Ludonarrative Synchronicity In The Bioshock Trilogy
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Ludonarrative Synchronicity in the 'BioShock' Trilogy by Lyz Reblin-Renshaw Pdf
This book presents a new methodology, ludonarrative synchronicity, to analyze the interplay between narrative and gameplay in video games. Using the BioShock franchise as a case study, this book aims to show the interaction of these two elements can form various subjects. Rather than prioritizing one over the other, ludonarrative synchronicity seeks to explore how video game texts function. By analyzing a trio of games focused on choice and control, this book manages to show how players, along with developers, can create their own subjects. Ludonarrative Synchronicity in the BioShock Trilogy will appeal not only to fans of the franchise, but to students and scholars of narrative theory, game design, and posthumanism.
Author : Frank G. Bosman,Archibald L.H.M. van Wieringen Publisher : Walter de Gruyter GmbH & Co KG Page : 124 pages File Size : 53,8 Mb Release : 2022-11-07 Category : History ISBN : 9783110731019
Video Games as Art by Frank G. Bosman,Archibald L.H.M. van Wieringen Pdf
Video games are a relative late arrival on the cultural stage. While the academic discipline of game studies has evolved quickly since the nineties of the last century, the academia is only beginning to grasp the intellectual, philosophical, aesthetical, and existential potency of the new medium. The same applies to the question whether video games are (or are not) art in and on themselves. Based on the Communication-Oriented Analysis, the authors assess the plausibility of games-as-art and define the domains associted with this question.
BioShock by Nicolas Courcier,Mehdi El Kanafi,Raphaël Lucas Pdf
A unique and extraordinary saga of video games. In just three installments, the BioShock saga made a special place for itself in the hearts of players. These games boast completely unique and extraordinary stories and worlds. The first two installments take place in the underwater city of Rapture. Immersed in the Art Deco style and a 1950s atmosphere, the player advances through an open, intelligent gameplay that encourages creativity and careful use of the resources provided by the surroundings. BioShock Infinite, the third installment, draws us in to explore the floating city of Columbia in a uchronic, steampunk-laden 1912.Third Éditions aims to pay tribute to this hit series—which, despite its short history, has already gained critical acclaim. Dive into this unique volume that explores the games’ origins and provides an original analysis of each installment. Discover a complete analysis of the three installments of the BioSchok Saga! The video game will not have secrets for you anymore ! EXTRACT After years marked by total abstruseness, the early 2000s saw the transition of PC games to the world of consoles. In market terms, game consoles had reached a general-public status, ensuring high popularity—but the PC market put up strong resistance, in particular by selling downloadable games through stores such as Steam. Numerous PC-based developers, such as Warren Spector (Deus Ex, Epie Mickey), Peter Molyneux (Populous, Fable), and of course Ken Levine, began developing for consoles. In the same vein, numerous genres that were typically destined for PC gaming began migrating to consoles. This change certainly had numerous causes, one being Microsoft’s arrival on the console market with Xbox (with architecture close to a PC). In addition, typical inconveniences in PC development were eliminated (games no longer had to be designed for a wide variety of configurations, as a console by nature has a stable internal architecture). Finally, there was the question of pirating—even though it exists on consoles, it is much more common on PCs. As a result, major developers such as Valve Corporation (Portal 2), BioWare (Mass Effect) and Bethesda Softworks (Fallout 4 and Skyrim entered the market, and the general mentality changed. ABOUT THE AUTHORS Nicolas Courcier and Mehdi El Kanafi - Fascinated by print media since childhood, Nicolas Courcier and Mehdi El Kanafi wasted no time in launching their first magazine, Console Syndrome, in 2004. After five issues with distribution limited to the Toulouse region of France, they decided to found a publishing house under the same name. One year later, their small business was acquired by another leading publisher of works about video games. In their four years in the world of publishing, Nicolas and Mehdi published more than twenty works on major video game series, and wrote several of those works themselves: Metal Gear Solid. Hideo Kojima’s Magnum Opus, Resident Evil Of Zombies and Men, and The Legend of Final Fantasy VII and IX. Since 2015, they have continued their editorial focus on analyzing major video game series at a new publishing house that they founded together: Third. Raphaël Lucas - Raphaël has over fifteen years of experience in the world of video game writing. A reader of Tilt and a fan of a renowned French video game journalist AHL, he first pursued a university éducation. After obtaining a master‘s degree in history from the University of Paris 1, he then became a freelancer for PC Team before working for Gameplay RPG and PlayMag. In October 2004, he joined the group Future France and worked for Joypad, PlayStation Magazine, Consoles + and Joystick, not to mention a few other contributions to film magazines. Today, he writes for Jeux Vidéo Magazine as well as the magazine The Game. He is also the co-author of The Legend of Final Fantasy IX.
