3d games essay

The evolution of 3D games

How the third dimension has added more than just depth to your favourite games

• A history of 3D gaming
• Two and a half dimensions

Once upon a time, a handful of pixels madeth the space invader. Graphics were iconic, not representative: a picture on the box or manual showed you what it was meant to look like, and your mind filled in the necessary gaps.

Nobody could have predicted that in just 20 years, we'd be immersing ourselves in realistic living cities, flying over gorgeous tropical islands and going head-to-head with astoundingly rendered characters – and not even being particularly impressed.

But in years to come, modern games like Grand Theft Auto IV and Crysis will look just as dated as the classics we remember from the days of yore. In fact, they'll probably look more so: while the simplicity of a retro game's look has a certain charm to it, old 3D titles tend to flat-out look old. Try almost any hit game of the mid-to-late '90s for proof of that.

3D is about more than just pretty graphics. Done right, it makes gameworlds come alive. A 2D sprite can only do what it's been drawn to do, while a 3D character has a complete endoskeleton and can respond naturally (at least in theory) to anything that happens – the classic example being 'ragdolls', where a fallen enemy doesn't simply slump to the ground in a canned animation, but tumbles off the railing and lands with one arm draped over a step.

You can create worlds rather than merely levels, unlocking the player's ability to truly explore and experience the world as the character would. You can build simulations ready to be poked and prodded, abused and enjoyed. It's phenomenally powerful, to the point that many nominally 2D games are now really 3D ones viewed from a locked perspective, so that they can better use the possibilities of animation, physics and art assets.

Why render hundreds of frames of animation you may not be happy with when you can make a model and keep tweaking it until it's perfect? You may lose some of the old-school charm, but you gain far more.

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The first big 3D success was Battlezone , a tank game released in 1980 that used vector graphics to create its work, much like Asteroids . While a simple game by modern standards, it was fiendishly complex for such an early example, offering the ability to go anywhere in an (admittedly featureless) world, hide from attacks and fight enemies.

TANK WARFARE: Battlezone was thought so realistic that the US Army used it to train tank gunners

Not impressive enough? In 1987, the first Freescape game, Driller , hit the shelves. It offered a full 3D world on platforms as basic as the Spectrum, and was an actual game rather than just a tech demo. Next to that, it didn't matter that it was ugly, the frame-rate was abysmal and the game itself wasn't actually much fun – it got lots of attention.

The Freescape engine in its various forms was used in several famous releases, including Castle Master and its sequel, and the all-out 3D Construction Kit. Legend has it that someone somewhere once made something other than a surreal, unplayable mess in this, but we never saw it.

Freescape also made it onto TV, in the form of the absolutely atrocious Craig Charles vehicle Cyberzone , one of the most toe-curling attempts at creating a games-related TV show ever. Thankfully, all that remains of it is a single YouTube clip – and that's painful enough.

Most of the early 3D games stuck to simpler technologies. These days, we think of 3D as free-roaming, real-time engines, but back in the day, simply getting a game to look 3D was impressive.

As early as 1981, games were achieving this feat – 3D Monster Maze was terrifying a generation with its slowly updating screens and roaming T-Rex, and the first Ultima game was offering a very advanced hybrid of block-by-block movement 3D graphics for its dark dungeons alongside a topdown 2D overworld for exploration.

Interestingly, while most developers kept pushing further towards 3D, Ultima ended up pulling back, switching entirely to a top-down sprite-based system for the series' glory days. The 3D element later developed into its own spin-off – the Ultima Underworld games – before returning for the series' sadly disappointing final outing – the buggy, system-murdering Ultima IX: Ascension .

The problem has always been the same: the potential of 3D fights with the limitations of current systems, whether it's simply displaying the graphics in the first place or making them look as good as other art styles.

Going back to an early '90s 3D game now is almost painful. Flat faces, non-moving lips during conversations, stick-figure character models, smeary textures and appalling animation... the list of problems goes on.

Some games got past this, sometimes bizarrely – most obviously Core Design's legendary heroine Lara Croft, who managed to become an international sex symbol despite looking like a pointy-chested Pinocchio. Most survived simply because playing a 3D game felt futuristic, even if the lack of polygons our PCs could push out meant that 2D games were usually much more detailed.

TOMB RAIDER: The realism of the, ahem, gameworld has certainly come on

For much of 3D's history, the trick has been getting the effect of the third dimension without having to do it for real. The early Wing Commander games gave the illusion that you were flying through 3D space, but really they were just scaling sprites up and down.

