How Realistic is Realism? Considerations on the Aesthetics of Computer Games (original) (raw)
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How Realistic is Realism? Considerations on the Aesthetics of Computer Games," presented at
2004
Abstract. One of the major goals in the development of virtual environments in recent years has been to create more and more realistic scenery, characters and natural human forms of interaction with the environment. We question this approach especially for the domain of computer games for two main reasons. Firstly we argue the following: When the absolute difference between reality and virtual environments decreases one would expect the latter to become increasingly believable for a spectator. Paradoxically often the opposite is true since the attention of the spectator gets drawn to the remaining differences to a greater extent. Secondly we ask ourselves why of all things computer games which are created for entertainment should be limited with real world constraints and are not used to experience features that are only possible in virtual environments. We conclude with a 'manifesto ' for the renovation of computer games. 1
Virtual Unreality of Videogames
Psychnology Journal, 2002
Beginning with an objection raised to the excessive attention promotion gives to the aspect of "realism" in videogames, I chose to describe instead how excessive realism may be counterproductive. I identify and focus on what game designers wish to obtain from their products, then proceed to introduce and explain the concept of "virtual unreality of videogames". A number of examples and counter-examples serve to describe important principles used by game designers to build what I have called virtual unreality.
EoLT: Encyclopedia of Ludic Terms, 2022
This entry offers an overview over applications of the the concept of realism in game studies. After a general description of the term, I move on to an aesthetic notion of realism before I direct attention to its use in videogames research. I show that realism in game studies is about more than photorealist representation of surface phenomena and that it also needs to account for players' perceptions. https://eolt.org/articles/games-and-realism
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This report investigates the importance of creating a realistic environment in order to create an immersive world in digital games. The discussion will start from the history of Digital game development until now, discussing on the limitations of gaming consoles from time to time, and how game designers nowadays keep pushing the boundaries of the visual aspects of their game. Then focusing the discussion on the technical and art aspect of digital game design. By doing the analysis in this report, we can conclude that there are several reason that affects the visual quality of video games, such as the technology of the game console, the limitation of game engine, and also the skill of the game artist itself. Key words : Video Games, Digital Games, Game Console, Environment, Game Engine.
Proceeding of the 2nd ACM international workshop on Story representation, mechanism and context - SRMC '08, 2008
In this article we argue that digital simulations promote and explore complex relations between the player and the machine's cybernetic system with which it relates through gameplay, that is, the real application of tactics and strategies used by participants as they play the game. The magic space created by the board is considered to be more than a space of confusion between the real and artificial. It first presents itself as a curtain or interface between the participant's body and the digital simulation inherent to the computational system.
Video Game Space: Designing Believable Environments.
University of Silesia in Katowice, 2016
The aim of this thesis is to provide insight into methods of designing and implementing believable and internally consistent environments for use within video games. The first chapter introduces the ideas of immersion, flow and suspension of disbelief, which will be referred to throughut the rest of the text. The second chapter deals with setting up the boundaries of playable space, first presenting the history of such boundaries and then proceeding to discuss types of boundaries in modern games and their effect on the player. The third chapter focuses on the navigation of playable space, distinguishing between three types of navigation based on the level of freedom of movement. The impact of navigation on gameplay flow is examined, as well as methods of steering player in the right direction and the necessity of maintaining spatial continuity for supporting suspension of disbelief. The fourth chapter is concerned with breathing life into the environment through the choice of a visual style and technique of environmental storytelling. The thesis concludes with the idea that a video game's space serves as a medium between the gameplay and the narrative, needing to support both in order to achieve believability. A common thread throughout the preceding chapters is identified in the idea of internal consistency, while the relationship between the genre and atmosphere of a game and the required pacing of gameplay flow is considered as an avenue of further study.
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Photorealism is one of the most quoted aspects of nowadays games. However, realistic game graphics is not the only style desirable. This paper surveys the many graphical styles used in past and current games, analyzes graphical aspects of computer games and discuss ...
Realism in gameplay: digital fiction and embodiment
2008
In this article we argue that digital simulations promote and explore complex relations between the player and the machine's cybernetic system with which it relates through gameplay, that is, the real application of tactics and strategies used by participants as they play the game. The magic space created by the board is considered to be more than a space of confusion between the real and artificial. It first presents itself as a curtain or interface between the participant's body and the digital simulation inherent to the computational system.
An Aesthetics of Digital Virtual Environments
This chapter examines digital virtual environments as a site for art and proposes a formal aesthetics for art in digital virtual environments. The study arises from the author's decades-long practice producing art in virtual environments and the related theoretical considerations that have arisen from that practice. The technical, conceptual and ontological status of virtual environments is examined in order to establish a base of intrinsic qualities that identify virtual environments as a medium for art. The philosophy of Gilbert Simondon is used to achieve this. The elements and principles the artist must employ to work with this medium are identified as data, display and modulation. The specificities of virtual environments as a medium for art are examined in order to establish a formal aesthetics. In particular, digital colour, visual opacity, digital sound, code, artificial intelligence, emergence and agency are identified as the primary qualities that the artist manipulates to bring forth art in a virtual environment. Draft for chapter published in "New Opportunities for for Artistic Practice in Virtual Worlds", 2015.
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