Paratextualizing Games by Benjamin Beil,Gundolf S. Freyermuth,Hanns Christian Schmidt Pdf
Gaming no longer only takes place as a ›closed interactive experience‹ in front of TV screens, but also as broadcast on streaming platforms or as cultural events in exhibition centers and e-sport arenas. The popularization of new technologies, forms of expression, and online services has had a considerable influence on the academic and journalistic discourse about games. This anthology examines which paratexts gaming cultures have produced - i.e., in which forms and formats and through which channels we talk (and write) about games - as well as the way in which paratexts influence the development of games. How is knowledge about games generated and shaped today and how do boundaries between (popular) criticism, journalism, and scholarship have started to blur? In short: How does the paratext change the text?
In this book, veteran game developers, academics, journalists, and others provide their processes and experiences with level design. Each provides a unique perspective representing multiple steps of the process for interacting with and creating game levels – experiencing levels, designing levels, constructing levels, and testing levels. These diverse perspectives offer readers a window into the thought processes that result in memorable open game worlds, chilling horror environments, computer-generated levels, evocative soundscapes, and many other types of gamespaces. This collection invites readers into the minds of professional designers as they work and provides evergreen topics on level design and game criticism to inspire both new and veteran designers. Key Features: Learn about the processes of experienced developers and level designers in their own words Discover best-practices for creating levels for persuasive play and designing collaboratively Offers analysis methods for better understanding game worlds and how they function in response to gameplay Find your own preferred method of level design by learning the processes of multiple industry veterans
Considered a sign of the ‘coming of age’ of video games as an artistic medium, the award-winning BioShock franchise covers vast philosophical ground. BioShock and Philosophy: Irrational Game, Rational Book presents expert reflections by philosophers (and Bioshock connoisseurs) on this critically acclaimed and immersive fan-favorite. Reveals the philosophical questions raised through the artistic complexity, compelling characters and absorbing plots of this ground-breaking first-person shooter (FPS) Explores what BioShock teaches the gamer about gaming, and the aesthetics of video game storytelling Addresses a wide array of topics including Marxism, propaganda, human enhancement technologies, political decision-making, free will, morality, feminism, transworld individuality, and vending machines in the dystopian society of Rapture Considers visionary game developer Ken Levine’s depiction of Ayn Rand’s philosophy, as well as the theories of Aristotle, de Beauvoir, Dewey, Leibniz, Marx, Plato, and others from the Hall of Philosophical Heroes
BioShock Hardcover Ruled Journal by Insight Editions Pdf
Experience the dystopian world of BioShock with this finely crafted journal showcasing iconic imagery and brilliant concept art from the game. Since the original game’s debut in 2007, the BioShock series has engaged a legion of fans with incredible worlds, complex characters, dynamic storylines, and exceptional graphics. The first atmospheric game introduced players to Rapture, a city at the bottom of the ocean where the only creatures that dare to roam are the Little Sisters and their Big Daddy protectors. Featuring images and concept art from the first BioShock game, this journal offers players the chance to record their own journeys and adventures.