In first-person shooters, it quickly became clear that walls were easy thanks to their incredibly simple geometry, but snarling hell-beasts dripping blood from their fangs were asking a bit too much. So developers compromised.

The worlds themselves were made in 3D, initially just as mazes. Then, as texturing became more advanced, more realistic-looking areas were created, like those in Catacomb 3D .

Interestingly, the state of the art varied dramatically across genres. Shooters had to be fast and fluid, so they were kept simple. In the case of early games like Core Design's Corporation , things were stripped down so much that the engine didn't even bother with textures.

Id's first breakout hit – Wolfenstein 3D in 1992 – had textures to depict the inside of its supposed Nazi castle stronghold, but all the maps were completely flat and the interaction was limited to just opening doors and shooting enemies. Ultima Underworld , which came out in the same year, had sloped surfaces, advanced lighting effects, dialogue, puzzles, magic systems, physics, 3D objects, a real plot, the ability to look up and down instead of having your view locked straight ahead and much more.

TRADE-OFF: For the Ultima Underworld games, the payoff for this level of 3D quality was poor performance and a small viewing window

Ultima Underworld could afford to push these limits because as a role-playing game, it was inherently slower than a shooter, and the audience was more willing to accept the necessary limitations, like the small viewing window. It didn't hurt that while publisher Origin's official motto was 'We Create Worlds', its unofficial credo was 'Your PC Will Cry'. It never did worry about system requirements...

Current page: A history of 3D gaming

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The Evolution and Impact of 3D Modeling in Gaming Industry

By Nextech3D.ai on Sep 5, 2023 11:00:00 AM

11 min read

Topics:  3D Models 3d modeling

At a glance:

- The Foundation of 3D Modeling

- The Role of 3D Modeling in Game Development

- 3D Model Creation for Games: Step-by-Step Process

- Different Applications of 3D Modeling in Gaming Industry

- The Future of 3D Modeling in Gaming Industry

- Conclusion

- About ARitize3D by Nextech3D.ai The gaming industry has undergone a remarkable transformation over the years, largely driven by technological advancements. One of the key innovations that has profoundly shaped modern gaming is the realm of 3D modeling. From the days of pixelated sprites to the intricately detailed game worlds we explore today, 3D modeling has become an indispensable cornerstone of game development. This blog discusses the pivotal role and impact of 3D modeling in the gaming industry.

The Foundation of 3D Modeling

At its core, 3D modeling is the art of creating digital representations of objects and characters in three-dimensional space. This technology, while now synonymous with 3D gaming, had humble beginnings. Early pioneers laid the groundwork for what would become a monumental shift in how we experience video games. As hardware capabilities grew, so did the potential for more immersive and visually captivating experiences.

During the 3D modeling process, an object's size, shape and texture can be defined. The process uses points, lines and polygons to create 3D shapes within the software. The crux of a 3D model design is made up mostly of vertices, which come together to form a mesh. Any point on the model can be modified to change the shape. To locate each vertical and horizontal point in relation to a visual reference, the software uses coordinate data.

With 3D modeling, the possibilities are virtually endless. It is a medium that may be used in many different applications and is incredibly versatile. But for now, let's discuss one of the most well-known applications of 3D modeling - game development.

The Role of 3D Modeling in Game Development

3D modeling is the bedrock upon which game developers construct entire universes. It's the meticulous process of translating concepts into tangible assets, from the graceful sweep of a character's cape to the towering architecture of a virtual city. This meticulous craft ensures that the fantastical realms of games are not only vibrant and captivating but also functional and coherent. In video games, 3D models are used to generate characters, environments, items and even whole universes. Every great game needs immersion and 3D modeling is a wonderful way to improve gaming graphics and keep the players engaged.

Furthermore, 3D modeling is crucial in the fascinating industry of virtual reality games too. Virtual reality games immerse you entirely in the gameplay and let you explore full three-dimensional worlds. Advanced 3D modeling techniques enable developers to optimize performance, maintain visual fidelity and adapt to the unique demands of VR hardware. As VR gaming gains prominence, the synergy between 3D modeling and this transformative technology ensures unforgettable and engaging gameplay.

To learn why 3D design is the future, read this .

3D Model Creation for Games: Step-by-Step Process

Creating 3D models for gaming requires creativity, technical skill and attention to detail. Listed below are the essential stages of 3D model creation. By following these steps, game developers can create 3D models that enhance the gaming experience, contributing to the immersive worlds players love.

