Статті в журналах: "Video game music Computer-aided design"

1

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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7

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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8

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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9

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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Anderson, Sky LaRell, and Mark R. Johnson. "Cultivation play: Video games and the labour of character progression." Journal of Gaming & Virtual Worlds 13, no. 3 (October 1, 2021): 233–48. http://dx.doi.org/10.1386/jgvw_00040_1.

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In this article, we develop a theory of gameplay labour, acknowledging the paradigm of political economy yet grounded in game design and play, called ‘cultivation play’. In most understandings of game work, theorists traditionally explain digital labour in games as inherently difficult or manipulative. Instead, we propose a theory that explains how gameplay work can be organized around a design heuristic – character progression – that is rewarding, given the objectives and interests of different kinds of players. We explicate our theoretical intervention through an analysis of four games: Stardew Valley, Grand Theft Auto V, The Witcher 2 and The Witcher 3. We specifically examine upgrade paths, what we call character progression tasks, wherein levelling up, progressing, gaining in-game skills and working towards goals operate to create an environment of gameplay work that players may find engaging.

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12

Egliston, Ben. "Visions of the material body: Twitch.tv and post-phenomenology." Journal of Gaming & Virtual Worlds 12, no. 3 (October 1, 2020): 241–57. http://dx.doi.org/10.1386/jgvw_00018_1.

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This article considers what broadcasts of video game play, transmitted through livestreaming platform Twitch.tv, can contribute to discussions around technology, materiality, embodiment and affect in videogaming – an interdisciplinary set of concerns for researchers in the humanities and social sciences. Specifically, I outline the methodological value of Twitch as a tool for addressing video game play as a post-phenomenological concern – providing a perspective of play as not emerging from an autonomous human subject, but from exchanges between humans and non-humans. To demonstrate this, this article discusses observations of livestreamed play of the popular PC-based rhythm game Osu. These observations spotlight how video game play operates as a messy and ongoing relation between bodies and technology, as well as demonstrates how Twitch streams can attend to the often taken-for-granted relations between non-human objects in play, which in turn shape the status of the body as it meets the game.

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Janik, Justyna. "Intra-acting bio-object: A posthuman approach to the player‐game relation." Journal of Gaming & Virtual Worlds 13, no. 1 (March 1, 2021): 21–39. http://dx.doi.org/10.1386/jgvw_00026_1.

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The main aim of this article is to explore how posthuman values and premises can change the approach to video game research, in terms of reframing the relation between game and player as a meaning-making process. The idea of the bio-object, which originated in Tadeusz Kantor’s avant-garde theatre, is introduced and reread in the context of the critical posthumanism and new materialism of Karen Barad, especially her concept of intra-action. By meshing together Kantor’s and Barad’s ideas, a framework is developed for conceptualizing the bond between the player and the video game object, pointing out how their constant rivalry is not only resolved in meaning-generative tension, but also intra-actively shapes their ontic borders. The game and the player become equal in this new unity, and the video game object stops being perceived as a secondary to the player and can be analysed as the equal partner in this relation.

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Janik, Justyna. "Intra-acting bio-object: A posthuman approach to the player‐game relation." Journal of Gaming & Virtual Worlds 13, no. 1 (March 1, 2021): 21–39. http://dx.doi.org/10.1386/jgvw_00026_1.

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The main aim of this article is to explore how posthuman values and premises can change the approach to video game research, in terms of reframing the relation between game and player as a meaning-making process. The idea of the bio-object, which originated in Tadeusz Kantor’s avant-garde theatre, is introduced and reread in the context of the critical posthumanism and new materialism of Karen Barad, especially her concept of intra-action. By meshing together Kantor’s and Barad’s ideas, a framework is developed for conceptualizing the bond between the player and the video game object, pointing out how their constant rivalry is not only resolved in meaning-generative tension, but also intra-actively shapes their ontic borders. The game and the player become equal in this new unity, and the video game object stops being perceived as a secondary to the player and can be analysed as the equal partner in this relation.

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Waszkiewicz, Agata, and Martyna Bakun. "Towards the aesthetics of cozy video games." Journal of Gaming & Virtual Worlds 12, no. 3 (October 1, 2020): 225–40. http://dx.doi.org/10.1386/jgvw_00017_1.

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While among game journalists and developers the term ‘cozy games’ has recently been gaining popularity, the concept still rarely is discussed in detail in academic circles. While game scholars put more and more focus on the new types of casual games that concentrate mostly on starting discourses on mental health, trauma and the experiences of marginalized people (often referred to as ‘empathy games’), the discussion would benefit from the introduction of the concept of coziness and the use of more precise definitions. The article discusses cozy aesthetics, showing that their popularity correlates with sociopolitical changes especially in Europe and the United States. First, cozy games are defined in the context of feminist and inclusive design. Second, it proposes three types of application of coziness in games depending on their relationship with functionality: coherent, dissonant and situational.

