Bibliografias temáticas / Video games – design – drawings

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Literatura científica selecionada sobre o tema "Video games – design – drawings"

Autor: Grafiati

Publicado: 29 de julho de 2024

Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Video games – design – drawings"

Staines, Dan, Mia Consalvo, Adam Stangeby e Sâmia Pedraça. "State of play: Video games and moral engagement". Journal of Gaming & Virtual Worlds 11, n.º 3 (1 de outubro de 2019): 271–88. http://dx.doi.org/10.1386/jgvw.11.3.271_1.

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In this article we examine three recent examples of ‘ethically notable games’ (Zagal 2010) and highlight unusual or innovative design features for facilitating moral engagement. Drawing on the work of Miguel Sicart to frame our analysis, our goal is to highlight current trends in ENG (ethically notable games) design and see how commercial games are moving beyond reductive ‘morality meters’ and treating moral choice with greater nuance, resulting ‐ for the most part ‐ in a more morally engaging experience.

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Utoyo, Arsa Widitiarsa. "Video Games as Tools for Education". Journal of Games, Game Art, and Gamification 3, n.º 2 (19 de outubro de 2021): 56–60. http://dx.doi.org/10.21512/jggag.v3i2.7255.

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Computer and video games are a channel of evolution and productivity that is most consumed keeping the notice of scholars through a variety of disciplines. In general, computers and video games were ignored by educators. When educators considered the games, they noticed the social consequences of gambling, ignoring the remarkable educational potential of the game. This article looks at the history of educational research games and argues that the perceptive potential of games has been ignored by educators. Current developments in the game, including interactive stories, authoring tools, and digital world collaboration, suggest powerful new opportunities for educational media. Video games are an important part of improving education through its ability to force players to present realistic simulations of real-life situations. The beginning of the proper use of gaming technologies for education and training and there is no need for scientific and engineering methods to create games not only as a more realistic simulation of the physical world but to provide experience Effective learning. This document illustrates building up to date Integration of educational principles and game design into a dialogue between them and defining games that can be integrated based on design, entertainment, and educational features. The work follows a drawing tray that forms part of the framing definition and after selecting categories of design templates, before focusing on user interaction modes, from a pedagogical point of view, given its relevance to end users

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Milburn, Colin, Katherine Buse, Ranjodh Singh Dhaliwal, Melissa Wills, Raida Aldosari, Patrick Camarador, Josh Aaron Miller e Justin Siegel. "Join the Fold: Video Games, Science Fiction, and the Refolding of Citizen Science". Design Issues 39, n.º 1 (1 de janeiro de 2023): 70–87. http://dx.doi.org/10.1162/desi_a_00707.

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Abstract This article explores the value of science fiction narratives in games for citizen science. Focusing on the protein-folding game Foldit, it describes the process of modifying and redesigning the game to feature a framing narrative and other alterations to the main tutorial campaign. The campaign narrative, Foldit: First Contact, situates the practices of citizen science in an expanded context of meanings and ethical implications, promoting critical self-reflection on the relations of science and civic values. A study of player responses to Foldit: First Contact suggests the significance of science fiction and critical game design for attuning citizen scientists to the collective responsibilities of experimentation and innovation, drawing attention to the intersecting social, technical, and environmental domains in which gamers may contribute to scientific research.

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Bassiouni, Dina H., e Chris Hackley. "Video games and young children’s evolving sense of identity: a qualitative study". Young Consumers 17, n.º 2 (20 de junho de 2016): 127–42. http://dx.doi.org/10.1108/yc-08-2015-00551.

