Relevant bibliographies by topics / Video game music Computer-aided design

Academic literature on the topic 'Video game music Computer-aided design'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Video game music Computer-aided design"

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Bridgewater, Michael. "Industrial Techno and SID Sound Design in the Commodore 64 Game Slipstream." Journal of Sound and Music in Games 4, no. 1 (January 1, 2023): 9–25. http://dx.doi.org/10.1525/jsmg.2023.4.1.9.

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Slipstream is a rail shooter developed by the group Bauknecht. The soundtrack, composed by Ronny Engmann, accentuates the game’s futuristic space setting and emphasis on speed by invoking the electronic dance music style of industrial techno, which combines the taut grooves of minimal techno with the abrasive sonics of early industrial music to make for an intensification of the sound that made the club scenes of Detroit and Berlin famous. Despite the Commodore 64 being a supposedly obsolete 8-bit platform that had its manufacture stopped decades ago, contemporary composers like Engmann are compelled to use the machine for its SID (Sound Interface Device) chip, which stands apart from the sound chips of other 8-bit home computers and consoles due to its variety of waveform types, filtering capabilities, ring modulation, and oscillator sync effects. The skills that Engmann developed while exploring the affordances of this versatile chip enabled him to compose a video game soundtrack that is informed by his engagement with the Berlin techno scene from the early 1990s onward. Drawing from ethnographic interviews with Engmann and Slipstream’s programmer Stefan Mader, this article demonstrates how techno’s pivotal theme of synergistic existence of humanity with technology resonates with an ecstatic feeling of forward propulsion that characterizes Slipstream. Focusing on the musical dimension of timbre and addressing the practical issues of modern cross-platform development through an analysis of Engmann’s project files for the Commodore 64 music tool GoatTracker, this article shows that Slipstream’s soundtrack is exemplary in effectively harnessing electronic dance music as video game music.
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Makai, Péter. "Video Games as Objects and Vehicles of Nostalgia." Humanities 7, no. 4 (November 25, 2018): 123. http://dx.doi.org/10.3390/h7040123.

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Barely 50 years old, video games are among the newest media today, and still a source of fascination and a site of anxiety for cultural critics and parents. Since the 1970s, a generation of video gamers have grown up and as they began to have children of their own, video games have become objects evoking fond memories of the past. Nostalgia for simpler times is evident in the aesthetic choices game designers make: pixelated graphics, 8-bit music, and frustratingly hard levels are all reminiscent of arcade-style and third-generation console games that have been etched into the memory of Generation X. At the same time, major AAA titles have become so photorealistic and full of cinematic ambition that video games can also serve as vehicles for nostalgia by “faithfully” recreating the past. From historical recreations of major cities in the Assassin’s Creed series and L. A. Noire, to the resurrection of old art styles in 80 Days, Firewatch or Cuphead all speak of the extent to which computer gaming is suffused with a longing for pasts that never were but might have been. This paper investigates the design of games to examine how nostalgia is used to manipulate affect and player experience, and how it contributes to the themes that these computer games explore. Far from ruining video games, nostalgia nonetheless exploits the associations the players have with certain historical eras, including earlier eras of video gaming. Even so, the juxtaposition of period media and dystopic rampages or difficult levels critically comment upon the futility of nostalgia.
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Baker, Robin. "An Interactive Computer Video Game for the Design Museum: Using Technology to Teach Technology." Leonardo 24, no. 4 (1991): 427. http://dx.doi.org/10.2307/1575520.

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Sperano, Isabelle, Ross Shaw, Robert Andruchow, Dana Cobzas, Cory Efird, Brian Brookwell, and William Deng. "Creative, Interdisciplinary Undergraduate Research: An Educational Cell Biology Video Game Designed by Students for Students." Scholarship and Practice of Undergraduate Research 4, no. 2 (February 1, 2021): 5–14. http://dx.doi.org/10.18833/spur/4/2/7.

