http://www.seriousgames.org/index2.html
Find more videos like this on www.truveo.com.
and
this one:
DeeDee
Showing posts with label Video Games. Show all posts
Showing posts with label Video Games. Show all posts
Friday, April 25, 2008
Games in Education
So what do you think of this video?
http://www.seriousgames.org/index2.html
Find more videos like this on www.truveo.com.
and
this one:
DeeDee
http://www.seriousgames.org/index2.html
Find more videos like this on www.truveo.com.
and
this one:
DeeDee
Wednesday, April 23, 2008
Games for Change
http://www.gamesforchange.org/conference/2008/program.php
I hope they have some good games. Their web site isn't too exciting.
DeeDee
I hope they have some good games. Their web site isn't too exciting.
DeeDee
Wednesday, April 9, 2008
Independent Games
As much as we've talked about the consolidation of mass media and its negative effects on community development, we haven't really covered another medium that is being consolidated at an alarming rate, that being the realm of videogames.
Ever since the videogame boom began in the mid-80's, there have been major players and minor players, development giants that dominate the market as well as smaller independent houses that quietly produce terrific games. Consolidation is often inevitable as smaller firms struggle to keep up with rising production costs, constantly evolving hardware, and a financial playing field where the market share does not gradually change but rather swings wildly, by as much as 30% between rival companies with the introduction of each new generation of gaming machine.
However, much of the time the larger production houses are focused on their bottom line rather than pushing the boundaries and imagination of gameplay, shelling out mediocre sequels to best-selling franchises, crappy movie tie-ins, and flashy shoot-em-ups rather than taking a chance on more innovative, less predictable game concepts.
Electronic Arts, for example, uses the same formula over and over again to great effect. Its Madden NFL franchises are best sellers every year, and its constant reinvention of its Need for Speed, Sim City/The Sims, and Command and Conquer franchises bring in a large portion of their revenue. However, many of these, particularly the sports properties, are based upon a model of yearly updates, wherein only rosters or small details are changed and the "new" game is sold at full price despite lack of innovation.
Big videogame corps have also been widely criticized for pushing out mediocre games based upon formerly sterling intellectual properties by buying smaller reputable development houses. Electronic Arts has claimed talent-rich development houses Bioware and Pandemic Studios, and recently tried for a buyout of Take Two Interactive, the parent company of Rockstar. Rockstar has singlehandedly produced some of the most controversial and groundbreaking games in the past decade, including the Grand Theft Auto series, Bully, and Manhunt, not to mention the recent masterpiece BioShock. Vivendi Universal recently acquired immensely successful Activision, which in turn had absorbed various smaller studios in its time.
Is this all bad news for videogames? I would say yes. The only benefit is that sometimes consolidation means saving talented yet faltering studios from blinking out of existence. But the greatest problem lies with the watering down of overall game quality. With only 2 or 3 parent companies overseeing all game development, a very homogenous production quality would soon emerge, as has already happened in the radio, music, and television industry.
But hope springs eternal on the internet, which serves as a new, worldwie testing ground and marketplace for many game studios still on training wheels. Development houses like The Behemoth for example. This small studio began as a few guys making flash games for the portal Newgrounds, which quickly gained popularity at very little cost to the developers, and soon they had a deal to produce their popular flash side scroller Alien Hominid for all major game platforms in 2004. The game is colorful, inventive a throwback to old-school shooters and beat-em-ups of the 80's and 90's. They got their start on the internet along with many other game studios, avoiding much of the costly publicity and production costs that often handicap small mainstream studios. The Behemoth is a sort of indie game icon, flying in the face of the flashy visuals, media hype, and repetitive publishing strategy of giants like EA.
Lots of other small development studios use the internet as a public forum to test and hype their games. They can blog about the development of the game and get direct feedback in a way that avoids and often surpasses costly focus testing conducted by larger studios.
Some will decide to release them for mainstream consoles, and some will choose to remain direct-downloads. Indie success stories like Crayon Physics and World of Goo, recent winners and finalists at the Independent Games Festival, are flourishing as direct downloads rather than going the console route (although they will eventually enter the console marketplace after establishing a strong digital fan base.)
It goes to show that while the console industry is still king (actually eclipsing the movie industry in revenue last year) the internet provides hope for independent developers who strive to create original, envelope-pushing properties without fear of being forced to accept a giant takeover.
The Behemoth
http://www.thebehemoth.com/
World of Goo
http://2dboy.com/games.php
Independent Gaming Source
http://www.tigsource.com/
Independent Games Festival
http://www.igf.com/
http://www.indiegames.com/
http://kloonigames.com/crayon/
Ever since the videogame boom began in the mid-80's, there have been major players and minor players, development giants that dominate the market as well as smaller independent houses that quietly produce terrific games. Consolidation is often inevitable as smaller firms struggle to keep up with rising production costs, constantly evolving hardware, and a financial playing field where the market share does not gradually change but rather swings wildly, by as much as 30% between rival companies with the introduction of each new generation of gaming machine.
However, much of the time the larger production houses are focused on their bottom line rather than pushing the boundaries and imagination of gameplay, shelling out mediocre sequels to best-selling franchises, crappy movie tie-ins, and flashy shoot-em-ups rather than taking a chance on more innovative, less predictable game concepts.
