Artificial Intelligence in Games Evolution

2011 ◽  
pp. 98-114 ◽  
Author(s):  
Murillo Guimarães Carneiro
Keyword(s):  
Artificial Intelligence ◽  
New Paradigm ◽  
Large Area ◽  
Game Development ◽  
Final Goal ◽  
Game Industry ◽  
The Subject ◽  
Game Developers

The growth of the game industry shows a great market to be conquered. However the gaming business now has consumers more demanding and hungry for quality games, not just graphics, but also related to more gameplay and challenge. This chapter provides an overview over a large area that is increasingly explored by game developers, the artificial intelligence (AI). The main goal is to highlight the main reasons that make the great investors fascinated to use AI techniques in games. Indeed, a new paradigm of game began to be defined and introducing it is also the mission of this chapter. As a final goal is intended that this material can be a source of learning and encouragement for beginners on game development and even for the curious and amateurs about the subject.

scholarly journals By two: A two-dimensional mobile game model for novice developers

2019 ◽  
Vol 14 (3) ◽  
pp. 1336
Author(s):  
Abdallah Qusef ◽  
Abdallah Ayasreh ◽  
Adnan Shaout ◽  
Muhanna Muhanna
Keyword(s):  
Game Design ◽  
Game Development ◽  
Mobile Game ◽  
Game Features ◽  
Game Industry ◽  
The Creation ◽  
Definition Of ◽  
Game Developers ◽  
Beta Testing ◽  
Selection Of

The objective of this research was to discuss the processes and challenges encountered in the creation of mobile games for both Android and iOS platforms, which would help the novice game developers to enter the big world of mobile game industry. We highlighted each phase of the mobile game development. These involved suggestions on efficient brainstorming of ideas, proper selection of game engine, game design, number and type of pages, creation of levels, and distribution of complexity across the game level. In addition, other factors were considered such as the creation of User Interface and User Experience (UI/UX) as well as definition of the screen object’s sizes and positions that would be suitable in all mobile devices. The importance of agile cycles of alpha and beta testing was also discussed, particularly its influence on the enhancement of game features. However, a successful game is recognized based on its earnings. Hence, a guide on how to properly market the game was also included. A model game called “By Two” was used in this study to illustrate and explain the steps in detail.

EXPLORATION VS. EXPLOITATION AND HOW VIDEO GAME DEVELOPERS ARE ABLE TO COMBINE THE TWO

2016 ◽  
Vol 20 (06) ◽  
pp. 1650045
Author(s):  
BJÖRN REMNELAND WIKHAMN ◽  
ALEXANDER STYHRE ◽  
JAN LJUNGBERG ◽  
ANNA MARIA SZCZEPANSKA
Keyword(s):  
Video Games ◽  
Qualitative Study ◽  
Video Game ◽  
Creative Work ◽  
Game Development ◽  
Video Game Industry ◽  
Video Game Development ◽  
Game Industry ◽  
Game Developers ◽  
Suitable Case

This paper reports an in-depth qualitative study about innovation work in the Swedish video game industry. More specifically, it focuses on how video game developers are building ambidextrous capabilities to simultaneously addressing explorative and exploitative activities. The Swedish video game industry is a particularly suitable case to analyze ambidexterity, due to it’s extreme market success and continuous ability to adapt to shifts in technologies and demands. Based on the empirical data, three ambidextrous capabilities are pointed out as particularly valuable for video game developers; (1) the ability to separate between a creative work climate and the effectiveness in project organizing; (2) the balancing of inward and outward ideation influences, and (3) the diversity in operational means and knowledge paired with shared goals and motivations, derived from the love of video games and video game development.

scholarly journals Business Intelligence Challenges for Independent Game Publishing

2020 ◽  
Vol 2020 ◽  
pp. 1-8
Author(s):  
Yanhui Su ◽  
Per Backlund ◽  
Henrik Engström
Keyword(s):  
Business Intelligence ◽  
Game Design ◽  
Systematic Research ◽  
Game Development ◽  
Industry Research ◽  
Game Industry ◽  
Analyse Data ◽  
Game Developers ◽  
Game Analytics