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In a three-year, practice-based, creative research project, the team designed a video game for undergraduate biology students that aimed to find the right balance between educational content and entertainment. The project involved 7 faculty members and 14 undergraduate students from biological science, design, computer science, and music. This nontraditional approach to research was attractive to students. Working on an interdisciplinary practice-based research project required strategies related to timeline, recruitment, funding, team management, and mentoring. Although this project was time-consuming and full of challenges, it created meaningful learning experiences not only for students but also for faculty members.
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Wang, Xiaohui, Dion Hoe-Lian Goh, Ee-Peng Lim, and Adrian Wei Liang Vu. "Understanding the determinants of human computation game acceptance." Online Information Review 40, no. 4 (August 8, 2016): 481–96. http://dx.doi.org/10.1108/oir-06-2015-0203.

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Purpose – Human computation games (HCGs) that blend gaming with utilitarian purposes are a potentially effective channel for content creation. The purpose of this paper is to investigate the driving factors behind players’ adoption of HCGs through a music video tagging game. The effects of perceived aesthetic experience (PAE) and perceived output quality (POQ) on HCG acceptance are empirically examined. Design/methodology/approach – An integrative structural model is developed to explain how hedonic and utilitarian factors, including PAE and POQ, working with another salient factor – perceived usefulness (PU) – affect the acceptance of HCGs. The structural equation modeling method is used to verify the proposed model with data from 124 participants. Findings – Results show that PAE is the strongest predictor of HCGs adoption. PU has a significant impact on individuals’ attitude toward HCGs. POQ is a salient predictor of PU and PAE, and its indirect effect on attitude is significance. Originality/value – From an academic point of view, this study provides a good understanding of the driving factors behind player acceptance of HCGs and adds new knowledge to games with utilitarian purposes. It is also one of the first to describe the components of game enjoyment with a taxonomy of aesthetic experiences. From the practical perspective, the investigation of the specific factors behind adoption of HCGs provides specific guidelines for their design and evaluation.
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Simon, Jean Paul. "The production and distribution of digital content in China. An historical account of the role of internet companies and videogames." Digital Policy, Regulation and Governance 23, no. 2 (June 19, 2021): 190–209. http://dx.doi.org/10.1108/dprg-10-2020-0138.

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Purpose This paper aims to shed some light on the history of the Chinese videogames industry, to document the growth of the leading companies and reveal how they have been morphing into platforms delivering constellations of apps and digital content (audiovisual, films, music, literature, video streaming […]). The paper tracks the development of digital services through the prism of videogames thereby showing how this industry emerged out of the deployment of the internet. Design/methodology/approach The paper provides an overview and a synthesis of what is known about the Chinese game industry, particularly based on consultancy documents and publications from firms. The paper is based on desk research, a review of literature and trade press and the analysis of the annual reports of the leading players (NetEase, Tencent […]). Findings The rise of videogames and the creation of specific company’s “ecosystems” illustrate the capacity of the industry to innovate and its significance for the Chinese economy. It reveals that gaming has been a cornerstone of many Chinese technology companies. The (young) companies came up with the innovative business models (FTP, virtual items) that were required to further expand the market. They found new ways to interact with their customers through communities and various tools. Research limitations/implications The paper relies on consultancy documents and publications from firms on heterogeneous data from industry and consultants. This approach comes with some limitations from a methodological viewpoint. It allows documenting the historical trends and describing the industrial landscape but not to qualify the relationships among players. Besides, the use of these sources leads to a greater focus on business models and a more limited one on the policy dimension. The latter is often perceived only through the glasses of the companies. Practical implications The data provided are meant to be useful to become familiar with the Chinese games industry. Social implications The paper indicates that the online game industry is a complex web of activities with tensions and contradictions between stakeholders (industry, government and consumers). In the case of China, there is a conflict between the willingness to liberalize the economy and the will to maintain an ideological monopoly through cultural industries. Originality/value Little research has been devoted to the role of videogames in emerging economies, to its specific features and to the relationships with the media industry and the information and communications technology sector. The contribution of this “digital native” to the production and distribution of digital content remains less studied. The paper provides an up-to-date overview of the Chinese case.
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Guo, Xin, Yifan Zhao, and Jia Li. "DanceIt: Music-Inspired Dancing Video Synthesis." IEEE Transactions on Image Processing 30 (2021): 5559–72. http://dx.doi.org/10.1109/tip.2021.3086082.

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Muratet, Mathieu, Patrice Torguet, Jean-Pierre Jessel, and Fabienne Viallet. "Towards a Serious Game to Help Students Learn Computer Programming." International Journal of Computer Games Technology 2009 (2009): 1–12. http://dx.doi.org/10.1155/2009/470590.