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Purpose This paper aims to investigate children’s experience as consumers of video games and associated digital communication technology, and the role this experience may play in their evolving senses of identity. Design/methodology/approach Qualitative depth interviews and discussions were conducted in a convenience sample consisting of 22 children of both genders aged 6-12 years, parents and video games company executives in the southwest of the UK. The fully transcribed data sets amounting to some 27,000 words were analysed using discourse analysis. Findings The findings revealed the heightened importance that the knowledge of video games plays in children’s strategies for negotiating their nascent sense of identity with regard to peer groups, family relationships and gender identity. Video games were not only a leisure activity but also a shared cultural resource that mediated personal and family relationships. Research limitations/implications The study is based on an interpretive analysis of data sets from a small convenience sample, and is therefore not statistically generalisable. Practical implications This study has suggested that there may be positive benefits to children’s video game playing related to aspects of socialisation, emotional development and economic decision-making. An important caveat is that these benefits arise in the context of games as part of a loving and ordered family life with a balance of activities. Social implications The study hints at the extent to which access to video games and associated digital communications technology has changed children’s experience of childhood and integrated them into the adult world in both positive and negative ways that were not available to previous generations. Originality/value This research addresses a gap in the field and adds to an understanding of the impact of video games on children’s development by drawing on children’s own expression of their subjective experience of games to engage with wider issues of relationships and self-identity.

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Nacher, Anna, e Filip Jankowski. "Re-writing histories of colonization in video games: the case of Elizabeth LaPensée". Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 29, n.º 38 (15 de junho de 2021): 123–41. http://dx.doi.org/10.14746/i.2021.38.08.

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The article is aimed at presentation of the case study in video games creation by Indigenous auteur and designer, Elizabeth LaPensée, which at the same time demonstrates how video games can both mediatize the process of re-writing history and decolonize popular imagination. The analysis of LaPensée’s three games: Invaders, Thunderbird Strikes, and When the Rivers Were Trails to some extent follows her own strategies of self-identification as Anishinabee (Ojibwe). Drawing upon reconfiguration of the auteur theory and the framework of ludostylistics by Astrid Ensslin, we also strive to demonstrate how the notion of a singular author is in fact grounded in collective and collaborative qualities of indigenous digital culture, including digital game design.

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Costal, Tomás. "Why is that creature grunting?" Translation and Translanguaging in Multilingual Contexts 4, n.º 1 (24 de abril de 2018): 151–77. http://dx.doi.org/10.1075/ttmc.00008.cos.

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Abstract Video games today are highly complex audiovisual products. Their nature is not only multisemiotic but also interactive. Their potential audience has certain expectations and, especially in the case of digital blockbusters, final users need the advantage of knowledge and the force of numbers. A faux pas in design, continuity or playability will most likely be conducive to social media outrage, and will see official apologies be released presently. Conversely, accessibility shortcomings rarely or never have the same impact. The present study puts forward the advantages of including Subtitles for the Deaf and Hard of Hearing (SDH) in popular video games and offers an in-depth analysis of a selection of recent multimedia titles. Drawing on the work of Bernal Merino (2015), O’Hagan and Mangiron (2013) and Trabattoni (2014) on the special characteristics of video games, the main elements around which they are structured and the aspects that determine their success or failure, the author will endeavour to advance a convincing argument in favour of the introduction of SDH subtitling conventions.

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Jenson, Jennifer, e Suzanne de Castell. "Patriarchy in play: Video games as gendered media ecologies". Explorations in Media Ecology 20, n.º 2 (1 de junho de 2021): 195–212. http://dx.doi.org/10.1386/eme_00084_1.

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Videogames are a dominant cultural, economic and creative medium in the twenty-first century, whose varied ecologies are increasingly recognized as particularly hostile environments to those identifying or identified as women. These ecologies include those encoded and enacted within the virtual environments of digital games, across the spectrum of those ecologies materially inhabited in games education, game cultures and, paradigmatically, the video game industry. In June 2020, top videogame maker Ubisoft saw high ranking employees resign from the company as accounts went public on Twitter and in mainstream media of sexual harassment, abuse and other misconduct at the company being covered up and ignored. But this is by no means the first public revelation of sexual harassment and discriminatory injustices directed at women who develop and play games: many will recall the vitriolic online hate movement #gamergate.Despite the familiarity of these tropes, we seem to ‘rediscover’ every few years or so that making and playing video games can present toxic environments for women. Drawing on feminist perspectives that understand how videogames have been a gendered, primarily masculine, domain, this article proposes that a topographical view, one specifically attuned to examining gender through a media ecology lens, can demonstrate how these successive re-enactments of ‘shock and awe’ operate in the service of, and are functionally integral to, the preservation of media ecologies exclusionary by design, legitimizing the repetition of their gendered hostilities. The intent is to move beyond naïve expressions of surprise and righteous indignation, to a grounded recognition and elucidation of the extents to which misogyny and harassment are and have been deeply structured into the gendered ecologies of video games.