A game designer considers the experience of play, why games have rules, and the relationship of play and narrative. The impulse toward play is very ancient, not only pre-cultural but pre-human; zoologists have identified play behaviors in turtles and in chimpanzees. Games have existed since antiquity; 5,000-year-old board games have been recovered from Egyptian tombs. And yet we still lack a critical language for thinking about play. Game designers are better at answering small questions ("Why is this battle boring?") than big ones ("What does this game mean?"). In this book, the game designer Brian Upton analyzes the experience of play--how playful activities unfold from moment to moment and how the rules we adopt constrain that unfolding. Drawing on games that range from Monopoly to Dungeons & Dragons to Guitar Hero, Upton develops a framework for understanding play, introducing a set of critical tools that can help us analyze games and game designs and identify ways in which they succeed or fail.
Author : Peter Verstraten Publisher : University of Toronto Press Page : 273 pages File Size : 53,7 Mb Release : 2009-01-01 Category : Performing Arts ISBN : 9780802095053
In Film Narratology, Peter W.J. Verstraten makes film narratives his primary focus, while noting the unexplored and essentially different narrative effects that film can produce with mise-en-scène, cinematography, and editing.
Cultural stereotypes to the contrary, approximately half of all video game players are now women. A subculture once dominated by men, video games have become a form of entertainment composed of gender binaries. Supported by games such as Diner Dash, Mystery Case Files, Wii Fit, and Kim Kardashian: Hollywood—which are all specifically marketed toward women—the gamer industry is now a major part of imagining what femininity should look like. In Ready Player Two, media critic Shira Chess uses the concept of “Player Two”—the industry idealization of the female gamer—to examine the assumptions implicit in video games designed for women and how they have impacted gaming culture and the larger society. With Player Two, the video game industry has designed specifically for the feminine ideal: she is white, middle class, heterosexual, cis-gendered, and abled. Drawing on categories from time management and caregiving to social networking, consumption, and bodies, Chess examines how games have been engineered to shape normative ideas about women and leisure. Ready Player Two presents important arguments about how gamers and game developers must change their thinking about both women and games to produce better games, better audiences, and better industry practices. Ultimately, this book offers vital prescriptions for how one of our most powerful entertainment industries must evolve its ideas of women.
Video Games Have Always Been Queer by Bonnie Ruberg Pdf
Argues for the queer potential of video games While popular discussions about queerness in video games often focus on big-name, mainstream games that feature LGBTQ characters, like Mass Effect or Dragon Age, Bonnie Ruberg pushes the concept of queerness in games beyond a matter of representation, exploring how video games can be played, interpreted, and designed queerly, whether or not they include overtly LGBTQ content. Video Games Have Always Been Queer argues that the medium of video games itself can—and should—be read queerly. In the first book dedicated to bridging game studies and queer theory, Ruberg resists the common, reductive narrative that games are only now becoming more diverse. Revealing what reading D. A. Miller can bring to the popular 2007 video game Portal, or what Eve Sedgwick offers Pong, Ruberg models the ways game worlds offer players the opportunity to explore queer experience, affect, and desire. As players attempt to 'pass' in Octodad or explore the pleasure of failure in Burnout: Revenge, Ruberg asserts that, even within a dominant gaming culture that has proved to be openly hostile to those perceived as different, queer people have always belonged in video games—because video games have, in fact, always been queer.
Andrew Rollings and Ernest Adams on Game Design by Andrew Rollings,Ernest Adams Pdf
How often have you heard "anyone can design a game?" While it seems like an easy job, game ideas are cheap and plentiful. Advancing those ideas into games that people want to play is one of the hardest, and most under-appreciated, tasks in the game development cycle. Andrew Rollings and Ernest Adams on Game Design introduces both students and experienced developers to the craft of designing computer and video games for the retail market. The first half of the book is a detailed analysis of the key game design elements: examining game concepts and worlds, storytelling, character and user interface design, core mechanics and balance. The second half discusses each of the major game genres (action, adventure, role-playing, strategy, puzzle, and so on) and identifies the design patterns and unique creative challenges that characterize them. Filled with examples and worksheets, this book takes an accessible, practical approach to creating fun, innovative, and highly playable games.
