This
preview
has intentionally blurred sections.
Sign up to view the full version.
This
preview
has intentionally blurred sections.
Sign up to view the full version.
This
preview
has intentionally blurred sections.
Sign up to view the full version.
This
preview
has intentionally blurred sections.
Sign up to view the full version.
This
preview
has intentionally blurred sections.
Sign up to view the full version.
This
preview
has intentionally blurred sections.
Sign up to view the full version.
Unformatted text preview: Lecture 1: Introduction to SI T253 _’nd?llisuui Gomes VEiements McKenzle - r
- School oflnfvrrnotion TM
~ faculty of Science and 7mm Introduction - Teaching Staff — Lecturer: Mrs Sophie McKenzie
- Burwood, Geelong, Off Campus - Contact: momenlglngqeameduw I PH: 522 71263 Unit Details - Practical Classes — Geelong: (Room Ka5.226)
- Wednesday 11:00 12:50
0 Wednesday 14:00 15:50 — Burwood: (Room T1.05)
- Wednesday 9:00 10:50
- Wednesday 14:00 15:50
0 Thursday 9:00 10:50
0 Friday 9:00 10:50
- Friday 11:00 12:50 5 hie, ‘ ’ Waurn Ponds - Matt
Waurn Ponds ~ Matt Melbourne - Greg
Melbourne - Greg
Melbourne - Anthony
Melbourne —Anthony
Melboarm 7I12I2011 Introduction - Covered in this weeks lecture: Unit Details Who are the teaching staff?
Textbooks and Readings
Practical Classes
Assignments& Exam Deakin Studies Online (D50)
Unit Objectives and Structure
Introduction to A/V
Representation Unit Details 0 Prescribed:
- DVD
- Video Tutorials on Modelling
— $3.001 - Recommended:
DARK SIDE OF GAME TEXTURING, by Franson GAME CHARACTER DESIGN COMPLETE: USING 3DS MAX 8 & ADOBE
PHOTOSHOP, by Franson and Thomas GAME DEVELOPMENT ESSENTIALS: GAME AUDIO DEVELOPMENT, by Marks
and Novak Unit Details 0 Use of DSO in SIT253 — All lectures, practical's and assignment details
here! — Submit your assignments on DSO only. — Use the Digital Library: - Many relevant readings to compliment the lectures and
textbook 7/12/2011 New DSO features The New DSO aims to offer students a
better learning experience which
includes: — a more consistent look and feel — easy access to updates, news, new
discussion postings, online assessment
dates — greater ability to personalise your learning
o more structured learning path Introducing the New DSO
(Desire2Learn) Faculty of Science 8: Technology
Deakin University How to log in to the New DSO Help and further information . Student Help linkin right hand top cornerofeach 0 Go to http:[gd2l.deakin.edu.au. The link to the login
screef‘ m the New DSO for access to HE'P Gu'des page for the New DSO will be available from your
and V'deos unit’s DSO site. — Student Orientation Site in the New DSO — self h l . h I
registervia the link in the News item on your My . Fromt e New DSO ogm page 5 ow Students' Home page, — System Check link — this enables them to check
— IT Service Desk (technical issues e.g. difficulties that their computer is setup correctly for the New
logging in to DSO, computer and browser issues) DSO. Any problems contact IT Service Desk. nttpnxwww eakinecluau/stsrv sewterlzaskpnp . Students New DSO 2011 website link _this includes
Quick and Video Guides to assist with use of the New
DSO. Encourage students to watch theNavigating _ — Discussion in DZL unit site ‘Help using the new
DSO (DZL)’ — Lecturer for any unit content relatde Unit Details Unit Details - Lecture structure - Assignments & Exam
— Question style, discursive — 2 assignments each worth 20% (total 40%)
— Plenty of extra relevant reading! — Details of assignments will be released on DSO — Theory in lecture, creation in practical classes ' Due Dates forASSignmentSI 3'“ of August arid 3'“ Of
October 0 Week 12 lecture high jacked by students to allow
presentation of assignment work! —- Exam worth 60%
- Held in exam period Unit Objectives and Structure - Unit Objectives: — This unit introduces students to the terminology, fundamental
and technical concepts of audio/visual elements of computer
games — This is achieved by covering the following areas:
- The role of these elements play in computer games; - The approach to produce these elements, from concept to
creation - The technologies and involved in this process; and
- The role of audio/visual professionals in the games industry, — This unit requires students to develop the audio and visual
elements for games designa ("a Unit Objectives and Structure ' Unit Objectives: — The second part of the unit focuses on the audio elements
and includes: 0 the basic skills required in terms of—
hardware/software; recording, mixing and mastering
and 3D audio 0 the fundamentals of audio design, including — audio
engine terminology, functionality and processing;
mixing and controlling sound for aesthetic effect 0 study of designing sound for interactivity, including
sound effects, music and voice record' Plagiarism and Cheating - What is Plagiarism?