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Ferchaud, Arienne, Stephanie Orme, and Emory S. Daniel. "Morality inside the matrix: A qualitative exploration of gamers’ moral considerations in video games." Journal of Gaming & Virtual Worlds 14, no. 2 (July 1, 2022): 161–79. http://dx.doi.org/10.1386/jgvw_00056_1.

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Many contemporary video games incorporate decision-making mechanics that can alter a game’s narrative experience for players. Often, these decisions challenge players to engage with questions of ethics, morality and empathy. Much of the previous research on moral decision-making in games assumes that players utilize real-world moral frameworks to make these decisions, without accounting for the way that game spaces function as unique sites for this type of decision-making. Video games can uniquely incentivize or punish players for their in-game decisions, shaping the way players engage with issues of morality. This study examines factors that influence how players approach moral decision-making in video games. Using semi-structured interviews with 24 individuals, we explored how both players’ real-world moral foundations and in-game constraints guide their moral decisions. Findings include how customizable avatars, subsequent playthroughs, in-game rewards and the manner in which a moral conflict is presented to players all influence their choices.

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McConville, Kristiina M. Valter, and Sumandeep Virk. "Evaluation of an electronic video game for improvement of balance." Virtual Reality 16, no. 4 (May 15, 2012): 315–23. http://dx.doi.org/10.1007/s10055-012-0212-7.

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Murphy, Christian, Sudhir Mudur, Daniel Holden, Marc-André Carbonneau, Donya Ghafourzadeh, and Andre Beauchamp. "Artist guided generation of video game production quality face textures." Computers & Graphics 98 (August 2021): 268–79. http://dx.doi.org/10.1016/j.cag.2021.06.004.

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Erdbrink, A., J. Michael, R. Kortmann, M. Hamel, K. Van Eijck, and A. Verbraeck. "Listening Space." Journal on Computing and Cultural Heritage 14, no. 4 (December 31, 2021): 1–20. http://dx.doi.org/10.1145/3458677.

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Classical music venues in the Netherlands and throughout the world are struggling to attract new audiences. Especially younger visitors are underrepresented. Previous research emphasizes the importance of providing new, potentially interested audiences with more means to consume the music. This paper presents an exploratory case study with the persuasive game Listening Space which we developed to help attract new audiences and thus preserve Western classical music heritage. In particular, we studied to what extent this game could promote more varied ways of listening to classical music and thus enrich the experience of visiting a classical music concert. We designed and executed a controlled randomized trial with surveys before and after the experiment as well as a series of in-depth interviews with participants after the experiment. Our treatment group consisted of 139 participants (both new and existing visitors). They played our digital game at their own convenience, followed by a visit to a concert in a renowned classical music concert hall. A control group of 165 participants only visited the concerts. We measured the effects of the game – changes in the ways participants listen to classical music – through self-report in questionnaires before and after the experiment. Results show that Listening Space seems most effective for new audiences: the game promoted more varied ways of listening in the treatment group and thus enriched their experience of visiting a classical music concert. The control group of new visitors did not show an effect and also no differences were found between the treatment and control groups of regular visitors of classical music concerts We employed regression analysis to identify predictors of the game's effect on listening styles: participants’ age and their level of appreciation of the classical music genre were negatively related to the effectiveness of the game. The way in which participants experienced the game also significantly influenced the effectiveness. This case study shows the potential of using games to promote classical music concerts: games seem to be valuable in attracting new, young audiences and, therefore, represent powerful instruments to help preserve Western classical music cultural heritage.

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Tomkinson, Sian. "Video games through the refrain: Innovation and familiarity." Journal of Gaming & Virtual Worlds 12, no. 3 (October 1, 2020): 287–302. http://dx.doi.org/10.1386/jgvw_00020_1.

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The video game market is dominated by numerous franchises and many players lament that games are becoming boring and repetitive. However it is evident that players desire these games, which sell well. This article suggests that Deleuze and Guattari’s refrain can help explain why players desire repetition in games, and what kinds of risks and potentials it can provide. Specifically, in regard to gameplay I consider elements including genre and mechanics, and player’s desire to re-experience games. To explore repetition in players I consider game communities and the gamer identity, which can open up players to difference or encourage restriction. I argue that understood through the refrain, repetition in video games has the potential to generate difference, innovation and connections, but also possibly a closing off. The refrain is a useful tool for games studies and industry workers who are interested in understanding how new experiences can emerge from repetition.