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Reay, Emma. "Cute, cuddly and completely crushable: Plushies as avatars in video games". Journal of Gaming & Virtual Worlds 13, n.º 2 (1 de junho de 2021): 131–49. http://dx.doi.org/10.1386/jgvw_00033_1.

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This article examines video game avatars that are designed to resemble toys. It names this trope the ‘Blithe Child’ to capture the carefree, careless and childlike interactions this avatar invites. This article argues that the connection between the Blithe Child and traditional toys functions to express and explain non-violent game mechanics, to shape sentimental player‐avatar relationships, to create cosy, snug playspaces and to encourage pro-social, creative and self-expressive playstyles. However, the Blithe Child inherits some of the more sinister dynamics latent in human‐toy relationships, namely the desire to humiliate and mutilate the cute object and anxieties about what it means to be ‘real’ ‐ to be an independent, agential subject rather than a passive, manipulated, othered object. Drawing on theories derived from cuteness studies and toy studies, this article uses a close reading approach to critique the age-based hierarchies that underpin this trope.

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Boehm, Robert, Brackley Frayer e Joe Aldridge. "Engineering for the Spectacle". Mechanical Engineering 127, n.º 01 (1 de janeiro de 2005): 42–44. http://dx.doi.org/10.1115/1.2005-jan-5.

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This article reviews a design revolution that is taking place in entertainment, and technology is playing a major role. Just as computer graphics have enhanced movies and video games, live entertainment, too, is showcasing spectacles requiring evermore sophisticated technical effects. Nowhere has this trend been more evident than in Las Vegas, the live-entertainment capital of the world. In its work, Sceneing Solutions involved engineering collaboration with theater people to perform a number of analyses. Included were finite element calculations of the structural function, and input on the manufacturability of the various scenery elements. All of the aspects were developed with the assistance of CAD drawings. The last two decades have seen a rapid increase in the technical sophistication of live entertainment. Nowhere is there more spectacle than in Las Vegas, as each new hotel casino tries to offer more excitement to draw customers. To service this growing demand, there is a new technical business for theatrical engineers, who can both design and realize the high technology of stagecraft.

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Rizali, Muhammad, Zainal Warhat e 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, n.º 2 (27 de setembro de 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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Teses / dissertações sobre o assunto "Video games – design – drawings"

Ögren, Erik. "Hopelessness in Video Games : Motivating the player". Thesis, Uppsala universitet, Institutionen för speldesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-411097.

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This bachelor thesis details the study and analysis of hopelessness, motivation, and personality types concerning game design. It offers definitions for hopelessness based on previous studies and explains what makes people experience hopelessness in games. The thesis compares previously conducted studies on hopelessness and motivation, confirms their validity, and applies the conclusion to theories of game design, such as MDA.

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Koffi, Cole Mahoukau. "Video game development with 3D Studio Max and the XNA framework". CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3228.

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The purpose of this project on game design and development is to experiment with actual technology tools used in computer games and get experience in three deminsional game development using 3D Studio Max and Microsoft XNA.

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Wibom, Martin. "Exploration of smell rehabilitation video games". Thesis, Malmö universitet, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-45926.

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This project explores opportunities in designing hybrid digital/physical smell rehabilitation video games using no unique game peripherals. During a 13-week process, three major iterations were created and externally tested on a small user group. The first two iterations contained five simple minigames that served to explore different types of game concepts. For the final iteration, two minigames were fully developed, a slow- and fast-paced game. The main findings were that slow-paced better-facilitated smell training than fast-paced games; aesthetics increased the player’s focus on small training; not utilising unique game peripherals limited the design opportunities and implementation of smell mechanics.

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Zagal, José Pablo. "Supporting learning about games". Diss., Georgia Institute of Technology, 2008. http://hdl.handle.net/1853/24814.