Conceptualization: Define the object's purpose, style, and specifications based on the game's requirements.

Modeling: Create a 3D mesh, establishing the primary form and structure.

Detailing: Enhance the model with intricate features, considering polygon count and performance.

UV Mapping: Unwrap the model's surfaces for proper texture application.

Texturing: Apply textures to add realism, material properties, and visual appeal.

Rigging: Add a skeleton to objects like characters, enabling animations.

Animation: Bring the model to life through movement and interaction.

Optimization: Ensure the model is optimized for real-time rendering, meeting performance requirements.

Integration: Import the model into the game engine, setting up materials, lighting, and animations.

Testing and Iteration: Continuously test the model in-game, refining it until it fits seamlessly into the gaming experience.

Different Applications of 3D Modeling in Gaming Industry

Listed below are some key applications of 3D modeling in gaming industry -

Concept Art: It is the process of developing a character's overarching idea and aesthetic. To create a design idea, artists must employ a concept that encapsulates the significance of a project's goals, including its many characteristics, look, habits, behavior, background and so on. To develop concept art, artists must look for inspiration for their characters, research and character drafting sources. They typically start with a mood board and then create a sequence of sketches that show the character's main body, face and shape. When the design is complete, they can start working on the colors.

3D Character Design and Animation: 3D character design has revolutionized the way we perceive and interact with virtual personas. In the gaming industry, 3D character design has become a driving force, with beloved characters like Mario , Lara Croft and Master Chief captivating audiences worldwide. This technology empowers developers to sculpt characters with a remarkable level of detail, making them appear lifelike and expressive.   

Furthermore, 3D modeling enables dynamic animations, allowing characters to display a wide range of emotions and movements. These animations bring characters to life, adding depth to their personalities and allowing players to form emotional connections. In essence, 3D modeling revolutionizes character design, transforming it into a fundamental element that drives player engagement and immersion.

Environment and World Building: The grandeur of expansive game worlds owes its splendor to the finesse of 3D game models. The seamless integration of towering mountains, meandering rivers and bustling cities is a testament to the skillful hands behind the scenes. Using 3D modeling, every building, bridge or structure can be meticulously crafted, complete with textures, intricate designs and realistic lighting. These 3D game assets transport players to realms brimming with mystery, thereby enhancing their overall gaming experience.

Props and Objects: Behind every barrel, every weapon and every trinket in a game lies the art of 3D model creation. These seemingly mundane elements play a pivotal role in building a rich and immersive narrative. The attention to detail that 3D modeling involves ensures that even the smallest in-game objects contribute to the overall enchantment. Whether it's a plant, a piece of furniture or a street lamp, a well-designed prop can help to create a more realistic setting. These props can enhance the ambiance of the game by adding to its 3D world's sense of life and realism.

Special Effects: Special effects are a dynamic component of modern gaming. 3D modeling serves as the foundation for crafting these effects, enabling developers to create explosions, intricate particle systems, and a range of visually stunning phenomena. By using 3D models as the core components of special effects, game designers can control the details and intricacies of these elements. Explosions, for example, can be created with realistic physics and intricate textures, lending them a sense of authenticity. Particle systems, like smoke, fire or magic spells, can be finely tuned for visual impact, enhancing the emotional response of players. The result is a heightened level of excitement and immersion in the game.

The Future of 3D Modeling in Gaming Industry

As technology continues to advance, the role of 3D modeling in the gaming industry is poised to expand even further. With the advent of virtual reality (VR) and augmented reality (AR), the demand for highly detailed 3D models and environments is expected to skyrocket. VR and AR technologies rely heavily on realistic 3D representations to create convincing and immersive experiences.

Additionally, as artificial intelligence (AI) becomes more integrated into game development, we can expect to see AI-driven 3D modeling tools that streamline and automate certain aspects of the design process, further accelerating game development timelines and opening new creative possibilities.

To learn how AI is revolutionizing customer experiences in the retail industry, read this .

3D modeling has redefined the way games are created, played and enjoyed. And as the gaming industry continues to evolve, it is sure to remain at the forefront of innovation, driving the creation of awe-inspiring worlds and unforgettable gaming experiences.

About ARitize3D by Nextech3D.ai

Nextech3D.ai is a diversified augmented reality, AI technology company that leverages proprietary artificial intelligence (AI) to create 3D experiences for the metaverse.