Electronic Arts, for example, uses the same formula over and over again to great effect. Its Madden NFL franchises are best sellers every year, and its constant reinvention of its Need for Speed, Sim City/The Sims, and Command and Conquer franchises bring in a large portion of their revenue. However, many of these, particularly the sports properties, are based upon a model of yearly updates, wherein only rosters or small details are changed and the "new" game is sold at full price despite lack of innovation.
Big videogame corps have also been widely criticized for pushing out mediocre games based upon formerly sterling intellectual properties by buying smaller reputable development houses. Electronic Arts has claimed talent-rich development houses Bioware and Pandemic Studios, and recently tried for a buyout of Take Two Interactive, the parent company of Rockstar. Rockstar has singlehandedly produced some of the most controversial and groundbreaking games in the past decade, including the Grand Theft Auto series, Bully, and Manhunt, not to mention the recent masterpiece BioShock. Vivendi Universal recently acquired immensely successful Activision, which in turn had absorbed various smaller studios in its time.
Is this all bad news for videogames? I would say yes. The only benefit is that sometimes consolidation means saving talented yet faltering studios from blinking out of existence. But the greatest problem lies with the watering down of overall game quality. With only 2 or 3 parent companies overseeing all game development, a very homogenous production quality would soon emerge, as has already happened in the radio, music, and television industry.
But hope springs eternal on the internet, which serves as a new, worldwie testing ground and marketplace for many game studios still on training wheels. Development houses like The Behemoth for example. This small studio began as a few guys making flash games for the portal Newgrounds, which quickly gained popularity at very little cost to the developers, and soon they had a deal to produce their popular flash side scroller Alien Hominid for all major game platforms in 2004. The game is colorful, inventive a throwback to old-school shooters and beat-em-ups of the 80's and 90's. They got their start on the internet along with many other game studios, avoiding much of the costly publicity and production costs that often handicap small mainstream studios. The Behemoth is a sort of indie game icon, flying in the face of the flashy visuals, media hype, and repetitive publishing strategy of giants like EA.
Lots of other small development studios use the internet as a public forum to test and hype their games. They can blog about the development of the game and get direct feedback in a way that avoids and often surpasses costly focus testing conducted by larger studios.
Some will decide to release them for mainstream consoles, and some will choose to remain direct-downloads. Indie success stories like Crayon Physics and World of Goo, recent winners and finalists at the Independent Games Festival, are flourishing as direct downloads rather than going the console route (although they will eventually enter the console marketplace after establishing a strong digital fan base.)
It goes to show that while the console industry is still king (actually eclipsing the movie industry in revenue last year) the internet provides hope for independent developers who strive to create original, envelope-pushing properties without fear of being forced to accept a giant takeover.
The Behemoth
http://www.thebehemoth.com/
World of Goo
http://2dboy.com/games.php
Independent Gaming Source
http://www.tigsource.com/
Independent Games Festival
http://www.igf.com/
http://www.indiegames.com/
http://kloonigames.com/crayon/
Thursday, March 13, 2008
Eddo Stern: Beyond video games
Light Industry Contact Thomas Beard for further information ::
thomas@lightindustry.org (646) 420-0359 http://www.lightindustry.org
QQ More Curated by Eddo Stern
April 8, 2008 at 8pm 55 33rd Street, 3rd Floor Brooklyn, NY Ticket Price - $6
Artist Eddo Stern presents a screening of fan-made machinima from the massively multiplayer online game World of Warcraft, focusing on videos that operate outside of the traditional reverence of fan art and the game world's own parameters, such as those dealing with real-life death, pornography, and drugs. While only dubiously subversive, they nevertheless reflect a compelling phenomenon, one in which a more hermetic idea of "fantasy" as cordoned-off reality (seen in hardcore role playing) is being replaced by pseudo-fantasy genre games like WoW that spill over into the real world, and vice versa, through the homebrew manipulations of its multitudinous fan base.
Featured titles, among others, will include:
Rest in Peace Ignoramus
Amongst Fables and Men
Serenity Now
Drakedog's Suicide
Where Evil Grows
Welcome to Exploration (DOPEFISH)
Sex Junkie (French)
Broadcast Yourself (Gunter Soundtrack)
Wowsexual
Tribal Gnome
Stern will also be showing his recent video Best... Flame War... Ever... (King of Bards vs. Squire Rex, June 2004), which recreates an argument about degrees of expertise within the computer fantasy game Everquest, as followed by the artist in June 2004 on the Alkhazam online gaming message boards. Rendered in 3D animation at once elaborate and oblique, it serves as a spot-on ethnography for a particular slice of 21st century nerd culture and the thorny political terrain that surrounds it.
About Eddo Stern
Eddo Stern is an artist and game designer. He was born in Tel Aviv, Israel, and lives in Los Angeles. He works on the disputed borderlands between fantasy and reality, exploring the uneasy and otherwise unconscious connections between physical existence and electronic simulation. His work explores new modes for narrative and documentary, experimental and multidisciplinary computer game design, and cross-cultural representation in new media. He is the founder of the now-retired art and technology cooperative C-level, where he designed and co-produced the experimental computer gaming projects Waco Resurrection, Tekken Torture Tournament, Cockfight Arena and LA MOOd. He is currently developing Darkgame, a sensory deprivation computer game. His work has been widely exhibited at international venues including the Tate Gallery Liverpool, the Walker Art Center, Museo Nacional Centro De Arte Reina Sofia, E3, GDC, Kunsthalle Düsseldorf, the ICA London, the New Museum of Contemporary Art, ICC Tokyo, and the Art Gallery of Ontario.
http://www.eddostern.com
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