Virtual Musealization Using Video Game Engines. The Museu à beira do oceano by Lina Bo Bardi

Author(s):  
Adrián Sempere-Valenciano ◽  
Daniel V. Martín-Fuentes ◽  
Pedro M. Cabezos-Bernal
Keyword(s):  
2014 ◽  
Vol 2014 ◽  
pp. 1-12 ◽  
Author(s):  
Dario Maggiorini ◽  
Laura Anna Ripamonti ◽  
Federico Sauro

Video games are (also) real-time interactive graphic simulations: hence, providing a convincing physics simulation for each specific game environment is of paramount importance in the process of achieving a satisfying player experience. While the existing game engines appropriately address many aspects of physics simulation, some others are still in need of improvements. In particular, several specific physics properties of bodies not usually involved in the main game mechanics (e.g., properties useful to represent systems composed by soft bodies), are often poorly rendered by general-purpose engines. This issue may limit game designers when imagining innovative and compelling video games and game mechanics. For this reason, we dug into the problem of appropriately representing soft bodies. Subsequently, we have extended the approach developed for soft bodies to rigid ones, proposing and developing a unified approach in a game engine: Sulfur. To test the engine, we have also designed and developed “Escape from Quaoar,” a prototypal video game whose main game mechanic exploits an elastic rope, and a level editor for the game.


2016 ◽  
Vol 55 (3) ◽  
pp. 337-356
Author(s):  
Damien Charrieras ◽  
Nevena Ivanova

This article is interested in the creative practices in video game production. More specifically, the research focuses on the ways in which the use of game engines – a toolkit that offers a set of functionalities to automatize the handling of a range of processes (graphics, sound, game physics, networks, artificial Intelligence) – make possible or impossible certain forms of emergences in video games production. The manipulation of objects in these game engines is done according to a certain programming paradigm. Two main programming paradigms currently govern the internal design of game engines: object-oriented/inheritance-based deep-class hierarchical design and component-based data-driven design. We will describe how different programming paradigms lend themselves to certain affordances to explore the ways in which game workers can interface with game engines. We will use the framework developed by Gilbert Simondon on the artisanal and industrial stage or mode of production. This will enable a better understanding of the technogenesis of different kinds of game engines and the ways in which they can be conceptualized as technical individuals enduring through their associated milieus. This way of describing game engines emphasizes non-anthropocentric forms of creativity and specific modalities of emergent techno-human processes that are too often underestimated in various accounts of cultural production processes.


2018 ◽  
Author(s):  
Marcus. R. Watson ◽  
Voloh Benjamin ◽  
Thomas Christopher ◽  
Hasan Asif ◽  
Womelsdorf Thilo

1Abstract1.1BackgroundThere is a growing interest in complex, active, and immersive behavioral neuroscience tasks. However, the development and control of such tasks present unique challenges.1.2New MethodThe Unified Suite for Experiments (USE) is an integrated set of hardware and software tools for the design and control of behavioral neuroscience experiments. The software, developed using the Unity video game engine, supports both active tasks in immersive 3D environments and static 2D tasks used in more traditional visual experiments. The custom USE SyncBox hardware, based around an Arduino Mega2560 board, integrates and synchronizes multiple data streams from different pieces of experimental hardware. The suite addresses three key issues with developing cognitive neuroscience experiments in Unity: tight experimental control, accurate sub-ms timing, and accurate gaze target identification.1.3ResultsUSE is a flexible framework to realize experiments, enabling (i) nested control over complex tasks, (ii) flexible use of 3D or 2D scenes and objects, (iii) touchscreen-, button-, joystick- and gaze-based interaction, and (v) complete offline reconstruction of experiments for post-processing and temporal alignment of data streams.1.4Comparison with Existing MethodsMost existing experiment-creation tools are not designed to support the development of video-game-like tasks. Those that do use older or less popular video game engines as their base, and are not as feature-rich or enable as precise control over timing as USE.1.5ConclusionsUSE provides an integrated, open source framework for a wide variety of active behavioral neuroscience experiments using human and nonhuman participants, and artificially-intelligent agents.2GlossaryActive task: Experimental tasks which involve some combination of realistic, usually moving, stimuli, continuous opportunities for action, ecologically valid tasks, complex behaviours, etc. Here, they are contrasted with static tasks (see below)Arduino: A multi-purpose generic micro-processor, here used to control inter-device communication and time synchronization.Raycast: A game-engine method that sends a vector between two points in a virtual three-dimensional environment, and returns the first object in that environment it hits. Often used to determine if a character in a game can see or shoot another character.State Machine (also Finite State Machine): A way of conceptualizing and implementing control in software, such that at any one moment the software is in one, and only one, state. In hierarchical state machines, as used in the present software suite, these can be organized into different levels, such that each level can only be in one state, but a state can pass control to a lower level.Static task: Experimental tasks like those traditionally used in the cognitive neurosciences. Simple, usually stationary, stimuli, limited opportunities for action, simple behaviours, etc. Here, they are contrasted with active tasks (see above).Unity: One of the most popular video game engines. Freely available.Video game engine: A software development kit designed to handle many of the common issues involved in creating video games, such as interfacing with controllers, simulating physical collisions and lighting, etc.