ARitize3D is a solution that utilizes Artificial Intelligence to turn 2D models and CAD files into 3D models that can be viewed in Augmented Reality. This powerful technology has been used in many industries to enhance the user experience and provide better visualization. To learn more about ARitize3D, click here .

Written by Nextech3D.ai

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Video Game History

By: History.com Editors

Updated: October 17, 2022 | Original: September 1, 2017

Today, video games make up a $100 billion global industry, and nearly two-thirds of American homes have household members who play video games regularly. And it’s really no wonder: Video games have been around for decades and span the gamut of platforms, from arcade systems, to home consoles, to handheld consoles and mobile devices. They’re also often at the forefront of computer technology.

The Early Days

Though video games are found today in homes worldwide, they actually got their start in the research labs of scientists.

In 1952, for instance, British professor A.S. Douglas created OXO , also known as noughts and crosses or a tic-tac-toe, as part of his doctoral dissertation at the University of Cambridge. And in 1958, William Higinbotham created Tennis for Two  on a large analog computer and connected oscilloscope screen for the annual visitor’s day at the Brookhaven National Laboratory in Upton, New York .

In 1962, Steve Russell at the Massachusetts Institute of Technology invented Spacewar! , a computer-based space combat video game for the PDP-1 (Programmed Data Processor-1), then a cutting-edge computer mostly found at universities. It was the first video game that could be played on multiple computer installations.

HISTORY Vault: Game Changers: Inside the Video Game Wars

Brought to life by Academy Award-winning director Daniel Junge, this is the untold story of the personal battles that gave rise to the multibillion-dollar video game industry.

Dawn of the Home Console

In 1967, developers at Sanders Associates, Inc., led by Ralph Baer, invented a prototype multiplayer, multi-program video game system that could be played on a television. It was known as “The Brown Box.”

Baer, who’s sometimes referred to as Father of Video Games, licensed his device to Magnavox, which sold the system to consumers as the Odyssey, the first video game home console, in 1972. Over the next few years, the primitive Odyssey console would commercially fizzle and die out.

Yet, one of the Odyssey’s 28 games was the inspiration for Atari’s Pong , the first arcade video game, which the company released in 1972. In 1975, Atari released a home version of Pong , which was as successful as its arcade counterpart.

Magnavox, along with Sanders Associates, would eventually sue Atari for copyright infringement. Atari settled and became an Odyssey licensee; over the next 20 years, Magnavox went on to win more than $100 million in copyright lawsuits related to the Odyssey and its video game patents.

In 1977, Atari released the Atari 2600 (also known as the Video Computer System), a home console that featured joysticks and interchangeable game cartridges that played multi-colored games, effectively kicking off the second generation of the video game consoles.

The video game industry had a few notable milestones in the late 1970s and early 1980s, including:

• The release of the Space Invaders arcade game in 1978
• The launch of Activision, the first third-party game developer (which develops software without making consoles or arcade cabinets), in 1979
• The introduction to the United States of Japan’s hugely popular Pac-Man
• Nintendo’s creation of Donkey Kong , which introduced the world to the character Mario
• Microsoft’s release of its first Flight Simulator game

The Video Game Crash

In 1983, the North American video game industry experienced a major “crash” due to a number of factors, including an oversaturated game console market, competition from computer gaming, and a surplus of over-hyped, low-quality games, such as the infamous E.T. , an Atari game based on the eponymous movie and often considered the worst game ever created.

Lasting a couple of years, the crash led to the bankruptcy of several home computer and video game console companies.

The video game home industry began to recover in 1985 when the Nintendo Entertainment System (NES), called Famicom in Japan, came to the United States. The NES had improved 8-bit graphics, colors, sound and gameplay over previous consoles.

Nintendo, a Japanese company that began as a playing card manufacturer in 1889, released a number of important video game franchises still around today, such as Super Mario Bros. , The Legend of Zelda , and Metroid .

Additionally, Nintendo imposed various regulations on third-party games developed for its system, helping to combat rushed, low-quality software. Third-party developers released many other long-lasting franchises, such as Capcom’s Mega Man , Konami’s Castlevania , Square’s Final Fantasy, and Enix’s Dragon Quest (Square and Enix would later merge to form Square Enix in 2003).

In 1989, Nintendo made waves again by popularizing handheld gaming with the release of its 8-bit Game Boy video game device and the often-bundled game Tetris . Over the next 25 years, Nintendo would release a number of successful successors to the Game Boy, including the Game Boy color in 1998, Nintendo DS in 2004, and Nintendo 3DS in 2011.