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It seems like teaching about games should be easy. After all, students enjoy engaging with course content and have extensive experience with videogames. However, games education can be surprisingly complex. I explore the question of what it means to understand games by looking at the challenges and problems faced by students taking games-related classes. My findings include realizing that extensive prior videogame experience often interferes with students abilities to reason critically and analytically about games, and that students have difficulties articulating their experiences and observations about games. In response to these challenges, my research explores how we can use online learning environments to support learning about games by (1) helping students get more from their experiences with games, and (2) helping students use what they know to establish deeper understanding. I explore these strategies through the design and use of two online learning environments: GameLog and the Game Ontology Wiki. GameLog is an online blogging environment designed to help students reflect on their game playing experiences. The Game Ontology wiki provides a context for students to contribute and participate legitimately and authentically in the Game Ontology Project. The Game Ontology Project is a games studies research project that is creating a framework for describing, analyzing and studying games. GameLog and the Game Ontology Wiki were used in university level games-related classes. Results show that students found that participating in these online learning environments was a positive learning experience that helped them broaden and deepen their understanding of videogames. Students found that by reflecting on their experiences playing games they began to understand how game design elements helped shape that experience. Most importantly, they stepped back from their traditional role of gamers or fans and engaged in reasoning critically and analytically about the games they were studying. With GameLog, I show how blogging about experiences of gameplay can be a useful activity for supporting learning and understanding about games. For the Game Ontology Wiki, I show how it is possible to design learning environments that are approachable to learners and allow them to contribute legitimately to external communities of practice.

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Rasmussen, Gaute. "Creative expression as the objective in video games". Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/75647/2/Gaute_Rasmussen_Thesis.pdf.

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This study explores the idea of video games where the players are not just allowed to express themselves creatively, but are challenged to do so and are judged based on the quality of their creative expression. The outcome of the research is a series of six games which comment on this idea. The study also raises further questions regarding how current video games are constructed and designed in comparison with non-computer games, and invites a further evolution of the craft of video game design in a direction that focuses more on interpreting and reacting to what the player is doing.

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Asad, Mariam. "Making it difficult: modernist poetry as applied to game design analysis". Thesis, Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/39617.

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The process of reading a modernist poem is just as much a process of deconstructing it: the language is designed to make meaning through inefficient means, like the aforementioned fragmentation and assemblage. The reader must decode the text. This is what I want to extract as a point of entry to my videogame analysis. The process of reading is not unlike the process of playing. Instead of linguistic structures, a player must navigate a game‟s internal rule system. The pleasure for both the reader and player comes from decoding the poem and game, respectively. I am not making claims that relationships between modernist poetry and videogames are inherent or innate. Similarly, I am not providing a framework to apply one medium to the other. Instead I want to investigate how each medium uses its affordances to take advantage of its potential for creative expression. I do not consider poetry or literature to be superior to videogames, nor am I invoking the argument that videogames should imitate earlier media. My goal is to compare specific modernist poems and videogames to see how each medium makes meaning through its respective processes.

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Af, Malmborg Harald. "Evaluation of Car Engine Sound Design Methods in Video Games". Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-84627.

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Realistic interactions with sound objects in video games are a contributing factor to the overall immersion. Car engine sound design is an area where the auditory feedback from driving would have an impact on that immersion. For this study, three methods for designing car engine sounds are evaluated. A traditional method in the game sound industry is to use several sampled audio recordings for the reproduction of engine sounds, which is in this study represented as a sample-based model. The sample-based model is evaluated together with a model using granular synthesis in an in-game scenario. A less common method is to use physical modeling, which is in this study evaluated together with the other two models in a listening test. Results show the granular synthesis model to be the most realistic, and the physical model to be the least preferred.

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Zagal, José Pablo. "Supporting learning about games". Atlanta, Ga. : Georgia Institute of Technology, 2008. http://hdl.handle.net/1853/24814.

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Thesis (Ph.D.)--Computing, Georgia Institute of Technology, 2008.
Committee Chair: Bruckman, Amy; Committee Member: Guzdial, Mark; Committee Member: Juul, Jesper; Committee Member: Kolodner, Janet; Committee Member: Mateas, Michael.