Author(s):  
Cecile Meier ◽  
Jose Luis Saorín ◽  
Alejandro Bonnet de León ◽  
Alberto Guerrero Cobos

This paper describes an experience to incorporate the realization of virtual routes about the sculptural heritage of a city in the classroom by developing a simulation of the urban environment using a video game engine. Video game engines not only allow the creation of video games but also the creation and navigation of in-teractive three-dimensional worlds. For this research, Roblox Studio has been used, a simple and intuitive program in which no previous programming skills are required. During the 2018/2019 academic year, a pilot experience was carried out with 53 secondary school students who were given the task of designing a virtual environment in which they had to include 3D models of the sculptural her-itage of the city of Santa Cruz de Tenerife. Before starting the experience, the par-ticipants answered a questionnaire to obtain a previous idea of the students' knowledge about the creation of video games. Once the activity was finished and in order to evaluate the result of the activity, the participants answered a final questionnaire. The students emphasized that after the activity they are more aware of the sculptural heritage of Santa Cruz and that they consider themselves capable of creating their own interactive worlds with Roblox.


2021 ◽  
Author(s):  
◽  
Tuakana Metuarau

<p>This research begins with the premise that while video-games have become a pervasive cultural force over the last four decades, there is still a dearth of educational and historical material regarding the emergence of video game home consoles and their content. Games have an extensive history, dating back to early radar displays and oscilloscopes of the 1960s (Tennis for Two, 1958) and early home video game consoles of the 1970s (Magnavox Odyssey, 1972). From the JAMMA (Japanese Amusement Machine and Marketing Association) arcade standard of the 80s to the high powered processors of Sonys PS4, video games have come a long way and left a wealth of audio-visual material in their wake. Much of this material, however, is archived and engaged within a traditional manner: through text books or museum exhibitions (Games Master, ACMI 2015). Through interactive design however, this data can be made easily comprehensible and accessible as interactive data-visualisation content. This design research project explores processes of data visualization, interactive design and video game production to open up video game history and communicate its developmental stages in a universally accessible manner. Though there has been research conducted utilising game engines for visualizations in other fields (from landscape architecture to bio-medical science) it has rarely been used to visualize the history of gaming itself. This visualization (utilising the Unreal Engine and incorporating historical video content) creates an accessible preservation and catalogue of video game history, and an interactive graphical interface that allows users to easily learn and understand the history of console development and the processes that lead video games to their current state.</p>