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Video games are part of our culture like TV, movies, and books. We believe that this kind of software can be used to increase students' interest in computer science. Video games with other goals than entertainment, serious games, are present, today, in several fields such as education, government, health, defence, industry, civil security, and science. This paper presents a study around a serious game dedicated to strengthening programming skills. Real-Time Strategy, which is a popular game genre, seems to be the most suitable kind of game to support such a serious game. From programming teaching features to video game characteristics, we define a teaching organisation to experiment if a serious game can be adapted to learn programming.
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Benito-Santos, Alejandro, Amelie Dorn, Antonio G. Losada Gómez, Thomas Palfinger, Roberto Therón Sánchez, and Eveline Wandl-Vogt. "Playing Design." Journal on Computing and Cultural Heritage 14, no. 2 (June 2021): 1–19. http://dx.doi.org/10.1145/3427380.

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This article reports on the experience of co-designing an educational video game aimed at promoting good dietary habits in youngsters and fostering Sustainable Development Goals (SDGs), such as SDG 3 (Good Health and Well-Being), SDG 10 (Reduced Inequalities), and SDG 17 (Partnerships for the Goals). To ensure the quality of the results, we developed a methodology under a social innovation paradigm that enabled the co-creation of the game. The methodology was driven by a series of three workshops, during which we adopted several different gamification strategies to support a Participatory Design (PD) process with the stakeholders, a group of local pre-teen and teen girls at social risk (N = 22). Captured requirements materialized into intermediate prototype evaluations that motivated a progressive refinement of the game.
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Davies, Bryan, and Edwin Blake. "Evaluating Existing Strategies to Limit Video Game Playing Time." IEEE Computer Graphics and Applications 36, no. 2 (March 2016): 47–57. http://dx.doi.org/10.1109/mcg.2016.25.

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Dissertations / Theses on the topic "Video game music Computer-aided design"

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Washburn, Megan E. "Dynamic Procedural Music Generation from NPC Attributes." DigitalCommons@CalPoly, 2020. https://digitalcommons.calpoly.edu/theses/2193.

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Procedural content generation for video games (PCGG) has seen a steep increase in the past decade, aiming to foster emergent gameplay as well as to address the challenge of producing large amounts of engaging content quickly. Most work in PCGG has been focused on generating art and assets such as levels, textures, and models, or on narrative design to generate storylines and progression paths. Given the difficulty of generating harmonically pleasing and interesting music, procedural music generation for games (PMGG) has not seen as much attention during this time. Music in video games is essential for establishing developers' intended mood and environment. Given the deficit of PMGG content, this paper aims to address the demand for high-quality PMGG. This paper describes the system developed to solve this problem, which generates thematic music for non-player characters (NPCs) based on developer-defined attributes in real time and responds to the dynamic relationship between the player and target NPC. The system was evaluated by means of user study: participants confront four NPC bosses each with their own uniquely generated dynamic track based on their varying attributes in relation to the player's. The survey gathered information on the perceived quality, dynamism, and helpfulness to gameplay of the generated music. Results showed that the generated music was generally pleasing and harmonious, and that while players could not detect the details of how, they were able to detect a general relationship between themselves and the NPCs as reflected by the music.
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Tomczak, Sebastian. "On the development of an interface framework in chipmusic: theoretical context, case studies and creative outcomes." Thesis, 2011. http://hdl.handle.net/2440/70888.

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The current study deals with the development, application and outcomes of an Interface Framework that can be applied to a range of video game systems in order to create realtime music. The Framework controls the internal sound chips of video game consoles from a host computer or external device in such a way as to greatly expand the artistic and technical choices available to composers and musicians. The submission comprises a written component, a data component (made up of timelines, source code and schematics) and a creative outcomes component (made up of approximately one hour of music).
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2011
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Books on the topic "Video game music Computer-aided design"

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Maura, Kennedy, ed. Make your own music videos with Adobe Premiere. New York: Hungry Minds, 2002.

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(Firm), Alias/Wavefront, ed. Maya illuminated: Games : the essential guide to creating video game content with Alias/Wavefront Maya. [Seattle, WA]: Mesmer, 2001.

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Iphone Game Development For Teens. Course Technology, 2012.

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Kennedy, Pete, and Maura Kennedy. Make Your Own Music Videos with Adobe Premiere. Wiley, 2002.