With the continuous development of the game industry, research in the game field is also deepening. Many interdisciplinary areas of knowledge and theory have been used to promote the development of the game industry. Business intelligence technologies have been applied to game development for game design and game optimization. However, few systematic research efforts have focused on the field of game publishing, particularly with regard to independent (indie) game publishing. In this paper, we analyse data collected from a set of interviews with small indie game developers. The results indicate that most of the indie game developers have already used business intelligence for game self-publishing, although three main challenges have been identified: first, how to conduct marketing promotion and improve the return on investment (ROI); second, how to collect game publishing data; and third, how to analyse the data in order to guide game self-publishing. Our interviews also reveal that the business model applied to a game significantly impacts the role of game analytics. The study expands and advances the research on how game analytics can be used for game publishing, particularly for indie game self-publishing.

scholarly journals Analysis of Minimax Algorithm Using Tic-Tac-Toe

2020 ◽  
Author(s):  
Swaminathan B ◽  
Vaishali R ◽  
subashri T S R
Keyword(s):  
Artificial Intelligence ◽  
Development Time ◽  
Effective Rate ◽  
Optimal Solutions ◽  
Repetitive Work ◽  
Computer Chess ◽  
Game Industry ◽  
Game Developers ◽  
Chess Players ◽  
Intensive Work

The game industry has been on exponential growth, has different businesses of varying size, ethos, scope and beyond. Success of these video-games comes from a lot of labor-intensive work by developers. Every little nuance of each character, the objects within a character’s environment must be hand-coded. Repetitive work takes up a significant part of development time, which leads to an increase in glitches and logical flaws. Artificial intelligence has been used to simulate human players in software games, provides an opportunity for game developers to create unique experiences and different outcomes for each player. Computer chess players are well-known examples, wherein modern chess programs are trained to defeat best human players. AI based algorithms that can be implemented for games, but a need for optimal solutions is on a rise. We require a comparative analysis of multiple algorithms for understanding the most efficient and ideal one. In our work, through use of a game Tic-Tac-Toe various algorithms will be carried out with its prototype compared in terms of effective rate and optimality.

scholarly journals Towards a “Filipino” Video Game: Teaching Filipino Culture and Identity for Video Game Development

2021 ◽  
Vol 5 (3) ◽  
Author(s):  
Christoffer Mitch C. Cerda
Keyword(s):  
Video Games ◽  
Video Game ◽  
The Philippines ◽  
Game Development ◽  
Video Game Development ◽  
Game Industry ◽  
Filipino Culture ◽  
Definition Of ◽  
Game Developers

This paper uses the author’s experiences of teaching the Filipino module of a multidisciplinary video game development class as a case study in teaching Filipino culture and identity as an element of video game development. A preliminary definition of “Filipino video game” as having Filipino narratives and subject matter, made by Filipino video game developers, and catering to a Filipino audience, is proposed. The realities and limitations of video game development and the video game market in the Philippines is also discussed to show how the dominance of Western video game industry, in terms of the dominance of outsource work for Filipino video game developers and the dominance of non-Filipino video games played by Filipino players, has hindered the development of original Filipino video games. Using four Filipino video games as primary texts discussed in class, students were exposed to Filipinomade video games, and shown how these games use Filipino history, culture, and politics as source material for their narrative and design. Issues of how video games can be used to selfexoticization, and the use of propaganda is discussed, and also how video games can be used to confront and reimagine Filipinoness. The paper ends with a discussion of a student-made game titled Alibatas, a game that aims to teach baybayin, a neglected native writing system in the Philippines as a demonstration of how students can make a Filipino video game. The paper then shows the importance of student-made games, and the role that the academe plays in the critical understanding of Filipino video games, and in defining Filipino culture and identity.