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Andiloro, Andrea. "‘This must be the place’: Understanding video game placeness through atmosphere and the refrain in Dark Souls." Journal of Gaming & Virtual Worlds 14, no. 2 (July 1, 2022): 207–23. http://dx.doi.org/10.1386/jgvw_00058_1.

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This article explores how atmosphere is implicated in the establishment of place in gameworlds through the concept of the ‘refrain’. The atmosphere of a video game is often one of the most memorable constituents of our ludic experiences and is defining of the video game places we encounter during play, yet atmospheres remain highly under-researched and under-theorized within game studies. The article introduces some key theories of atmosphere and explain their relation to ‘place’ and subsequently explore how ‘place’ has been theorized and developed within game studies. I then elaborate on how atmosphere, understood existentially, is conducive to the creation of an atmosphere by addressing the examples of Dark Souls’ hub area and boss arenas. Working through the Deleuze‐Guattarian concept of ‘refrain’, I argue that patterns of sound, images and behaviours establish a territory marked by a certain affective intensity, or atmosphere, enabling the experience of place.

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Biercewicz, Konrad, Mariusz Borawski, and Jarosław Duda. "Method for Selecting an Engagement Index for a Specific Type of Game Using Cognitive Neuroscience." International Journal of Computer Games Technology 2020 (August 18, 2020): 1–19. http://dx.doi.org/10.1155/2020/2450651.

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The popularity of video games means that methods are needed to assess their content in terms of player satisfaction right from the production stage. For this purpose, the indicators used in EEG studies can be used. This publication presents a method that has been developed to determine whether a person likes an arcade game. To this end, six different indicators to measure consumer involvement in a video game using the EEG were compared, among others. The study was conducted using several different games created in Unity based on the observation (n=31) of the respondents. EEG has been used to select the most suitable indices studied.

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Huuhka, Marleena. "Performing Gameplay – A Study of Video Game Performance Workshops." Body, Space & Technology 20, no. 1 (2021): 14–24. http://dx.doi.org/10.16995/bst.373.

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Milburn, Colin, Katherine Buse, Ranjodh Singh Dhaliwal, Melissa Wills, Raida Aldosari, Patrick Camarador, Josh Aaron Miller, and Justin Siegel. "Join the Fold: Video Games, Science Fiction, and the Refolding of Citizen Science." Design Issues 39, no. 1 (January 1, 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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BRESLER, ZACK, and STAN HAWKINS. "‘A Swarm of Sound’." Music, Sound, and the Moving Image 16, no. 1 (July 1, 2022): 29–52. http://dx.doi.org/10.3828/msmi.2022.2.

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This article explores the idea of audiovisual immersion through the portal of the virtual reality music video. Our focus falls on a close reading of Björk’s video, ‘Family’, which addresses questions of immersion in relation to user-experience, staging, and technological innovation. This article draws on the authors’ responses to the video by considering the implications of VR immersion in a new generation of music video productions. As part of the methodology on offer, a model for music analysis is devised for conceptualising virtual audiovisual space (VAVS) and the inextricable relationships between production and compositional design.

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Zafar, Adeel, Hasan Mujtaba, Mirza Tauseef Baig, and Mirza Omer Beg. "Using patterns as objectives for general video game level generation." ICGA Journal 41, no. 2 (July 17, 2019): 66–77. http://dx.doi.org/10.3233/icg-190102.

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Burdka, Łukasz, and Paweł Rohleder. "Applied inverse kinematics for bipedal characters moving on the diverse terrain." Machine Graphics and Vision 26, no. 1/4 (December 1, 2017): 3–11. http://dx.doi.org/10.22630/mgv.2017.26.1.1.

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A solution to the problem of adjusting the pose of an animated video game character to the diverse terrain and surroundings is proposed. It is an important task in every modern video game where there is a~focus on animated characters. Not addressing this issue leads to major visual glitches such as legs hovering above the ground surface, or penetrating the obstacles while moving. As presented in this work, the described problem can be effectively solved by examining the surroundings in real-time and applying Inverse Kinematics (IK) as a~procedural post process to the currently used animation.

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Kerr, Deirdre. "Visualizing Changes in Strategy Use across Attempts via State Diagrams: A Case Study." International Journal of Computer Games Technology 2016 (2016): 1–9. http://dx.doi.org/10.1155/2016/8492312.

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Game log data have great potential to provide actionable information about the in-game behavior of players. However, these low-level behavioral data are notoriously difficult to analyze due to the challenges associated with extracting meaning from sparse data stored at such a small grain size. This paper describes a three-step solution that uses cluster analysis to determine which strategies players use to solve levels in the game, sequence mining to identify changes in strategy across multiple attempts at the same level, and state transition diagrams to visualize the strategy sequences identified by the sequence mining. In the educational video game used in this case study, cluster analysis successfully identified 15 different in-game strategies. The sequence mining found an average of 40 different sequences of strategy use per level, which the state transition diagrams successfully displayed in an interpretable way.