The First Console War

Also in 1989, Sega released its 16-bit Genesis console in North America as a successor to its 1986 Sega Master System, which failed to adequately compete against the NES.

With its technological superiority to the NES, clever marketing, and the 1991 release of the Sonic the Hedgehog game, the Genesis made significant headway against its older rival. In 1991, Nintendo released its 16-bit Super NES console in North America, launching the first real “console war.”

The early- to mid-1990s saw the release of a wealth of popular games on both consoles, including new franchises such as Street Fighter II and Mortal Kombat , a fighting game that depicted blood and gore on the Genesis version of the game.

In response to the violent game (as well as congressional hearings about violent video games), Sega created the Videogame Rating Council in 1993 to provide descriptive labeling for every game sold on a Sega home console. The council later gives rise to the industry-wide Entertainment Software Rating Board, which is still used today to rate video games based on content.

In the mid-1990s, video games leaped to the Big Screen with the release of the Super Mario Bros. live-action movie in 1993, followed by Street Fighter and Mortal Kombat over the next two years. Numerous movies based on video games have been released since.

With a much larger library of games, lower price point, and successful marketing, the Genesis had leapfrogged ahead of the SNES in North America by this time. But Sega was unable to find similar success in Japan.

The Rise of 3D Gaming

With a leap in computer technology, the fifth generation of video games ushered in the three-dimensional era of gaming.

In 1995, Sega released in North America its Saturn system, the first 32-bit console that played games on CDs rather than cartridges, five months ahead of schedule. This move was to beat Sony’s first foray into video games, the Playstation, which sold for $100 less than the Saturn when it launched later that year. The following year, Nintendo released its cartridge-based 64-bit system, the Nintendo 64.

Though Sega and Nintendo each released their fair share of highly-rated, on-brand 3D titles, such as Virtua Fighter on the Saturn and Super Mario 64 on the Nintendo 64, the established video game companies couldn’t compete with Sony’s strong third-party support, which helped the Playstation secure numerous exclusive titles.

Simply put: Sony dominated the video game market and would continue to do so into the next generation. In fact, the Playstation 2, released in 2000 and able to play original Playstation games, would become the best-selling game console of all time.

The Playstation 2, which was the first console that used DVDs, went up against the Sega Dreamcast (released in 1999), the Nintendo Gamecube (2001), and Microsoft’s Xbox (2001).

The Dreamcast—considered by many to be ahead of its time and one of the greatest consoles ever made for several reasons, including its capability for online gaming—was a commercial flop that ended Sega’s console efforts. Sega pulled the plug on the system in 2001, becoming a third-party software company henceforth.

Modern Age of Gaming

In 2005 and 2006, Microsoft’s Xbox 360, Sony’s Playstation 3, and Nintendo’s Wii kicked off the modern age of high-definition gaming. Though the Playstation 3—the only system at the time to play Blu-rays—was successful in its own right, Sony, for the first time, faced stiff competition from its rivals.

The Xbox 360, which had similar graphics capabilities to the Playstation 3, was lauded for its online gaming ecosystem and won far more Game Critics Awards than the other platforms in 2007; it also featured the Microsoft Kinect, a state-of-the-art motion capture system that offered a different way to play video games (though the Kinect never caught on with core gamers or game developers).

And despite being technologically inferior to the other two systems, the Wii trounced its competition in sales. Its motion-sensitive remotes made gaming more active than ever before, helping it appeal to a much larger slice of the general public, including people in retirement homes.

Towards the end of the decade and beginning of the next, video games spread to social media platforms like Facebook and mobile devices like the iPhone, reaching a more casual gaming audience. Rovio, the company behind the Angry Birds mobile device game (and, later Angry Birds animated movie), reportedly made a whopping $200 million in 2012.

In 2011, Skylanders: Spyro’s Adventure brought video games into the physical world. The game required players to place plastic toy figures (sold separately) onto an accessory, which reads the toys’ NFC tags to bring the characters into the game. The next few years would see several sequels and other toy-video game hybrids, such as Disney Infinity , which features Disney characters.

The 8th generation of video games began with the release of Nintendo’s Wii U in 2012, followed by the Playstation 4 and Xbox One in 2013. Despite featuring a touch screen remote control that allowed off-TV gaming and being able to play Wii games, the Wii U was a commercial failure—the opposite of its competition—and was discontinued in 2017.