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Atanasov, Simeon. "Juiciness: Exploring and designing around experience of feedback in video games". Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22264.

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This project aims to explore the effects of feedback over experience invideo games. It acts as a part of a discussion around the concept of “Juiciness”, byattempting to define it both in theory and practice. The text describes a positionon “Juiciness” in relation to experience design and “Experiential qualities”, anddiscusses the role of aesthetics in the context of feedback. The practical aspect ofthe project is aimed towards finding where “Juiciness” can enrich a designprocess and this is done through the design, development and analysis of a videogame prototype. The project also takes a critical standpoint towards “Juiciness”,in order to question and expand on the current definitions of the concept.

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Warden, James. "Senses, Perception, and Video Gaming: Design of a College for Video Game Design and Production". Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1116113863.

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Livros sobre o assunto "Video games – design – drawings"

Ploor, D. Michael. Video game design foundations. Tinley Park, Ill: Goodheart-Willcox Company, 2011.

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Palmquist, Adam, Izabella Jedel e Ole Goethe. Universal Design in Video Games. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-30595-5.

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Tringham, Neal. Science fiction video games. Boca Raton: CRC Press, 2015.

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Scherberger, Aiken, e Enzo Anile. Video games: Creating virtual fantasy. Princeton, N.J: Films for the Humanities & Sciences, 2005.

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Saulter, Joseph. Introduction to video game design and development. Boston: McGraw-Hill, 2007.

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Adams, Ernest. Fundamentals of game design. 2^a ed. Berkeley, CA: New Riders, 2010.

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Adams, Ernest. Fundamentals of game design. 2^a ed. Berkeley, CA: New Riders, 2010.

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Pulsipher, Lewis. Game design: How to create video and tabletop games, start to finish. Jefferson, NC: McFarland & Company, Inc., Publishers, 2012.

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Cinnamon, Ian. Programming Video Games for the Evil Genius. New York: McGraw-Hill, 2008.

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Fox, Brent. Game interface design. Boston, MA: Thomson Course Technology, 2005.

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Capítulos de livros sobre o assunto "Video games – design – drawings"

Augusto Bordini, Rogério, e Oliver Korn. "Gamification and Mobile Apps: Allies in Reducing Loneliness Among Young Adults". In Mental Health | Atmospheres | Video Games, 87–102. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839462645-009.

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The isolation measures adopted during the COVID-19 pandemic brought light to discussions related to the importance of meaningful social relationships as a basic need to human well-being. But even before the pandemic outbreak in the years 2020 and 2021, organizations and scholars were already drawing attention to the growing numbers related to lonely people in the world (World Economic Forum, 2019). Loneliness is an emotional distress caused by the lack of meaningful social connections, which affects people worldwide across all age groups, mainly young adults (Rook, 1984). The use of digital technologies has gained prominence as a means of alleviating the distress. As an example, studies have shown the benefits of using digital games both to stimulate social interactions (Steinfield, Ellison & Lampe, 2008) and to enhance the effects of digital interventions for mental health treatments, through gamification (Fleming et al., 2017). It is with these aspects in mind that the gamified app Noneliness was designed with the intention of reducing loneliness rates among young students at a German university. In addition to sharing the related works that supported the application development, this chapter also presents the aspects considered for the resource's design, its main functionalities, and the preliminary results related to the reduction of loneliness in the target audience.

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Rainoldi, Mattia, Arne Van den Winckel, Joanne Yu e Barbara Neuhofer. "Video Game Experiential Marketing in Tourism: Designing for Experiences". In Information and Communication Technologies in Tourism 2022, 3–15. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-94751-4_1.

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AbstractWhile film and television have a long tradition in tourism marketing, the potential of video games is overlooked. This study unlocks a novel era of marketing by investigating the interplay between experiential factors and in-game experiences, and how they may contribute to one’s intention to visit in-game destinations. By taking Assassin’s Creed Odyssey as the study context, game world dynamics, level of immersion, level of freedom, connection to characters, and sense of realism are identified as the five pillars that shape gaming experiences. Drawing upon experience design, this study lays the groundwork for emerging marketing opportunities using video games for tourism and contributes to the broader field of media-induced tourism literature.