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Reay, Emma. "Cute, cuddly and completely crushable: Plushies as avatars in video games." Journal of Gaming & Virtual Worlds 13, no. 2 (June 1, 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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Frelik, Paweł, Emmanuel Guardiola, Jussi Holopainen, and Roland Klemke. "Editorial." Journal of Gaming & Virtual Worlds 14, no. 1 (April 1, 2022): 3–6. http://dx.doi.org/10.1386/jgvw_00047_2.

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This introduction opens a Special Issue devoted to Cyberpunk 2077 (2020), an open-world, action‐adventure roleplaying video game whose release has polarized players and critics alike for a number of reasons ranging from its technically problematic launch to the depth of the in-game world and its politics. The seven contributions to the issue illuminate Cyberpunk 2077’s multiple facets, focusing on it as an experience and a text.

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Akhiyar, Dinul, Vivi Nila Sari, and Abulwafa Muhammad. "Analysis and Development of Marketing for the Creative Industry of West Sumatra Based on E-Commerce with the Concept of Customer Relationship Management (Crm) (Analisa Dan Pengembangan Pemasaran Industri Kreatif Sumatera Barat Berbasis E-Commerce Dengan K." Jurnal KomtekInfo 6, no. 2 (November 19, 2019): 144–54. http://dx.doi.org/10.35134/komtekinfo.v6i2.53.

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West Sumatra is an area in Indonesia that has many Creative Industries, this is the reason the government places representatives of the Ministry of Creative Industries in this region. This is done to foster, oversee and develop the Creative Industries that exist today. The Creative Industries that exist today are very diverse there are 15 fields that are very potential to be developed in Indonesia, Advertising (Advertising), Architecture, Art Goods Market, Crafts (Craf), Design, Video, Film, Photography, Interactive Games (Games), Music , Performing Arts (Showbiz), Publishing and Printing, Computer and Software Services, Television and Radio (Broadcasting), Research and Development (R&D), Culinary. Of the 15 creative industries in Indonesia for the West Sumatra region there are 9 sub-sectors of potential creative industries, namely, fashion, culinary, handicraft, music, performing arts, photography, design, animation, and film, but not all creative industry sectors it is developing so that it has an impact on the marketing of its products. For this reason, it is necessary to analyze and develop the marketing of creative industries in West Sumatra that prioritizes the concept of Customer Relationship Management (CRM) so that marketing concepts that have the potential to increase marketing of creative industry products will be known. Especially now that the Provincial Government is developing the Halal Tourism Industry, of course in this field there a re very many opportunities for the development of the Creative Industries

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Faria, Matheus Prado Prandini, Etienne Silva Julia, Marcelo Zanchetta do Nascimento, and Rita Maria Silva Julia. "Investigating the Performance of Various Deep Neural Networks-based Approaches Designed to Identify Game Events in Gameplay Footage." Proceedings of the ACM on Computer Graphics and Interactive Techniques 5, no. 1 (May 4, 2022): 1–17. http://dx.doi.org/10.1145/3522624.

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Video games, in addition to representing an extremely relevant field of entertainment and market, have been widely used as a case study in artificial intelligence for representing a problem with a high degree of complexity. In such studies, the investigation of approaches that endow player agents with the ability to retrieve relevant information from game scenes stands out, since such information can be very useful to improve their learning ability. This work proposes and analyses new deep learning-based models to identify game events occurring in Super Mario Bros gameplay footage. The architecture of each model is composed of a feature extractor convolutional neural network (CNN) and a classifier neural network (NN). The extracting CNN aims to produce a feature-based representation for game scenes and submit it to the classifier, so that the latter can identify the game event present in each scene. The models differ from each other according to the following elements: the type of the CNN; the type of the NN classifier; and the type of the game scene representation at the CNN input, being either single frames, or chunks, which are n-sequential frames (in this paper 6 frames were used per chunk) grouped into a single input. The main contribution of this article is to demonstrate the greater performance reached by the models which combines the chunk representation for the game scenes with the resources of the classifier recurrent neural networks (RNN).

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Chiapello, Laureline. "A case of values conflict in the video game design field. A critique of Schön’s appreciative system." Design Journal 20, sup1 (July 28, 2017): S4171—S4182. http://dx.doi.org/10.1080/14606925.2017.1352915.