In early 2017, Nintendo released its Wii U successor, the Nintendo Switch, the only system to allow both television-based and handheld gaming. Microsoft released its 4K-ready console, the Xbox One X, in late 2017, and followed up in 2020 with the Xbox Series X and Series S. In 2020, Sony released the Playstation 5, a successor to Playstation 4. 

With their new revamped consoles, both Sony and Microsoft currently have their sights set on virtual reality gaming, a technology that has the potential to change the way players experience video games.

‘Spacewar!’ The story of the world’s first digital video game. The Verge . The First Video Game? BNL . The Brown Box, 1967–68. Smithsonian . Inventor Ralph Baer, The ‘Father Of Video Games,’ Dies At 92. NPR . The Video Game Revolution. PBS . Video Game History Timeline. Museum of Play . The Surprisingly Long History of Nintendo. Gizmodo . How Tetris Helped Game Boy Take Over the World. Gizmodo . How Sonic Helped Sega Win the Early 90s Console Wars. Kotaku . Sega and Nintendo Console War: Greatest Moments. Prima Games . Angry Birds Maker Rovio Reports $200 Million In Revenue, $71 Million In Profit For 2012. Business Insider . Here’s who won each console war. Venturebeat . The History Of Gaming: An Evolving Community. TechCrunch . The History of Video Game Consoles. TIME .

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Video Game Spaces: Image, Play, and Structure in 3D Worlds

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The move to 3D graphics represents a dramatic artistic and technical development in the history of video games that suggests an overall transformation of games as media. The experience of space has become a key element of how we understand games and how we play them. This book investigates what this shift means for video game design and analysis. Navigable 3D spaces allow us to crawl, jump, fly, or even teleport through fictional worlds that come to life in our imagination. We encounter these spaces through a combination of perception and interaction. Drawing on concepts from literary studies, architecture, and cinema, the book argues that game spaces can evoke narratives because the player is interpreting them in order to engage with them. Consequently, it approaches game spaces not as pure visual spectacles but as meaningful virtual locations. The book’s argument investigates what structures are at work in these locations, proceeds to an in-depth analysis of the audiovisual presentation of gameworlds, and ultimately explores how we use and comprehend their functionality. It introduces five analytical layers — rule-based space, mediated space, fictional space, play space, and social space — and uses them in the analyses of games that range from early classics to recent titles. The book revisits current topics in game research, including narrative, rules, and play, from this new perspective. The book provides a range of arguments and tools for media scholars, designers, and game researchers with an interest in 3D game worlds and the new challenges they pose.

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Classifying Videogames as Art and Why It Matters Now

This dissertation analyses the idea that videogames can be considered art in order to argue that wide-ranging benefits could be seen if the institution recognised them as such. I have explored the idea that the institution is the key to progress the notion of videogames as art and both art museums and universities alike must be behind the progression of what is considered the artistic canon in order to create new opportunities in the field of making art. I have reviewed popular arguments for and against the inclusion of videogames in the institutional artistic canon and then considered videogames in the light of several theorist's ideas of what art is. Primarily I have looked at the ideas behind cluster theory and the theory of mass art as a way of justifying videogames as art. I have followed this with case studies of This War of Mine (2014) and the developer Sam Barlow who has produced many videogames including Aisle (1999), Silent Hill: Shattered Memories (2009), and Her Story (2015). Lastly, I have considered what might be the long-term benefits of classifying videogames as art within the institution, primarily the enfranchisement of young women artists. I do this by reviewing the new National Curriculum in computer programming and considering how, in the light of Virginia Woolf's A Room of One's Own, this new education area will empower young women to be able to create art despite pressures that still persist with regards to the "proper" role of a woman in our society. It is my suggestion that all you need to create a work of videogame art is a basic computer, a standard UK education, and a room of your own - but only if the art institution recognises videogames as a legitimate form of art.

Related Papers

Sorcha Mackenzie

Rene G . Cepeda

This dissertation studies video games as a medium of artistic expression by engaging three key elements of Marcel Duchamp's 1957 essay The Creative Act: Institution, Intention and Artefact. By first studying how Academia and the Artworld in general have engaged historically with video games. Afterwards, the formal and structural qualities of video games are engaged with, bridging the gap between this new medium and art history through aesthetic theories. Finally, medium specific qualities that complicate their study have been addressed by comparing video games with film and Marcel Duchamp’s ideas on the creative process. It is then concluded that while the field of video games-as-art is still in its infancy and that a majority of video games are not art, it is possible for specific video games to be accepted as artworks.

