Nostalgia videogames as playable game criticism

The aim of this paper is to consider the emergence of nostalgia videogames in the context of playable game criticism. Mirroring the development of the nostalgia film in cinema, an increasing number of developers are creating videogames that are evocative of past gaming forms, designs, and styles. The primary focus of this paper is to explore the extent to which these nostalgia videogames could be considered games-on-games: games that offer a critical view on game design and development, framed by the nostalgia and cultural memory of both gamers and game developers. Theories of pastiche and parody as applied to literature, film, and art are used to form a basis for the examination of recent nostalgia videogames, all of which demonstrate a degree of reflection on the videogame medium

Why bridge the Uncanny Valley? Photorealism vs suspension of disbelief in animation

In recent years, the Uncanny Valley theory has been used to frame critical analysis of hyper­ real character animation in both film and computer games. The theory predicts that, as characters become more human­like in appearance, they run the risk of becoming unsettling to audiences. This dip in acceptability is the Uncanny Valley, and on the other side of this valley are the theoretical human simulants – characters co convincing that they are undistinguishable from real humans. However, the theory ­ which has its origins in robotics – can distract us from one of the primary aims of animation. While some character designers might be concerned with wowing their audiences with photorealistic character appearance and movement, other character animators are more concerned with exploring what it means to be human. Indeed, it can be argued that imagined characters that are unnatural in appearance and movement can in fact be more believably human than those that focus on visual mimicry. This article makes a case for an alternative approach to the Uncanny Valley for judging the aesthetics of human­like animation, with specific focus on the intentions of the animator in presenting characters that reflect human experience rather than replicate human appearance

Playing outside the box:transformative works and computer games as participatory culture

The main purpose of this study is to examine the creative fan community as a paradigm of participatory culture, from a computer games perspective. A review of relevant literature is used to examine transformative works and the related subculture in its many diverse forms. The produced discussion seeks to respond to a number of questions, such as: What exactly constitutes transformative work, what is the legal status of such work, and how can it be improved? To what extent do transformative works constitute a part of the play experience and enjoyment of games? Does participation in associated creative activities influence, shape or redefine the aforementioned experience? Can transformative works be appreciated as valuable artistic pieces on their own merits, outside the communities in which they are produced? Does the existence of the transformative work benefit the wider gaming culture from an artistic, financial or other point of view

Recover:designing a videogame to assist with recovery from PTSD

Recover is a game prototype that was developed to explore the potential of videogames to provide users recovering from PTSD with an alternative form of immersive self-help. The game is presented as a playable concept that focuses on mindfulness techniques whilst aiming to engage and retain users. The concept also includes a companion application for mobile, whilst the main videogame has been designed for use with Virtual Reality (VR) headsets

Creative approaches to emotional expression animation

In facial expression research, it is well established that certain emotional expressions are universally recognized. Studies into observer perception of expressions have built upon this research by highlighting the importance of particular facial regions, actions, and movements to the recognition of emotions. In many studies, the stimuli for such studies have been generated through posing by non-experts or performances by trained actors. However, character animators are required to craft recognizable, believable emotional facial expressions as a part of their profession. In this poster, the authors discuss some of the creative processes employed in their research into emotional expressions, and how practice-led research into expression animation might offer a new perspective on the generation of believable emotional expressions

A sweetspot for innovation:developing games with purpose through student-staff collaboration

Within industry as well as academia, developing games that have wider impact on society has been of particular interest in the last decade. The increasing use of terms such as ‘games with purpose’, ‘serious games’ and gamification’ has been mirrored in a flurry of activity in games research. Broader applications of games beyond entertainment are now well-understood and accepted, with universities and companies excelling in creating games to serve particular needs. However, it is not explicitly clear how undergraduates of game design and development courses can be directly involved in serious game creation. With most undergraduates inspired by commercial games development, and the games industry requiring that universities teach specific technical skills in their courses, balancing the research aspirations of academics with the educational requirements of an appropriate undergraduate course can be a difficult balancing act. In this paper, the authors present three case studies of games with purpose developed through collaboration between undergraduate students and academic staff. In all cases, the educational value of the projects for the students is considered in relation to the research value for the academics, who face increasing demands to develop research outcomes despite a necessity to provide a first-rate learning experience and nurture future game developers

Homesick for the unheimlich:back to the uncanny future in Alien: Isolation

In 2014 Sega released Creative Assembly’s Alien: Isolation, a video game sequel to the 1979 film Alien. As an attempt to create both an authentic homage to the Alien franchise and a credible successor to Ridley Scott’s original film, Alien: Isolation was received as both a work of remediated nostalgia and as a deeply uncanny survival horror. This article discusses Alien: Isolation framed by theories of the uncanny (the unhomely) and of nostalgia (the homely), with the aim of revealing how the production design of the game reconciled these seemingly contradictory but nonetheless overlapping aesthetic qualities. By drawing on examples from Alien: Isolation’s visual and level design, this article discusses how the integration of nostalgic and uncanny qualities could be of value to horror and sci-fi game design, in particular to the development of sequels within existing franchises, and to remediations, remakes and reboots

An impression of home:player nostalgia and the impulse to explore game worlds

In this paper I argue that there is a need for game studies to look beyond nostalgia as a period style or form of remediation, and to more carefully consider the role of nostalgia as an affective state experienced by players. Specifically, I argue that nostalgia is a positive emotional response that can be elicited in players without the need to embed period or historical referents in games. Extending this, I argue that the experience of nostalgia might enhance player motivation to explore game spaces, which has repercussions for game design. This paper makes use of existing literature on the psychology and aesthetic qualities of nostalgia to develop an initial theoretical basis for the study. To explore the implications of affective nostalgia, a case study analysis of two recent games is presented. Both of these games are dependent upon player motivation to explore their game worlds

Considerations for believable emotional facial expression animation

Facial expressions can be used to communicate emotional states through the use of universal signifiers within key regions of the face. Psychology research has identified what these signifiers are and how different combinations and variations can be interpreted. Research into expressions has informed animation practice, but as yet very little is known about the movement within and between emotional expressions. A better understanding of sequence, timing, and duration could better inform the production of believable animation. This paper introduces the idea of expression choreography, and how tests of observer perception might enhance our understanding of moving emotional expressions

Videogames as remediated memories:commodified nostalgia and hyperreality in Far Cry 3: Blood Dragon and Gone Home

In the last decade, the maturation of the first generation of gamers has underpinned growing discussion of nostalgia for and in videogames. This article considers how the search for a connection to our past can be satisfied through consumption of the richly remediated memories represented in nostalgic videogames. Far Cry 3: Blood Dragon and Gone Home are analyzed framed by Baudrillard’s theories of consumer objects and simulation. These videogames make extensive use of 1980s and 1990s cultural referents. In particular, they embed references to media (such as music, film, and television) that epitomize memories of these periods. The aim of the article is to discuss the ways in which the videogames commodify nostalgia to fulfill a consumer need for retrospection, and to examine the extent to which they provide a simulation of cultural memory that blurs historical reality with period modes of representation