— It is cheating! - It is using the ideas or work of others without
acknowledgement and presenting them as your
own. — It is a very serious academic offence! - Plagiarism can be avoided, so ...Don’t do itll If you
have any concern with your work, discuss it with
your lecturer or tutor - Collusion V’s Collaboration?
f Examples in SITZSBV, L 7/12/2011 Unit Objectives and Structure - Unit Objectives:
— This unit is divided into three broad parts:
— Part 1
I the role A/V plays in computer games, sources of ideas Ki concepts, and the real-world considerations that need to be taken
when creating these artifacts Part 2:
- focuses on the audio elements —what is audio; how is managed in
digital form; the various uses in computer games
Part 3:
I focuses on the visual elements —design fundamentals such as
composition, lighting and colour and graphic design; 2D and SD
graphics;texturing and rend_ering;t ' ism”? ‘ Unit Objectives and Structure I Unit Objectives: — The third part of the unit looks at the visual design
fundamentals in game design - Such as composition, lighting and colour and graphic design - Specifically it looks at 2D and SD elements as well as motion
graphics such as animating, cinematography and camera
angles and framing - This part of the unit also looks at textures, optimisation of
real time 3D rendering and interface design - Finally students consider character design. In both sections
ofthe unit, students also review the relevant standards of
both elements. National ICI' Careers Week 2011 Mondayst July Level 13,8 Exhibition lnrhousevislt m Ems! & Young Emmi. Young
Zflflpmr mopm smacmlboumn Tuesday26‘* July nicherdSearbynoom FutureoflCT Careers DeioitteflBS/Ninlex,Silizar
53me sonpm Nouns Pty Ltd, Aeeenme, mesa-yst July Rkhard SearbyRoom Networking evening ‘“"'3"a"c°mf’“‘e' 5 30W .800“ "Dune SeaetylACSlDeakin University wedmsdayfimluly reism Bulldlng242 AC5 SpeclaiEveM-Career acs
soapm — aoopm Exhlblllon progression
sum. Melbourne Thursdayzamluly muons lT and is Rexumelzlluring Accenture
l 30pm 7 new Friday 29'“ July San Remo Ezllroom DlGITS Ball 10H DIGlTS
71mm onwards Limited-SW" soon
stigma: 7I12I2011 Lecture 1: Introduction to
A/V in Games *2 TARTHERE
GDANYWHERE ements _
For Raglstratlon and Quarlas Contact ‘ r
Jessica oofigy 9 WMtKlee - - Jonlca.Cofl[email protected] moo] oflltfprmation 03 9244 5413 Matty of Science and TV ‘ V Readings Introduction - On DSO! - Introduction to Audio Visual Elements — Rules of Play by Salen and Zimmerman — What role does audio and visual content play in
- Chapter 3: Meaningful Play computer games? And why is this important? o Other readings of note; — What is the current state ofaudio/visual design, — "The art of interactive design : a euphonious and illuminating guide to creation: and related tEChnOIOEiES?