Daniel Martin Feige

Pippa Tshabalala

Unpublished Masters Thesis under maiden name - Phillipa Stalker. This essay will explore the existing definitions of art games that are currently being used in the art game/art mod genre. It will identify the leading theorists within the field, and take into account their definitions whilst at the same time establishing a set of categories within which can be defined the dominant trends in the development of the field. It will also situate art games within an historical context, both within the commercial computer game field as well as the digital art field and attempt to establish some sort of timeline within which we can see the development and emergence of art games in relation to these two disciplines. Two examples of art games, both from different categories will be examined and critiqued in the context of Artistic Computer Game Modification – A 3D game called Escape From Woomera and an art mod or patch called SOD. The art game as an entity will be examined in relation to ideas of the ‘interactive’ and ‘play’, and the implications and potential for fine art practice will be investigated.

Leonardo Electronic Almanac

Federico Alvarez Igarzábal

This paper argues that the lack of consensus on a definition of "art" is a fundamental problem in the video-games-as-art discussion. A brief review of some influential twentieth-century definitions of "art" reveals that the concept cannot be defined in terms of essential properties, but that it should rather be understood as a Wittgensteinian family resemblance term. The paper, then, proposes Dennis Dutton's cluster theory of art as a way of establishing consensus. Besides treating "art" as a family resemblance term, Dutton's definition reintroduces the notion of "human nature" that twentieth century aesthetics has largely dismissed. The resurfacing of this notion-already posited by philosophers like Aristotle, Kant, and Hume-is owed to evolutionary psychology, a novel approach to the study of human psychology from a Darwinian perspective. Following Dutton, the paper maintains that an evolutionary approach to the study of art enables us to see beyond cultural specificities and delve into the universal phenomena that lie behind them, providing a much-needed common ground for discussion. The paper finally returns to the issue of video games and argues that, in the light of Dutton's account, video games are to be considered an art form. This manuscript was accepted in 2018 for publication in the issue "The Video Games Conundrum" of the Leonardo Electronic Almanac, currently in press. Preprint shared with permission.

Paulius Petraitis

Trevor A Strunk

An extended review of two recent academic monographs on videogames and a statement on the field of digital humanities in general.

Andy Clarke

New Art Examiner

“Are video games art?” The frequency with which that question has been posed over the past decade belies the wholly unsatisfactory nature of the responses. Although the classification of what we mean by video games has not remained categorically uncomplicated, the crux of the debate has largely lain, instead, with fairly banal epistemologies of art. At the extremes, art critics have derided video games as lacking the sophistication, depth, or even “soul” of works by such strawmen as Picasso and Van Gogh. Game designers and industry professionals, in turn, have accused such critics of being uninformed outsiders and Luddites unable to appreciate the ways technology has revolutionized art’s expressive potential on a popular level. (…) even though the institutional answer to this is question is patently unsatisfying, the conditions and rhetorics of the display of video games in exhibitions and museums have something important to tell us about ingrained understandings of art, science, culture, and industry, as well as those categories’ shifting hierarchies. In short, though exhibitions can only tell us that games are art in the least-interesting ways possible, they can tell us rather a lot about how they are art when encountered in “display mode.”

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What Is a Game?: Essays on the Nature of Videogames (Studies in Gaming) Paperback – February 28, 2020

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What is a videogame? What makes a videogame "good"? If a game is supposed to be fun, can it be fun without a good story? If another is supposed to be an accurate simulation, does it still need to be entertaining? With the ever-expanding explosion of new videogames and new developments in the gaming world, questions about videogame criticism are becoming more complex. The differing definitions that players and critics use to decide what a game is and what makes a game successful, often lead to different ideas of how games succeed or fail.

This collection of new essays puts on display the variety and ambiguity of videogames. Each essay is a work of game criticism that takes a different approach to defining the game and analyzing it. Through analysis and critical methods, these essays discuss whether a game is defined by its rules, its narrative, its technology, or by the activity of playing it, and the tensions between these definitions. With essays on Overwatch, Dark Souls 3, Far Cry 4, Farmville and more, this collection attempts to show the complex changes, challenges and advances to game criticism in the era of videogames.