An Introduction to Game Studies by Frans Mäyrä Pdf
An Introduction to Game Studies is the first introductory textbook for students of game studies. It provides a conceptual overview of the cultural, social and economic significance of computer and video games and traces the history of game culture and the emergence of game studies as a field of research. Key concepts and theories are illustrated with discussion of games taken from different historical phases of game culture. Progressing from the simple, yet engaging gameplay of Pong and text-based adventure games to the complex virtual worlds of contemporary online games, the book guides students towards analytical appreciation and critical engagement with gaming and game studies. Students will learn to: - Understand and analyse different aspects of phenomena we recognise as 'game' and play' - Identify the key developments in digital game design through discussion of action in games of the 1970s, fiction and adventure in games of the 1980s, three-dimensionality in games of the 1990s, and social aspects of gameplay in contemporary online games - Understand games as dynamic systems of meaning-making - Interpret the context of games as 'culture' and subculture - Analyse the relationship between technology and interactivity and between 'game' and 'reality' - Situate games within the context of digital culture and the information society With further reading suggestions, images, exercises, online resources and a whole chapter devoted to preparing students to do their own game studies project, An Introduction to Game Studies is the complete toolkit for all students pursuing the study of games. The companion website at www.sagepub.co.uk/mayra contains slides and assignments that are suitable for self-study as well as for classroom use. Students will also benefit from online resources at www.gamestudiesbook.net, which will be regularly blogged and updated by the author. Professor Frans Mäyrä is a Professor of Games Studies and Digital Culture at the Hypermedia Laboratory in the University of Tampere, Finland.
Computer games have become ubiquitous in today's society. Many scholars have speculated on the reasons for their massive success. Yet we haven't considered the most basic questions: Why do computer games exist? What specific circumstances led to the creation of this entirely new type of game? What sorts of knowledge facilitated the requisite technological and institutional transformations? With Computer Game Worlds, Claus Pias sets out to answer these questions. Tracing computer games from their earliest forms to the unstoppable commercial and cultural phenomena they have become today, Pias then provides a careful epistemological reconstruction of the process of playing games, both at computers and by computers themselves. The book makes a valuable theoretical contribution to the ongoing discussion about computer games.
Videogames! Aren’t they the medium of the twenty-first century? The new cinema? The apotheosis of art and entertainment, the realization of Wagnerian gesamtkunstwerk? The final victory of interaction over passivity? No, probably not. Games are part art and part appliance, part tableau and part toaster. In How to Talk about Videogames, leading critic Ian Bogost explores this paradox more thoroughly than any other author to date. Delving into popular, familiar games like Flappy Bird, Mirror’s Edge, Mario Kart, Scribblenauts, Ms. Pac-Man, FarmVille, Candy Crush Saga, Bully, Medal of Honor, Madden NFL, and more, Bogost posits that videogames are as much like appliances as they are like art and media. We don’t watch or read games like we do films and novels and paintings, nor do we perform them like we might dance or play football or Frisbee. Rather, we do something in-between with games. Games are devices we operate, so game critique is both serious cultural currency and self-parody. It is about figuring out what it means that a game works the way it does and then treating the way it works as if it were reasonable, when we know it isn’t. Noting that the term games criticism once struck him as preposterous, Bogost observes that the idea, taken too seriously, risks balkanizing games writing from the rest of culture, severing it from the “rivers and fields” that sustain it. As essential as it is, he calls for its pursuit to unfold in this spirit: “God save us from a future of games critics, gnawing on scraps like the zombies that fester in our objects of study.”