bulldlngsuccessful software bthrI‘s Crawford I u _ What are the fundamental concepts and
- mp my“ diaglgggu auflwavm ’SlF/qcrawford drrgygmggyggggawcsgm mgdwrmm ., g c terminology used in NW — "Game deSIgn workshop : a playcentrlc approach to creating
innovative ga mes" by Tracy Fullerton ' hm: [1‘31
jfrarnese What Role? Feedback Ludology/ Narratology in Games 0 ExplICIt— the result of some player action: . Feedback and Audio Visual also help with
— Character walks through a cave Iudology and narrative in game: — Character shoots a gun _ Ludology focus on gameplay
— Character ’warps’ through a portal . Ludus = game — mm pygmy vpggng :n withFwdw:‘qutmraarmemelggd - Logos = reason and science ' lmglllc't _ used as a gu'de/prompter’ more — Narratology focus on story and narrative
su t e: — Eerie lighting and sounds to set mood — Subtle ’signpost' or background noises to give hints or so thing is about t happen
:3 ‘ " “HQ .gmgatihgg£zbarwgg g} mm ' Which perspective are you? — Focus on gameplay, or focus on story
— Either way, need A/Vto assistchoth’pfifgfiéctives 7/12/2011 Audio / Visual Feedback Immersion - Helps with Story Enabling in Games (as 0 Player presence within the gaming world
opposed to story telling). . Remove repetition Iminurlmx
— Play control and engagement — World and NPC design is important! — Plot choice? 0 Consistency/ balance in game — Character Customisation . Flow 5'5
Ilroviflur kwamum — Show Consequences of choice
— Allows Interactivity and collaboration
— Immersionllll - Non—linearity (player choice!)
— Schrodinger’s cat example x,&_:' a??? Emotional Storytelling A Game Player Aesthetic Responses 0 Goals - Sensation, games as a sensory pleasure
- Wants and Needs 0 Fantasy, game as make believe
- Desire - Narrative, game as drama Curiosity - _, ,_ - .4 V - Challenge, game as obstable course Fear ‘ ‘ l “it” .~ V~ 5 ‘ - Fellowship, game as social framework
0 Love ‘ ‘ '5 'H' ‘ ' ..'. - Discovery, game as uncharted territory
- Virtues and Vices x - Expression, game as self-discovery ' Submission, game as Why is A/V so important in games? Gaming Technology Issues _ I Implementationissues:
— A/V feedback top two most Important features, _ 3M multiihannel audio along with good gameplay — video/graphics standards — Technologies advances are raising the - scriptinglansuage (expectations! of users I Consoleimplementation issues:
- High quality models/textures — Better graphics and better sound are usually a . Lotsofdata/Smrage needed
users highest ranking requirements - Processing power also — What are some games that have good examples ‘ 3° 8‘ "‘“"i'°ha”"e' “db . . I A 'th ' | t
of excellent Audio and/or Visual content? sw' V's“ “pea — Video/graphicsstandards - Need to be able to program/port to variou
— Scripting language _
busily codtmlltaitbr 7/12/2011 Classic Games and AN Current Games and AN - Banjo Kazooie I Games available on present day consoles and
— 1ttg:[[au(youtubecgw[watch?v:2C3mSLno 29 PCS are very impressive .g‘ . — Attributes include: - Increased realism
- What are the A/V Elements? ‘ _
- Fine detail - Dramatically better sound and visual effects Current Games and AN Current Games and A/V - E4 — Every Extend Extra Extreme (xbox 360) - Fallout Three
- mmfiMVL-YQQILi?§£9fllfl§l£b3fi=fi3fl9fldfll — httn;//,www.y,outube.cornjyvatch?v=pA_NOB\LLSsV4 I What are the A/V Elements? :1 ' What are the A/V Elements? Future Games and AV What is it that players crave? - You tell me! - Better and more realistic Audio and Visual
components
— Complex effects...in REAL TIME!