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Sarhan, Shahenda, Mohamed Abu ElSoud, and Hebatullah Rashed. "Enhancing Video Games Policy Based on Least-Squares Continuous Action Policy Iteration: Case Study on StarCraft Brood War and Glest RTS Games and the 8 Queens Board Game." International Journal of Computer Games Technology 2016 (2016): 1–14. http://dx.doi.org/10.1155/2016/7090757.

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With the rapid advent of video games recently and the increasing numbers of players and gamers, only a tough game with high policy, actions, and tactics survives. How the game responds to opponent actions is the key issue of popular games. Many algorithms were proposed to solve this problem such as Least-Squares Policy Iteration (LSPI) and State-Action-Reward-State-Action (SARSA) but they mainly depend on discrete actions, while agents in such a setting have to learn from the consequences of their continuous actions, in order to maximize the total reward over time. So in this paper we proposed a new algorithm based on LSPI called Least-Squares Continuous Action Policy Iteration (LSCAPI). The LSCAPI was implemented and tested on three different games: one board game, the 8 Queens, and two real-time strategy (RTS) games, StarCraft Brood War and Glest. The LSCAPI evaluation proved superiority over LSPI in time, policy learning ability, and effectiveness.

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Zeler, Wojciech, and Paweł Rohleder. "Particle effect system for the needs of a modern video game using the GPU." Machine Graphics and Vision 25, no. 1/4 (January 16, 2012): 35–44. http://dx.doi.org/10.22630/mgv.2016.25.1.4.

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A new system of creation and management of particle effects created for the needs of the future productions of Techland Co. Ltd. is presented. By a proper organisation of memory buffers it provides for maximum data density in the memory. This makes it possible to simplify the calculations and to use a smaller number of threads and less memory readings.

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Eyles, Mark, and Roger Eglin. "Ambient Games, Revealing a Route tocmd="newline"a World Where Work is Play?" International Journal of Computer Games Technology 2008 (2008): 1–7. http://dx.doi.org/10.1155/2008/176056.

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A novel way of playing games called ambient gaming is defined and described. Growing out of ideas in ambient music, ambient gaming is defined as “ignorable as it is interesting” after Brian Eno's description of ambient music. Ambient gaming is set in the context of existing games. Further, ambient games are set in a technological context, showing that the technology enabling their development is now becoming available. The specification and implementation of an ambient game prototype, Ambient Quest, are described. Finally, future directions leading to work enhancing games aresuggested.

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Böttcher, Niels, Héctor P. Martínez, and Stefania Serafin. "Procedural Audio in Computer Games Using Motion Controllers: An Evaluation on the Effect and Perception." International Journal of Computer Games Technology 2013 (2013): 1–16. http://dx.doi.org/10.1155/2013/371374.

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A study has been conducted into whether the use of procedural audio affects players in computer games using motion controllers. It was investigated whether or not (1) players perceive a difference between detailed and interactive procedural audio and prerecorded audio, (2) the use of procedural audio affects their motor-behavior, and (3) procedural audio affects their perception of control. Three experimental surveys were devised, two consisting of game sessions and the third consisting of watching videos of gameplay. A skiing game controlled by a Nintendo Wii balance board and a sword-fighting game controlled by a Wii remote were implemented with two versions of sound, one sample based and the other procedural based. The procedural models were designed using a perceptual approach and by alternative combinations of well-known synthesis techniques. The experimental results showed that, when being actively involved in playing or purely observing a video recording of a game, the majority of participants did not notice any difference in sound. Additionally, it was not possible to show that the use of procedural audio caused any consistent change in the motor behavior. In the skiing experiment, a portion of players perceived the control of the procedural version as being more sensitive.

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Yacoub, Aznam, Maamar El Amine Hamri, and Claudia Frydman. "DEv-PROMELA: modeling, verification, and validation of a video game by combining model-checking and simulation." SIMULATION 96, no. 11 (August 17, 2020): 881–910. http://dx.doi.org/10.1177/0037549720946107.

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Modeling, verifying, and validating are essential steps in order to build systems and software that do what designers expect. If formal verification, and especially model-checking, is a popular method for proving the correctness of properties, its efficiency depends on the accuracy of the used models and the quality of abstractions. As a consequence, applying verification techniques on large-scale complex software like video games is hard without strong assumptions and simplifications. Simulation models are generally more accurate than verification models, but it is often harder to verify them. Combined formalisms that take the benefits of both model-checking and discrete-event simulation represent a good deal between both of these families, although strong engineering expertise remains necessary to define the relevant tests and scenarios. This paper proposes an approach to build this kind of formalism through the example of DEv-PROMELA, which is built by combining Discrete-event System Specification formalism and PROMELA language. Then, it shows how combined formalisms can be used for modeling, verifying, and validating complex software like video games by using both formal-based and simulation-based verification and validation.