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van der Spuy, Rex. "Making Video Games". In Foundation Game Design with HTML5 and JavaScript, 487–531. Berkeley, CA: Apress, 2012. http://dx.doi.org/10.1007/978-1-4302-4717-3_9.

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Murray, Leo. "Sound in video games". In Sound Design Theory and Practice, 145–73. London ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315647517-9.

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Loban, Rhett. "Cultural representations in video games". In Embedding Culture into Video Games and Game Design, 3–20. London: Chapman and Hall/CRC, 2023. http://dx.doi.org/10.1201/9781003276289-2.

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Akay, Kemal, e Cansu Nur Simsek. "Design of Alienation in Video Games". In Encyclopedia of Computer Graphics and Games, 1–6. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-08234-9_150-1.

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Akay, Kemal, e Cansu Nur Simsek. "Design of Alienation in Video Games". In Encyclopedia of Computer Graphics and Games, 569–74. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-23161-2_150.

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Murphy, Dooley. "Press X to Punch(line): The Design and Cognition of Interactive Gags". In Video Games and Comedy, 53–70. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-88338-6_3.

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Kleffmann, Daniel, Igor Mayer e Thomas Buijtenweg. "The Co-design of Educational Video Games". In Gaming, Simulation and Innovations: Challenges and Opportunities, 73–85. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-09959-5_7.

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Loban, Rhett. "Culturally centred game design". In Embedding Culture into Video Games and Game Design, 68–96. London: Chapman and Hall/CRC, 2023. http://dx.doi.org/10.1201/9781003276289-6.

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Trabalhos de conferências sobre o assunto "Video games – design – drawings"

Järveläinen, Hanna, Daniel Hug e Stefano Papetti. "Assessing Power in Punching Sounds From Mainstream Films and Video Games". In ICAD 2023: The 28th International Conference on Auditory Display. icad.org: International Community for Auditory Display, 2023. http://dx.doi.org/10.21785/icad2023.7251.

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A preliminary study was conducted with the aim of contributing to a scientifically based sound design for interactive movement sonification, drawing on tacit sound design knowledge. Specifically, the perceived power in punching sounds from mainstream films and video games was assessed through subjective ratings. The same sound clips were analyzed to extract audio features, and correlations with power ratings were examined. Results showed that perceived power in punching sounds is especially influenced by decay time, spectral slope, and features related to Mel-frequency cepstral coefficients (MFCCs). These findings can inform sound design for interactive movement sonification, particularly in the context of action-oriented applications.

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Henderson, Niklas, Helen Pallett, Sander Van Der Linden, Jake Montanarini e Oliver Buckley. "The disPHISHinformation Game: Creating a Serious Game to Fight Phishing Using Blended Design Approaches". In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004774.

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In 2022, 39% of all UK businesses reported identifying a cyber security attack against their own organisation, 83% of which were phishing attempts. A large body of research in cyber security focuses on technical solutions, however humans remain one of the most exploitable endpoints in an organisation. Traditional security training within organisations commonly includes point-and-click exercises and simple video media that employees are required to complete. These training exercises are often seen as unengaging and tedious, and employees are commonly pushed to complete training rather than encouraged to learn and self-educate. Simulations and games are increasingly being deployed for training purposes in organisations, however often either (a) simply raise cyber security awareness rather than deliver key security policy and content, or (b) lack accessibility with complex game pieces and rules not easily understandable by those not accustomed to playing games. We introduce the disPHISHinformation game: a customisable serious game to deliver phishing training specific to the threats businesses face on a day-to-day basis. Drawing on existing taxonomies, the game delivers content on email, voice, and SMS social engineering attacks, in a format that educates players in key social engineering features. In collaboration with a large service organisation, we have also developed a customised edition of disPHISHinformation game which reflects the targeted attacks faced by their staff. By creating an analog serious game to deliver key phishing training, we can stimulate higher employee engagement and deliver a more memorable experience.

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Wang, Richert, e Vincent Olivieri. "Sound Design for Video Games". In SIGCSE '18: The 49th ACM Technical Symposium on Computer Science Education. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3159450.3159577.