2021 ◽  
pp. 155541202110347
Author(s):  
Jessica E. Tompkins ◽  
Nicole Martins

Scholars have extensively studied video game labor practices (e.g., Bulut, E. (2015). Glamor above, precarity below: Immaterial labor in the video game industry. Critical Studies in Media Communication, 32(3), 193-207. https://doi.org/10.1080/15295036.2015.1047880 , Bulut, E. (2020). White masculinity, creative desires, and production ideology in video game development. Games and Culture, 16, 1555412020939873; Banks, J. (2013). Co-creating videogames. New York, NY: Bloomsbury Publishing; Kerr, A. (2010). The culture of gamework. In M. Deuze (Ed), Managing Media Work (pp. 225-236). London: Sage; O’Donnell (2009). The everyday lives of video game developers: Experimentally understanding underlying systems/structures. Transformative Works and Cultures, 2. https://doi.org/10.3983/twc.2009.0073 , O’Donnell (2014). Developer’s dilemma: The secret world of videogame creators. Cambridge, MA: MIT press; Johnson, R. S. (2013). Toward greater production diversity. Games and Culture, 8(136), 136-160. https://doi.org/10.1177/1555412013481848 , Johnson, R. (2014). Hiding in plain sight: Reproducing masculine culture at a video game studio. Communication, Culture & Critique, 7, 578-594. https://doi.org/10.1111/cccr.12023 ); yet, few have exclusively examined the process of character design (e.g., Srauy, S. (2017). Professional norms and race in the North American video game industry. Games and Culture, 14, 478-497. https://doi.org/10.1177/1555412017708936 ). Using a grounded theory analysis of 19 interviews with games designers and developers, this work complements existing research with insights on how gender and gendered interactions, technologies, audiences, market logics, and corporate culture integrate and influence character design practices. We found that technological affordances (e.g., game engines and related software; see Whitson, J. R. (2018). Voodoo software and boundary objects in game development: How developers collaborate and conflict with game engines and art tools. New Media & Society, 20, 2315-2332) converged with the masculine, heteronormative identities of game developers to shape normalized valued practices for character design, resulting in formulaic tropes that generally appealed to a masculine audience. Changes in status quo character design were attributed to diversity-conscious individuals, who operated within organizational practices privileging proven formulas over innovative designs.


Author(s):  
Michael J. Starrett ◽  
Andrew S. McAvan ◽  
Derek J. Huffman ◽  
Jared D. Stokes ◽  
Colin T. Kyle ◽  
...  

Abstract Research into the behavioral and neural correlates of spatial cognition and navigation has benefited greatly from recent advances in virtual reality (VR) technology. Devices such as head-mounted displays (HMDs) and omnidirectional treadmills provide research participants with access to a more complete range of body-based cues, which facilitate the naturalistic study of learning and memory in three-dimensional (3D) spaces. One limitation to using these technologies for research applications is that they almost ubiquitously require integration with video game development platforms, also known as game engines. While powerful, game engines do not provide an intrinsic framework for experimental design and require at least a working proficiency with the software and any associated programming languages or integrated development environments (IDEs). Here, we present a new asset package, called Landmarks, for designing and building 3D navigation experiments in the Unity game engine. Landmarks combines the ease of building drag-and-drop experiments using no code, with the flexibility of allowing users to modify existing aspects, create new content, and even contribute their work to the open-source repository via GitHub, if they so choose. Landmarks is actively maintained and is supplemented by a wiki with resources for users including links, tutorials, videos, and more. We compare several alternatives to Landmarks for building navigation experiments and 3D experiments more generally, provide an overview of the package and its structure in the context of the Unity game engine, and discuss benefits relating to the ongoing and future development of Landmarks.


Author(s):  
Christopher J. Scrapper ◽  
Frederick M. Proctor ◽  
Stephen Balakirsky

This paper describes the use of video game engines as simulation environments that aid the development and testing of real-time vehicle controllers. The use of game engines for simulation is surveyed, with relevant technologies noted. The need to switch between different vehicle controllers, game engines and real vehicles gave rise to an integration architecture. The features of the architecture are described, including the execution model, message set and knowledge base. Adaptation of existing controllers, simulations and vehicles to this architecture is discussed. Issues of performance and scalability are addressed. An example is provided to illustrate the concepts.


Sign in / Sign up

Export Citation Format

Share Document