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Liu, Noreena Yi-Chin, Kevin Chi-Jen Miao, and Darren Chen Yi Ying. "A Metric Instrument for the Games with Cultural Heritage." International Journal of Serious Games 9, no. 4 (November 8, 2022): 89–136. http://dx.doi.org/10.17083/ijsg.v9i4.529.

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This paper reviews existing research within two fields; game studies and cultural heritage, discovering inadequacies in current digital means of cultural heritage preservation. It is not unheard of that commercial games have been utilized to showcase them, but they tend to get glossed over in favor of serious games. Therefore, this study details two new tools that can further identify and assess the level of cultural heritage content in commercial games which will benefit not just their digital preservation, but also game developers and game design researchers. A unique conceptual framework was developed for analysing video game content specifically on four elements of cultural heritage and five elements of game components in both tangible and intangible forms. Exploratory tables of metrics were also created to quantify said content with the help of the existing Goal Question and Metric (GQM) table. They were then put to the test in two trials; Experiment I analysing 6 game franchises and Experiment II testing 28 games. Both demonstrated the presence of significant amounts of cultural heritage, much more than past works credited. Further research into this area, including adapting said tools for other game studies and commercial games usage will be possible and fruitful.

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Kaniewska, Joanna. "The moon, the play and the end of history: A study of lunar temporality in Cyberpunk 2077." Journal of Gaming & Virtual Worlds 14, no. 1 (April 1, 2022): 7–25. http://dx.doi.org/10.1386/jgvw_00048_1.

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This article aims to analyse the representation of the moon in the open-world action RPG Cyberpunk 2077, released by CD Projekt Red in 2020, and its influence on a experience of time during the play. A close reading of CD Projekt’s title suggests a non-mimetic, cinematic and subjective approach to time in the game. Additionally, in Night City, the moon does not change its appearance and remains in its full phase almost until the end of the game. It serves as a bridge between the pre-designed narrative and the ludic interactions with the open world, creating an experience unique to the medium of video games. It signalizes that the player and their avatar V have entered the diachronic, atemporal space. At the same time, the lunar temporality can be read as an emanation of cyberpunk’s frozenness-in-time and its embrace of the neo-liberal version of the end of history.

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Gómez-Maureira, Marcello A., Isabelle Kniestedt, Giulio Barbero, Hainan Yu, and Mike Preuss. "An explorer’s journal for machines: Exploring the case of Cyberpunk 2077." Journal of Gaming & Virtual Worlds 14, no. 1 (April 1, 2022): 111–35. http://dx.doi.org/10.1386/jgvw_00054_1.

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With increasing technological capabilities, video games provide ever more expansive virtual worlds for players to explore. Designers employ various mechanics and level design principles to encourage such exploration. However, what motivates people to explore in virtual environments, and which approaches are successful, is not yet clearly established. Methods for measuring player experience often take place retroactively after a play session, relying on recall, and are thus prone to missing less salient events and their motivations. Journaling events as they occur allow promises to be a suitable method of collecting data, but presents a challenge in aggregating data points due to their freeform nature. This makes it difficult to identify overarching patterns of exploration behaviour. We present an exploratory study in devising a journaling protocol for gathering information during gameplay sessions, focused on documenting moments of exploration in a manner that balances ease of data capture and data evaluation. We describe our efforts in prototyping this journaling method and how we used it to analyse Cyberpunk 2077 and several other game designs. Our results show that exploration occurs in a pattern of event → expectation → resolution. The motivation to explore depends on the expectations that a game raises through its marketing and design. At the same time, exploratory behaviour going unrewarded by the game quickly reduces the desire to explore. When recording instances of exploration, the addition of emotion words is essential in order to properly contextualize the information. This article lays the foundation for documenting exploration in games, as well as other emotional or behavioural constructs that require in-the-moment data collection.

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KREUTZER, EVELYN. "Video Essay: Footsteps." Music, Sound, and the Moving Image 16, no. 2 (December 2022): 97–99. http://dx.doi.org/10.3828/msmi.2022.7.

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Mullen, Mark. "Playing it safe." Journal of Gaming & Virtual Worlds 12, no. 3 (October 1, 2020): 303–19. http://dx.doi.org/10.1386/jgvw_00021_3.

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For the past 30 years museums and art galleries on both sides of the Atlantic have been resistant to exhibiting digital games as art and have instead embedded them in exhibitions and displays that have portrayed them as exemplars of design. This conservative approach has largely failed to achieve the stated purpose of many of these exhibitions: to foster a wider public appreciation for games and encourage more sophisticated conversations about gaming. This article argues that curators for video game exhibitions have been co-opted by the ideological norms of the tech sector which has produced a reluctance to engage critically with their subject matter and a willingness to overlook ethical problems within the videogame industry.