• Part of series Studies in Gaming
• Print length 291 pages
• Language English
• Publisher McFarland
• Publication date February 28, 2020
• Reading age 18 years and up
• Dimensions 6 x 0.58 x 9 inches
• ISBN-10 147666837X
• ISBN-13 978-1476668376
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• Publisher ‏ : ‎ McFarland (February 28, 2020)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 291 pages
• ISBN-10 ‏ : ‎ 147666837X
• ISBN-13 ‏ : ‎ 978-1476668376
• Reading age ‏ : ‎ 18 years and up
• Item Weight ‏ : ‎ 13.6 ounces
• Dimensions ‏ : ‎ 6 x 0.58 x 9 inches
• #4,911 in Video & Computer Games
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The Truck Drivers 3D Game Design Essay

Introduction.

Truck Drivers 3D is a proposed game idea, and its theme is to win races and build a corporation. The player competes with other virtual drivers who represent various companies and firms. As for the game world, it is limited to a single country with numerous cities and towns. The victory occurs when the player manages to win in many races, build their firm, beat all rivals, and become the sole distributor of transportation services in the state. Thus, this game combines the elements of racing and management genres.

In addition to that, it is necessary to comment on the core mechanics of Truck Drivers 3D. As has been mentioned above, racing is a central element of the game. Thus, the player can choose between multiple variants of goods to deliver. These variants differ based on destinations and possible rewards. Once selected, the player should deliver the products earlier than their rivals manage to do it. It is also necessary to abide by traffic regulations and avoid accidents when participating in the race. When the player wins in races and gets some returns, they have three options of how to spend money, including upgrading the car, buying a new vehicle, or hiring other drivers. The latter variant is necessary to achieve the final goal of building and managing a truck driving corporation.

In conclusion, Truck Drivers 3D is suitable for a broad audience because it offers both racing and management opportunities. The game is also exciting because it has a few real-world features, including changing weather, traffic officers, and vehicles with different capabilities. Even though it implies a simple theme and core mechanics, numerous players can find it challenging to reach a destination before the competitors and build a successful transportation company.

• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2024, March 25). The Truck Drivers 3D Game Design. https://ivypanda.com/essays/the-truck-drivers-3d-game-design/

"The Truck Drivers 3D Game Design." IvyPanda , 25 Mar. 2024, ivypanda.com/essays/the-truck-drivers-3d-game-design/.

IvyPanda . (2024) 'The Truck Drivers 3D Game Design'. 25 March.

IvyPanda . 2024. "The Truck Drivers 3D Game Design." March 25, 2024. https://ivypanda.com/essays/the-truck-drivers-3d-game-design/.

1. IvyPanda . "The Truck Drivers 3D Game Design." March 25, 2024. https://ivypanda.com/essays/the-truck-drivers-3d-game-design/.

Bibliography

IvyPanda . "The Truck Drivers 3D Game Design." March 25, 2024. https://ivypanda.com/essays/the-truck-drivers-3d-game-design/.

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Home — Essay Samples — Life — Development — Top 10 Reasons to Choose Unity 3D for App and Game Development

Top 10 Reasons to Choose Unity 3d for App and Game Development

• Categories: Development

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Published: Jul 17, 2018

Words: 624 | Page: 1 | 4 min read

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Learning C# by Developing Games with Unity 2021: Kickstart your C# programming and Unity journey by building 3D games from scratch

Learn C# programming from scratch using Unity as a fun and accessible entry point with this updated edition of the bestselling series. Includes invitation to join the online Unity Game Development community to read the book alongside peers, Unity developers/C# programmers and Harrison Ferrone. Purchase of the print or Kindle book includes a free eBook in the PDF format.

Key Features

• Learn C# programming basics, terminology, and coding best practices
• Become confident with Unity fundamentals and features in line with Unity 2021
• Apply your C# knowledge in practice and build a working first-person shooter game prototype in Unity

Book Description

What you will learn.

• Follow simple steps and examples to create and implement C# scripts in Unity
• Develop a 3D mindset to build games that come to life
• Create basic game mechanics such as player controllers and shooting projectiles using C#
• Divide your code into pluggable building blocks using interfaces, abstract classes, and class extensions
• Become familiar with stacks, queues, exceptions, error handling, and other core C# concepts
• Learn how to handle text, XML, and JSON data to save and load your game data
• Explore the basics of AI for games and implement them to control enemy behavior

Who this book is for

If you're a developer, programmer, hobbyist, or anyone who wants to get started with Unity and C# programming in a fun and engaging manner, this book is for you. You’ll still be able to follow along if you don’t have programming experience, but knowing the basics will help you get the most out of this book.

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