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Kennedy, Pete, and Maura Kennedy. Make Your Own Music Videos with Adobe Premiere. Wiley & Sons, Incorporated, John, 2008.

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Kennedy, Pete, Maura Kennedy, and Deirdre Kennedy. Make Your Own Music Videos with Adobe Premiere. Wiley & Sons, Incorporated, John, 2002.

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Playing with sound: A theory of interacting with sound and music in video games. The MIT Press, 2013.

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Culbertson, William. 3ds Max Basics for Modeling Video Game Assets: Model a Complete Game Environment and Export to Unity or Other Game Engines. Taylor & Francis Group, 2019.

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Culbertson, William. 3ds Max Basics for Modeling Video Game Assets: Model a Complete Game Environment and Export to Unity or Other Game Engines. Taylor & Francis Group, 2019.

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Culbertson, William. 3ds Max Basics for Modeling Video Game Assets : Volume 1: Model a Complete Game Environment and Export to Unity or Other Game Engines. Taylor & Francis Group, 2019.

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Book chapters on the topic "Video game music Computer-aided design"

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Sánchez, José Luis González, Francisco L. Gutiérrez, Marcelino Cabrera, and Natalia Padilla Zea. "Design of Adaptative Video Game Interfaces: A Practical Case of Use in Special Education." In Computer-Aided Design of User Interfaces VI, 71–76. London: Springer London, 2009. http://dx.doi.org/10.1007/978-1-84882-206-1_7.

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Kellman, Noah. "Emergence: Music’s Role in Player Experimentation." In The Game Music Handbook, 121–36. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938680.003.0009.

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In the context of computer science, “emergent behavior” is when a number of simple behaviors interact and evolve into a larger, more complex behavior. This concept is quite common in video games. In cases of designed emergence, the music is designed to react to the player’s personality and to musically encourage the player to carry out certain actions. However, in unpredicted emergence, one must ask the question: how will the players’ personalities then affect the resulting music itself? This chapter will discuss different techniques that can be used to create a system that adapts well to both designed and unpredicted emergence, including the uses of model-based sound design, as well as modular orchestration. Among other examples, this chapter examines how Avalanche created a highly reactive music system which accounted systematically for the many possibilities in Just Cause 4.
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Roibás, Anxo Cereijo. "WAP Applications in Ubiquitous Scenarios of Work." In Encyclopedia of Human Computer Interaction, 699–705. IGI Global, 2006. http://dx.doi.org/10.4018/978-1-59140-562-7.ch105.

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European users have eagerly adopted novel forms of digital media and related information and communications technologies (Stanton, 2001), making them a part of their increasingly varied and segmented cultures (Brown, Green, & Harper, 2001). For example, the young are active consumers of music, videos, movies, and games; businessmen on the other hand need more and more working tools and applications that enable connectivity when they are on the move. A not very dissimilar scenario is envisaged on troops in action where work on tactical and strategic information and mission management, command, and control, including real-time mission replanning, are essential. All these users rely on the Internet, i-TV, and mobile phones, and they have adapted all of these into the fabric of their lifestyles, or in short, their mobile life. But, functionality cannot be the main driver for design as mobile life is also deeply founded upon shared values and worldviews of the users, pleasure, enjoyment, culture, safety, trust, desire, and so forth (Rheingold, 1993). For example, WAP (wireless application protocol) technologies seemed to provide a powerful tool to the mobile worker. However, it is well known the fraud of WAP mainly due to the scarce usability, high usage cost, and inadequate range of the services provided together with intrinsic limitations of the device itself (insufficient memory storage, low battery autonomy, poor screen resolution, etc. [Cereijo Roibás, 2001]). However, some WAP applications have been widely used by Italian users. The success of this system of applications is due to its efficiency, effectiveness, and relevance for some specific work purposes. Each of the services will be analysed, describing the expected use of each service and the actual use of it by Italian users.
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Conference papers on the topic "Video game music Computer-aided design"

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Fan, Kuo-Kuang, Pei-Chi Ho, and Yung-Fu Hu. "On Video Game: Heaven or Hell." In 2007 10th IEEE International Conference on Computer-Aided Design and Computer Graphics. IEEE, 2007. http://dx.doi.org/10.1109/cadcg.2007.4407913.

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