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JACKSON, JOSEPH O. "Searching for Soul, Reframing the Pursuit of Capital." Music, Sound, and the Moving Image 16, no. 1 (July 1, 2022): 53–77. http://dx.doi.org/10.3828/msmi.2022.3.

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Two music videos were commissioned for Aloe Blacc’s breakthrough song ‘I Need A Dollar’ (2010). The Harlem, New York version directed by Kahlil Joseph adopts a split-screen technique, depicting an unnamed man negotiating the city’s busy streets while, at the same time, framing Blacc as a directionless musician singing wistfully at the window of a dilapidated flat. Derek Pike’s Las Vegas, Nevada version, on the other hand, portrays the singer as a struggling musician traversing the desert before - unexpectedly - winning the jackpot at a casino. This article explores two main lines of argument. Firstly, I explore how institutional and industrial contexts result in two distinguishable music videos, suggesting that although both versions are created in similarly professional and commercialised settings one video is produced within a more ‘independent’ environment. Secondly, I explore how two different music videos can emphasise or de-emphasise certain elements of a song’s content and meaning, drawing from Emily J. Lordi’s theorisation of ‘soul’ to suggest that the ‘soul music’ qualities of Blacc’s ‘I Need A Dollar’ record are emphasised when practitioners adopt a more ‘soulful’ approach to music video creation (Lordi, 2020).

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Wu, Zongwei, Liangyu Chai, Nanxuan Zhao, Bailin Deng, Yongtuo Liu, Qiang Wen, Junle Wang, and Shengfeng He. "Make Your Own Sprites." ACM Transactions on Graphics 41, no. 6 (November 30, 2022): 1–16. http://dx.doi.org/10.1145/3550454.3555482.

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Pixel art is a unique art style with the appearance of low resolution images. In this paper, we propose a data-driven pixelization method that can produce sharp and crisp cell effects with controllable cell sizes. Our approach overcomes the limitation of existing learning-based methods in cell size control by introducing a reference pixel art to explicitly regularize the cell structure. In particular, the cell structure features of the reference pixel art are used as an auxiliary input for the pixelization process, and for measuring the style similarity between the generated result and the reference pixel art. Furthermore, we disentangle the pixelization process into specific cell-aware and aliasing-aware stages, mitigating the ambiguities in joint learning of cell size, aliasing effect, and color assignment. To train our model, we construct a dedicated pixel art dataset and augment it with different cell sizes and different degrees of anti-aliasing effects. Extensive experiments demonstrate its superior performance over state-of-the-arts in terms of cell sharpness and perceptual expressiveness. We also show promising results of video game pixelization for the first time. Code and dataset are available at https://github.com/WuZongWei6/Pixelization.

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Liu, Noreena Yi-Chin, and Gary Wills. "Designing Serious Game Metrics for Family Caregivers of People with Dementia." International Journal of Serious Games 9, no. 3 (September 9, 2022): 81–114. http://dx.doi.org/10.17083/ijsg.v9i3.532.

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The paper presents a conceptual framework and a metric instrument for assisting design and evaluating serious games for dementia family carers as the first step towards designing a game specifically designed to cater for their needs. The paper starts with a literature survey on dementia, dementia family carers and existing games for health issues. From this survey, three components of the carers’ needs (health, education and social), three platforms (social marketing, social media and games) and six game contents (game play, avatar portrayal, game world graphics, sound / music and storyline) were identified, and engagement as the metric of interaction was also identified. With these, a conceptual framework was constructed, identifying the relationship amongst these elements. Based on these, the metric instrument is devised using the Goal Question Metric (GQM) method. An exploratory experiment was conducted with six health-related games and five game professionals to assess the effectiveness of the instrument. It is found that the instrument can identify the successfulness of the games in terms of satisfying the three categories of needs of the carer, i.e., health, education and social, though it was suggested that a further experiment with more participants and focusing on one game would be needed to further verify the effectiveness of the instrument.

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Thin, Alasdair G., Craig Brown, and Paul Meenan. "User Experiences While Playing Dance-Based Exergames and the Influence of Different Body Motion Sensing Technologies." International Journal of Computer Games Technology 2013 (2013): 1–7. http://dx.doi.org/10.1155/2013/603604.

