Погружение в виртуальные миры: междисциплинарное исследование современных компьютерных игр : учебное пособие : [Электронное текстовое издание]

В электронном текстовом издании рассматриваются основные аспекты междисциплинарного исследования современных компьютерных игр: философско-коммуникативные, исторические, визионерские, модернизационно-технологичесие и киберспортивные. Каждый раздел содержит теоретическую часть, контрольные вопросы, вопросы для дискуссии, задания со скриншотами, темы для самостоятельной научной работы, релевантные игровые продукты, список литературы на русском и английском языках. Подготовлено для студентов ИСПН по направлению «Философия»

Game Scoring: Towards a Broader Theory

“Game scoring,” that is, the act of composing music for and through gaming, is distinct from other types of scoring. To begin with, unlike other scoring activities, game scoring depends on — in fact, it arguably is — software programming. The game scorer’s choices are thus first-and-foremost limited by available gaming technology, and the “programmability” of their musical ideas given that technology, at any given historical moment. Moreover, game scores are unique in that they must allow for an unprecedented level of musical flexibility, given the high degree of user interactivity the video game medium enables and encourages. As such, game scoring necessarily constitutes an at least partially aleatoric compositional activity, the final score being determined as much through gameplay as traditional composition. This thesis demonstrates this through case studies of the Nintendo Entertainment System sound hardware configuration, and game scores, including the canonic score for Super Mario Bros. (1985)

Finding hope within hopelessness: an exploration of critical dystopiaand its use in modern video games

Since the term ‘critical dystopia’ was first conceptualised and explored by academics in utopianism studies, including Tom Moylan and Rafaella Baccolini, there has been little research undertaken to exemplify how the form has been utilised in modern screen culture; mostly involving studies based on analysis of literature and cinematic texts rather than all facets of visual art and media. This dissertation aims to not only showcase the theoretical framework surrounding critical dystopia in comparison to its classical form, but to provide insight in to how its use in modern video gaming has proliferated whilst inheriting narrative and aesthetical traits traditionally associated with its literary and cinematic counterparts. This essay also argues that the integration of gameplay dynamics alongside narrative aspects further contributes to them being defined as such and provides a unique way to engage with discussions of world issues; including the integration of morality-based choice making, interactive narratives and a deep level of player immersion through use of realistic physics, sound, graphics and mechanics such as in-game construction. These elements aid in creating a personalised and multi-faceted approach to understanding the implied dystopia, and any utopian impulse or hope for positive progression beyond it

A Case Study on Understanding the Influence of Diegetic Audio on Immersion in a Third-Person Role-Playing Game

This thesis investigates the influence of diegetic audio in relation to creating immersive gameplay experiences in third-person perspective games. Previous research suggests that immersion is key to an excellent gaming experience (Brown & Cairns, 2004). In particular, certain works show the influence of audio in relation to immersive experiences (Stockburger, 2003; Jorgensen, 2008, 2011; Grimshaw, 2007, 2012; Huiberts, 2010; Usher, 2012). Drawing on this evidence, I created a video-game wherein diegetic audio could be manipulated adaptively in an experimental environment as the game is played. A convergent parallel mixed-method case study (Creswell, 2014) was developed to determine if removing, modifying, or de-synchronising elements of the diegetic soundscape in a third-person role-playing game (RPG) at runtime would negatively affect immersion in the game. First, I examined quantitative aspects of gamer preference, genre expectations, and previous experiences of immersion, to determine the likelihood of becoming immersed in the test game. Next, ten participants played the game whilst, unknown to them, auditory aspects of the game were modified. Finally, players took part in a semi-structured interview to reveal how they felt the audio changes influenced their immersion in the game, or if they noticed the changes. Findings showed that participants were engaged sufficiently that none noticed the adaptation of key avatar sounds, such as footsteps, and none noticed a discontinuity in ambient background sounds. Players revealed that much of their attention was taken up with completing game objectives and learning the game controls. This suggests that when a player’s attention is diverted by an objective, less attention is free to give to sounds that are not crucial for that task: challenge-based immersion is increased, whilst immersion in the sensory aspects of the game is decreased. Developing an experimental game environment offers further insight into the role of diegetic audio in third-person perspective games, and how it influences immersive gameplay experiences