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Ng, Patrick, e Keith Nesbitt. "Informative sound design in video games". In The 9th Australasian Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2513002.2513015.

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Nova, Nicolas, e Timothée Jobert. "User-centered design in video games". In the 2011 Conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2347504.2347528.

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Lima, Cláudia, Susana Barreto e Rodrigo Carvalho. "Interpreting Francis Bacon's Work through Contemporary Digital Media: Pedagogical Practices in University Contexts". In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001420.

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This paper describes two pedagogical practices based on Francis Bacon’s graphic Works. One in a curricular context, held at Escola Superior Artística do Porto, and the other in an extracurricular context held at Universidade Lusófona do Porto (both in Portugal), which aimed to stimulate students towards a critical analysis and interpretation of Francis Bacon's work and its recreation using contemporary digital media. This initiative was integrated in the Graphic Works of Francis Bacon exhibition at the World of Wine Museum in Vila Nova de Gaia and was the result of a collaboration between this Museum, the Academy and the Renschdael Art Foundation, a collaboration that aimed to give voice and life to a debate emerging from the exhibition of the work of art and its multimedia translation. Hence, it was intended to complement the exhibition of the artist's works with a multimedia language, through multiple interpretations and digital animations of the Painter's work made by the students and targeted at digital natives as one stream of the exhibition was to target local primary and secondary schools.The participants involved in this project came from various BAs, including Communication Design, Fine Arts and Intermediate, Visual Arts - Photography, Cinema and Audiovisual, Audiovisual Communication and Multimedia, Video Games and Multimedia Applications. This allowed to bring together multidisciplinary groups of students with different profiles and backgrounds, contributing to a myriad of results both in visual terms and technological resources, which included approaches such as: the use of techniques close to rotoscoping in which students created drawings frame by frame over the original images; the exploration of cut-out animation techniques; the recreation of Francis Bacon's work in 3D; explorations of image manipulation, editing, and video effects.In an academic context, these practices resulted in an in-depth knowledge of the work of an artist from a generation different from that of the students; an opportunity for them to work with a real client, applying in a project the knowledge obtained in various curricular units of the BAs they are attending; and the possibility of seeing their work integrated in an international exhibition. As regards to the Graphic Works of Francis Bacon exhibition, this academic project brought a new dynamic to the space combining graphic works by the Painter with multiple interpretations of a generation to whom digital media are omnipresent.In this paper, the pedagogical practices adopted in both Universities are described, projects by students are analyzed as well as the contribution that these projects brought to the exhibition through information gathered from visitors, from articles published on the event and through an interview conducted with the exhibition curator.The exhibition, according to the commissioner, Charlotte Crapts, had an "impressive" turnover bearing in mind that the country was going through Covid restrictions. In the commissioner’s view, the multimedia interventions created a bridge with the educational sector and following this, the exhibition interacted with a great number of youngsters. This was a pioneer exercise in the exhibition space that will be followed in future exhibitions.

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Hohl, Wolfgang, Farzam Kharvari e Gudrun Klinker. "Wayfinding in Museums: A Cross-sectional Comparison Between 3D Serious Games and 2D Drawings as Tools for Participatory Design". In 2020 IEEE Conference on Games (CoG). IEEE, 2020. http://dx.doi.org/10.1109/cog47356.2020.9231921.

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Szwoch, Mariusz. "Design Elements of Affect Aware Video Games". In the Mulitimedia, Interaction, Design and Innnovation. New York, New York, USA: ACM Press, 2015. http://dx.doi.org/10.1145/2814464.2814482.

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Mahoney, Noel, Andreas Oikonomou e David Wilson. "Stereoscopic 3D in video games: A review of current design practices and challenges". In Serious Games (CGAMES). IEEE, 2011. http://dx.doi.org/10.1109/cgames.2011.6000331.

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Barbero, Giulio, Marcello A. Gómez-Maureira e Felienne F. J. Hermans. "Computational Thinking through Design Patterns in Video Games". In FDG '20: International Conference on the Foundations of Digital Games. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3402942.3409622.

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