- Where to...
— More natural/real life effect:
- Hair
- Water
- Cloud/Smoke/Fire
Miranments What is representation? - A practice: that produces cultural artifacts such as
games The production of meaning through visual and
auditory means - audio and visual representation Representation is the means by which members of a
culture (gamers) use signifying systems (audio,
visuals, gameplay etc) to produce meaning The game in itself does not have any fixed, final or
true meaning. Visual and audio examples Shellshock: Nam '67 Silent Hill America‘s Army Cultural relativism Cultural relativism is the view that all beliefs are equally valid
and that truth itself is relative, depending on the situation,
environment, and individual. Those who hold to cultural relativism hold that all religious,
ethical, aesthetic, and political beliefs are completely relative
to the individual within a cultural identity. Relativism often includes:
moral relativism (ethics depend on a social construct) situational relativism (right or wrong is based on the particular
situation) cognitive relativism (truth itself has no objective standard). Somewhat dangerouspoint ' w, but in termsfigf » r ,'m§5§2b°‘ieve_néin,e‘Worid' 7/12/2011 What is representation? - Breaking down the steps in representation: — Identifying the important features of a visual
display (surface level processing or external
identification in the brain). — Relating the visual features to their meaning, i.e.
semantic processing — Constructing the communicated message What is representation? It is us, the gamer, who make the game mean something,
who instill signification Representation and thus meaning of a game will therefore
change according to the culture (this in turn results in
different genres) Cultural relativism = the different ways in which a culture
assigns meaning to something such as a game Hence the need for translation as we move from one mind
set or conceptual universe of one CultW” ’
_ r r“ _. au as. Constructionist perspective 0 Representation involves making links between three different factors — The world of things: people, events and places - The conceptual world: the mental concepts we
carry in our heads — And the signs, arranged into "languages" (such as
audio, text, image etc) which "stand for",
represent or communicate those concepts Interpretation - Producing meaning depends on the practice
of interpretation - Interpretation is continually used by us via
codes — Encoding - putting meaning into the message — Decoding - interpreting the meaning at the other
end of the message Codes - Representation is therefore more complex
than we think - This is why we need theories to explain the
way in which we construct meanings when we
design, develop and implement games Social Ideology Here we are starting to interpret signs (games) in terms of the
wider realm of social ideology - the general beliefs,
conceptual frameworks and value systems of society
The games we play are thus intrinsically interwoven within
ideology Inevitably, culture, social ideology, will permeate the system
of representation that we use to make games
This connotative representation is about the construction of
myths (Barthes Mythologies) We are myth-makers — Considered true by both orator and audie 7l12/2011 Codes Because meanings are always changing, codes
function as social convention Codes are NOTfixed or unbreakable laws These concepts and classifications (meaning—making
tools) that we carry around in our heads, enable us
to think about the world, to construct meaning, to
negotiate our way through society. We translate this thinking—about-the-world into
“language” (audio, text, image) we make them
“speak”, through signs — 50... signs stand for or signify our thoughts-aboubth rld Power and Knowledge We produce knowledge and meaningthrough
representation via audio, image and text We are producers of a cultural artifact (the GAME) We construct meaning and knowledge through: — technology (specialist knowledge)
— techniques (skills in design and development) Game designers have influence in their social and
cultural representations in games: — The games we create, assumes that an authority of truth by the
audience (the gamer), who assume our power to make the
game "The Truth" Semiotics The study of signs in culture and of culture as a sort
of “language” All cultural objects (games) convey meaning AII cultural practices (making games) depend on
meaning Therefore we make use of signs as both as gamers
(reading the signs) and the game designer and
developer ("writing"/ "authoring" the signs) Analyse games using Saussure’s linguistic concepts of
the signifier/signified
- w“ v' fitwisefiafifit 7/12/2011 Saussure’s linguistic concepts Avatar’s as Representation ' Language is the collective product of social interaction, The interpretation of one’s self virutally?