Design de Som nos Videojogos: Criação do Projeto The Last Star

O desenvolvimento exponencial a par do crescimento da indústria dos videojogos, sobretudo na última década, tem facilitado o aparecimento de jogos digitais aumentando naturalmente os critérios de qualidade a eles inerentes. Contribuindo para essa maior qualidade está a capacidade imersiva de cada videojogo conseguida através dos seu elementos como a sua narrativa, o seu aspecto gráfico, a sua jogabilidade e o design de som, o qual para além de elemento integrado, potencia todos os elementos anteriormente referidos. O presente projeto visa o estudo do design de som na produção e desenvolvimento de videojogos. A par do aprofundamento sobre a temática foi realizado um projeto de aplicação prática através da conceção e desenvolvimento de um videojogo desde a sua fase inicial nomeado de The Last Star, no qual foram aplicados os conhecimentos e a experiencia entretanto adquiridos. No desenvolvimento prático do estudo adotaram-se métodos organizacionais e estruturais das diferentes fases do processo de design de som, desde o estudo dos elementos constituintes e conceptualização sonora do projeto na fase de pré-produção, produção dos elementos sonoros através das várias ferramentas disponíveis no mercado e a respetiva harmonização e aprimoramento da interação de todos os elementos sonoros na paisagem sonora consoante a sua função, durante a pósprodução. Entendemos que o design de som é um sobretudo um processo colaborativo, de discussão e articulação, entre os diferentes elementos que fazem parte da equipa de produção e desenvolvimento de um videojogo, cujo objetivo, mais do que popular o jogo com “ruído sonoro” para criar ambiente, visa enaltecer a obra desde a sua produção estética ao processo funcional do jogo propriamente dito. Sabendo ainda que a audição do ser humano é um dos sentidos que apoia a sua perceção no espaço que o envolve, o som nos videojogos é um elemento fundamental para uma experiência dita completa, imersiva e interativa. Desta forma a perceção sonora de um som por parte do jogador, inserido no espaço que o envolve no mundo virtual, constitui um impacto significativo ao nível da imersão no videojogo. Cabe pois ao design de som promover, potenciar e intensificar emoções, ajudar à criação de ambientes credíveis e conduzir o jogador, de forma natural, pelo mundo virtual criado.The exponential development along with the growth of the video game industry, especially in the last decade, has facilitated the appearance of digital games by naturally increasing the quality criteria inherent to them. Contributing to this greater quality is the immersive capacity of each video game achieved through its elements such as its narrative, its graphic aspect, its gameplay and the sound design, which in addition to an integrated element, enhances all the elements previously mentioned. This project aims to study sound design in the production and development of videogames. Along with in-depth study on the subject, a project of practical application was carried out through the design and development of a video game since its initial phase named The Last Star, in which the knowledge and experience acquired in the meantime were applied. In the practical development of the study, organizational and structural methods of the different phases of the sound design process were adopted, from the study of the constituent elements and sound conceptualization of the project in the pre-production phase, production of the sound elements through the various tools available in the market and the respective harmonization and improvement of the interaction of all sound elements in the sound landscape, depending on their function, during postproduction. We understand that sound design is above all a collaborative process, of discussion and articulation, between the different elements that are part of the production and development team of a video game, whose objective, more than populating the game with “background noise” for creating environment, aims to enhance the work from its aesthetic production to the functional process of the game itself. Knowing also that the hearing of the human being is one of the senses that supports his perception in the space that surrounds him, the sound in video games is a fundamental element for a so-called complete, immersive and interactive experience. Thus, the sound perception of a sound by the player, inserted in the space that surrounds him in the virtual world, constitutes a significant impact in terms of immersion in the video game. It is therefore up to the sound design to promote, enhance and intensify emotions, help to create believable environments and lead the player, in a natural way, through the created virtual world

Understanding Game Scoring: Software Programming, Aleatoric Composition and Mimetic Music Technology

Game scoring, that is, the act of composing music for and through gaming, is distinct from other types of scoring. To begin with, unlike other scoring activities, game scoring depends on — in fact, it arguably is — software programming. The game scorer‘s choices are thus first-and-foremost limited by available gaming technology, and the programmability of their musical ideas given that technology, at any given historical moment. Moreover, game scores are unique in that they must allow for an unprecedented level of musical flexibility, given the high degree of user interactivity the video game medium enables and encourages. As such, game scoring necessarily constitutes an at least partially aleatoric compositional activity, the final score being determined as much through gameplay as traditional composition. This dissertation demonstrates how game scoring is software programming that is structured by gaming technology, and that constitutes a unique kind of aleatoric composition, through case studies of the Nintendo Entertainment System sound hardware configuration, and game scores, including the canonic score for Super Mario Bros. (1985)