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Dance Dance Revolution is a pioneering exergame which has attracted considerable interest for its potential to promote regular exercise and its associated health benefits. The advent of a range of different consumer body motion tracking video game console peripherals raises the question whether their different technological affordances (i.e., variations in the type and number of body limbs that they can track) influence the user experience while playing dance-based exergames both in terms of the level of physical exertion and the nature of the play experience. To investigate these issues a group of subjects performed a total of six comparable dance routines selected from commercial dance-based exergames (two routines from each game) on three different consoles. The subjects’ level of physical exertion was assessed by measuring oxygen consumption and heart rate. They also reported their perceived level of exertion, difficulty, and enjoyment ratings after completing each dance routine. No differences were found in the physiological measures of exertion between the peripherals/consoles. However, there were significant variations in the difficulty and enjoyment ratings between peripherals. The design implications of these results are discussed including the tension between helping to guide and coordinate player movement versus offering greater movement flexibility.

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West, Mckay Steven, Elizabeth L. Cohen, Jaime Banks, and Alan K. Goodboy. "It’s all fun and games until somebody dies: Permadeath appreciation as a function of grief and mortality salience." Journal of Gaming & Virtual Worlds 14, no. 2 (July 1, 2022): 181–206. http://dx.doi.org/10.1386/jgvw_00057_1.

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Challenge is a key gratification sought in video games, and punishment by character death is often the repercussion for poor performance, requiring players to recover or restart. But some gamers go a step further and opt into games that feature permadeath: the permanent death of a game character with no opportunity to recover that character. These experiences may be emotionally taxing for players, but under some circumstances, they can enhance the meaningfulness of the play experience. Participants (N = 394) recruited from online gaming forums were randomly assigned to report on a past permadeath or temporary death gaming experience in order to help understand how the two forms of death experiences may differently impact affective responses, mortality salience and appreciation responses. Permadeath recollections were associated with increased appreciation, mediated by reported grief over the deaths. This indirect effect was stronger for those with stronger parasocial attachments to their characters and those with decreased tendencies to engage in trait meaning making. These findings hint that players less inclined to find meaning in everyday stressors could be more likely to derive meaning from their tragedies in game worlds.

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Duinkharjav, Budmonde, Praneeth Chakravarthula, Rachel Brown, Anjul Patney, and Qi Sun. "Image features influence reaction time." ACM Transactions on Graphics 41, no. 4 (July 2022): 1–15. http://dx.doi.org/10.1145/3528223.3530055.

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We aim to ask and answer an essential question " how quickly do we react after observing a displayed visual target?" To this end, we present psychophysical studies that characterize the remarkable disconnect between human saccadic behaviors and spatial visual acuity. Building on the results of our studies, we develop a perceptual model to predict temporal gaze behavior, particularly saccadic latency, as a function of the statistics of a displayed image. Specifically, we implement a neurologically-inspired probabilistic model that mimics the accumulation of confidence that leads to a perceptual decision. We validate our model with a series of objective measurements and user studies using an eye-tracked VR display. The results demonstrate that our model prediction is in statistical alignment with real-world human behavior. Further, we establish that many sub-threshold image modifications commonly introduced in graphics pipelines may significantly alter human reaction timing, even if the differences are visually undetectable. Finally, we show that our model can serve as a metric to predict and alter reaction latency of users in interactive computer graphics applications, thus may improve gaze-contingent rendering, design of virtual experiences, and player performance in e-sports. We illustrate this with two examples: estimating competition fairness in a video game with two different team colors, and tuning display viewing distance to minimize player reaction time.

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Khundam, Chaowanan, and Frédéric Nöel. "A Study of Physical Fitness and Enjoyment on Virtual Running for Exergames." International Journal of Computer Games Technology 2021 (April 30, 2021): 1–16. http://dx.doi.org/10.1155/2021/6668280.

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Virtual Reality (VR) technology has advanced forward in everyday life where virtual fitness is possible through physically moving around in the real world. Exergame is a video game for exercise aimed at making exercise more fun. VR exergame applies these trends together for virtual fitness with immersive game play. The VR locomotion is traveling in VR, which is commonly used in adventure role-playing games (RPG). Virtual running can be applied as a locomotion technique for VR exergames. The design of virtual running in VR exergames should be considered as an exercise for fitness and also for enjoyment. This paper proposed two motion-based locomotion techniques: ArmSwing and Squat for virtual running, which are considered as aerobic and strength exercise. These two postures were used to study how physical exertion affected players while interacting in the test scene. Usability, motion sickness, and enjoyment were assessed to analyze the differences of each posture. The results showed that motion sickness and enjoyment of ArmSwing and Squat were not different, while usability was different where ArmSwing was rated higher than Squat. The results from the interviews suggest that most players preferred aerobic exercise (ArmSwing) more than strength exercise (Squat) for a long period of exercise. However, for a short period of exercise, players preferred strength exercise more than aerobic exercise. The adventure-based RPG for exercise needs a solution design appropriate for virtual running in VR, and our results can be a guideline for developers in order to handle motion-based locomotion for VR exergames.

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