and supply the essential conceptual frameworks for men's analysis of reality and, simultaneously, the verbal
equipment for their description of it. — True to life representation? =
- Wii with the Mii's Linguistic signs do not exist independently of the I second we complex system of contrasts implicitly recognised in the
day-to-day vocal interactions of a given community of
speakers. — Xbox and P53 are following Linguistic signs are not like individual bricks, put together — Character Customisation
is a certain way to form an architectural structure . such as in any FPS
— Partsofthetotalstructure ‘ i - Sims Genre Genre As We move from the created game CUIture (the - To study the meaning in "AMs Alice" we would have game elements, etc) to the underlying structure of to treat the game elements as signifiersz
the culture, the constructs we Impose (the genre) _ the audio, images, text are signifiers Genres impose style upon the game: _
e Action=adrenalin(fightorfleel) ° U56 the COde 0f the genre. — Survival =reflexive or twitch games — to discover how each element in the game made Shooters = FPS or TPS, weapon oriented, cooperative use of the genre rules to
Racing = victory or defeat Fighting : reflexes and clear opponent - "say something" /make meaning (signifieds) that the
Adventure = exploration. narrative gamer could "read" or interpret/understand within the
Action — Adventure : reflexes and reflective thought formal framework of the game genre Pulzle = individual puzzle solving RolevPlaving: complex story and advancing goals Simulation and Sports = real world experience Turn Based Strategy : interval defined, resource; mum: tothlnk - Strategy =ma of resouroasln realtl " 1'. tut ’ V i ‘- Reading the Game (Analysis) Screen Shots of Ams Alice When we talk about "American McGee’s Alice” we use a semiotic approach for our “reading” and treat
the game elements as signs through which meaning
is communicated from the developer to the gamer. We analyse the meaning not by the content but by
the underlying codes and conventions through which
the objects and practices in the game produce and
convey meaning Alice Movie... Cinematic Trailer:
htmlzausxqutu be, :éQtIl/iwatghifi asylhygué Gameplay Trailer:
@9153! EU. page rlibiiatch 3v agy B we ijJ A Signifier and Meaning In the game, the image, audio, text, game play, etc
all function as signifiers in the production of meaning They construct a meaning and carry a message The game and all its components therefore function
like a “language” - the language of gaming Each element within a game acts as a signifier Signifier and Meaning These relations can be of similiarity - weapons go
with fighting which goes with Differences are also marked... weapons don’t go with
pink and purple barbie palaces Some signs actually create meaning by exploiting the
difference - the lethal knife + Alice in Wonderland
with blood stained apron These elements and their relationship to each other
all "say something" - they convey meaning BUT not everyone "(w)reads” the code in the same
way . , ,, _ _.,‘ 7/12/2011 What did you notice? 0 Activity: We think of the game as a text to be
read - what messages about our culture is
AMsAlice trying to communicate? — Please answer the following in groups of 3 to 5:
- What signs/ signifier of the genre?
- What rules did you imply because of the genre?
- What signifiers did the audio asserts give you? - What meaning did you derive from the visual
presentation? — Overall, how_did it mage-yourfieéi’? «NY: 3 Signifier and Meaning - We correlate particular kinds of game elements
(weapons) and their combinations (weapons plus
character action) with certain concepts (violence,
fun, detriment to society, wayward youth etc.etc) — These are the signfieds This coding has converted the game elements into
signs which can then be read as a language in the language of games the signifiers are arranged
in a certain sequence, in certain relations to one
another Conclusion: Representation First we need a basic code (FPS) which links a
particular set of game elements (signifiers) with a
particular way of playing it and our mental concept
of it (signifieds) Once we have recognised these elements and
produced a sign, FPS, we then progressed to
connecting those signs with cultural ...
View
Full Document
- Three '11
- nothing
-
Click to edit the document details