in a variety of IP areas, including not only copyrights, but also reverse engineering, derivative works, patents, trademarks, rights of publicity, the Digital Millennium Copyright Act, contracts, and freedom of speech. These cases explore the factual and legal limits of American jurisprudence in video game law, including how one's own expression can be limited by the rights of others, permissible and fair use and of others' IP, and the impact these cases have had in the industry. As video games have leveled up into a multi-billion dollar industry, the law has leveled up, too, and this article is the primer you need to level up with it.
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Valja, Heikka. "Games in the Finnish art teachers’ curriculum." International Journal of Education Through Art 18, no. 2 (June 1, 2022): 191–207. http://dx.doi.org/10.1386/eta_00094_1.
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This article takes part in the discussion that revolves around games and gaming and presents an example on how they have been implemented to the curriculum of Finnish art teacher training. The article explores the results of a nationwide survey for art teachers concerning games and gaming and how it supported the curriculum design for pre-serving art education students. The most significant addition to the curriculum was a master’s-level course ‘Games, Gaming and Game Design’. The article presents the course in detail and how it has evolved during four semesters between 2017 and 2020. The theoretical framework for the curriculum design was built on Deweyan pragmatist aesthetics and constructionist ludology. The article suggests that games and gaming are an integral part of art education and best addressed in a holistic manner, not only as visual representations or tools for learning.
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Westecott, Emma. "Game sketching: Exploring approaches to research-creation for games." Virtual Creativity 10, no. 1 (April 1, 2020): 11–26. http://dx.doi.org/10.1386/vcr_00014_1.
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Digital games are a critical form in which makers express models of play that create meaning beyond entertainment. Game culture is pervasive and amidst a wider technological context that invites all our active participation provides one setting for creative self-expression. Games collapse the distance between makers and players in a uniquely active manner and whilst this paper centers on possibilities for game making, all players co-create their own gameplay experience, which holds potential for enacting individual agency. Based on experience introducing game design and development education at an art and design university over the past decade as part of the Digital Futures programme, this paper develops some early discussions around the concept of game sketching to both pedagogic and research-creation ends.
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Laso, Pau Waelder. "Games of Pain: Pain as Haptic Stimulation in Computer-Game—Based Media Art." Leonardo 40, no. 3 (June 2007): 238–42. http://dx.doi.org/10.1162/leon.2007.40.3.238.
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The text describes several media-art projects that introduce pain as a form of interaction within the context of a two-player game: PainStation (2001–2003) and LegShocker (2002) by Tilman Reiff and Volker Morawe, Tekken Torture (2001) by C-Level and Tazer Tag (2005) by Randy Sarafan. By presenting these examples and briefly analyzing the nature of pain and games, this text offers an overview of the implications of incorporating pain into a computer game and presents an approach to the motivations that lead players to perceive a painful experience as fun and addictive.
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Whitson, Jennifer R. "Voodoo software and boundary objects in game development: How developers collaborate and conflict with game engines and art tools." New Media & Society 20, no. 7 (June 30, 2017): 2315–32. http://dx.doi.org/10.1177/1461444817715020.
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This article describes how game developers successfully ‘pull off’ game development, collaborating in the absence of consensus and working with recalcitrant and wilful technologies, shedding light on the games we play and those that make them, but also how we can be forced to work together by the platforms we choose to use. The concept of ‘boundary objects’ is exported from Science and Technology Studies (STS) to highlight the vital coordinating role of game development software. Rather than a mutely obedient tool, game software such as Unity 3D is depicted by developers as exhibiting magical, even agential, properties. It becomes ‘voodoo software’. This software acts as a boundary object, aligning game developers at points of technical breakdown. Voodoo software is tidied away in later accounts of game development, emphasizing how ethnographies of software development provide an anchor from which to investigate cultural production and co-creative practice.
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Kunanusont, Kamolwan, Simon Lucas, and Diego Pérez-Liébana. "Modeling Player Experience with the N-Tuple Bandit Evolutionary Algorithm." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 14, no. 1 (September 25, 2018): 215–21. http://dx.doi.org/10.1609/aiide.v14i1.13039.
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Automatic game design is an increasingly popular area of research that consists of devising systems that create content or complete games autonomously. The interest in such systems is two-fold: games can be highly stochastic environments that allow presenting this task as a complex optimization problem and automatic play-testing, becoming benchmarks to advance the state of the art on AI methods. In this paper, we propose a general approach that employs the N-Tuple Bandit Evolutionary Algorithm (NTBEA) to tune parameters of three different games of the General Video Game AI (GVGAI) framework. The objective is to adjust the game experience of the players so the distribution of score events through the game approximates certain pre-defined target curves. We report satisfactory results for different target score trends and games, paving the path for future research in the area of automatically tuning player experience.
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Tunnel, Raimond-Hendrik, and Ulrich Norbisrath. "Classification of Video Games Bachelor’s Curricula." Journal of Education and Learning 12, no. 2 (February 13, 2023): 39. http://dx.doi.org/10.5539/jel.v12n2p39.
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As in any professional field, aspiring video game artists, designers, and developers must acquire the necessary skills and knowledge for a successful career. Higher education institutions offer varying video game Bachelor’s degree programs to meet the diverse needs of the industry. Our objective in this study was to explore these curricula to gain insight into and understanding of the contemporary video game higher education landscape.
We explored 113 Bachelor’s degree curricula in Europe that had publicly available information in English about their courses. We classified the courses within each curriculum using ten devised classifiers based on the IGDA Curriculum Framework 2008 but modified them to suit our interests. The content of the classified curricula was then used to create curriculum profiles – data vectors that characterize a curriculum based on its contents. These profiles allowed for hierarchical clustering and principal component analysis (PCA) to identify and investigate the three common types of video game curricula: video game art, interdisciplinary video game design, and video game technology/programming.
Our results indicate that art and programming curricula are highly specialized, with clear distinctions in yielding Bachelor of Arts and Bachelor of Science degrees. Curricula focused on interdisciplinary video game design do not have such clear distinctions in the degree titles and content specialization. They are more varied in their profiles and tend to bridge the gap between art and programming curricula, reflecting the interdisciplinary nature of game design as a profession.
Compared to results from previous studies, we found that contemporary curricula place a greater emphasis on graduation projects, internships, and soft skills. Our findings provide an overview of the current state of higher education in video games, which may prove helpful for those working with or interested in these curricula.
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Holmes, Virginia F. "The Winding Road to Discovery: A Review of Gaming Matters: Gaming Matters: Art, Science, Magic, and the Computer Game Medium." Eludamos: Journal for Computer Game Culture 6, no. 1 (May 25, 2012): 173–75. http://dx.doi.org/10.7557/23.6144.
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In this review of Ruggill and McAllister's Gaming Matters: Art, Science, Magic, and the Computer Game Medium, I seek to locate their argument within the larger framework of the game studies medium, specifically in that sparsely populated space between macro- and micro-focused game scholarship. This reviewer sees this book as a welcome and needed exploration of the computer game medium and the vast and various artifacts that are part of that medium. Though like so many attempts to define and taxonomize that have come before, Gaming Matters cannot place the computer game medium within a solid construction because of the fluidity and magic inherent to the medium. Despite this, Ruggill and McAllister through their whimsical and multidisciplinary approach offer a comprehensive and intriguing look at the computer game medium that is often forsaken in games research in favor of its larger and smaller constituent parts.