Masculine Pleasures as Normalized Practices: Character Design in the Video Game Industry

2021 ◽  
pp. 155541202110347
Author(s):  
Jessica E. Tompkins ◽  
Nicole Martins
Keyword(s):  
New York ◽  
New Media ◽  
Corporate Culture ◽  
Video Game ◽  
Game Development ◽  
Video Game Industry ◽  
Character Design ◽  
Game Engines ◽  
Game Industry ◽  
Game Developers

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.

The Development of Greater China’s Games Industry : From Copying to Imitation to Innovation

2021 ◽  
Author(s):  
Akinori ‘Aki’ Nakamura ◽  
Hanna Wirman
Keyword(s):  
Hong Kong ◽  
Local Development ◽  
Digital Game ◽  
Game Development ◽  
Republic Of China ◽  
Software Market ◽  
The World ◽  
Analytical Perspective ◽  
Game Industry ◽  
Game Developers

The People’s Republic of China has become the largest digital game software market in the world. Yet, outside the Chinese game industry itself, very little is known about the local development scene. In this chapter, we approach Chinese regions’ game industry from both a historical and an analytical perspective, particularly by examining how game developers in the PRC, Taiwan, and Hong Kong came to learn game development through copying, imitation, and gradually moving to innovation. The chapter aims at explaining China’s game development history chronologically, starting from the end of the 1980s when Nintendo’s products entered China and pirated products overwhelmed the legally bound regular market until the emergence of indie studios in the 2010s.

White Masculinity, Creative Desires, and Production Ideology in Video Game Development

2020 ◽  
pp. 155541202093987 ◽  
Author(s):  
Ergin Bulut
Keyword(s):  
Video Game ◽  
Philosophy Of Technology ◽  
Game Studies ◽  
Ethnographic Research ◽  
Game Development ◽  
White Masculinity ◽  
Global Game ◽  
Video Game Development ◽  
Game Industry ◽  
Game Developers

Game workers have a problem. They code values and ideologies into games, but they are either not aware of it or deny it. Through a constructive and critical engagement with Games of Empire, I propose the concept of “ludic religiosity” to reveal how white masculinity informs game workers’ professional discourses, technological practices, ludic desires, and imaginations. Drawing on three-year-long ethnographic research and in conversation with cultural studies, philosophy of technology, and postcolonial game studies, I revisit desiring machine and ideology, two major concepts from Games of Empire. My goal is to demonstrate the racialized and gendered discourses and practices behind game developers’ desire to produce cognitive capitalism’s “escapist” commodities and rethink ideology within white masculine production cultures. Foregrounding how racialized and gendered practices and imaginations inform the desire behind the global game industry is crucial, especially in the aftermath of Gamergate and the rise of authoritarianism.

The New Spirit of Capitalism in the Game Industry

2019 ◽  
Vol 20 (8) ◽  
pp. 789-801 ◽  
Author(s):  
Jennifer R. Whitson
Keyword(s):  
Cultural Production ◽  
Data Driven ◽  
Risk Averse ◽  
Game Development ◽  
Digital Platforms ◽  
Development Data ◽  
Game Industry ◽  
Spirit Of Capitalism ◽  
And Gender ◽  
Game Developers

This article draws from ethnographic work in the game industry to challenge claims that digital platforms “democratize” cultural production by supporting small teams. I show how game developers exemplify the New Spirit of Capitalism in their search for creative autonomy outside of the risk-averse blockbuster console industry. Their risk of cultural production is ostensibly reduced by tools that leverage big data. By following one studio making free-to-play mobile games, I test the celebratory claims of democratization against the reality of implementing these now-essential analytics tools. The studio’s experiences demonstrate how mobile production for digital platforms intensifies game labor rather than facilitating its democratization in any straightforward way. It restricts creative autonomy, exacerbates the burden of risk on developers, and reinforces existing market and gender inequities. Rather than creatively liberating developers and expanding access to game development, data-driven design for digital platforms introduces new gatekeepers and literacies of exclusion.

Pioneras

2020 ◽  
Vol 6 (1) ◽  
pp. 163-197
Author(s):  
Phillip Penix-Tadsen
Keyword(s):  
Production Condition ◽  
Female Leadership ◽  
South American ◽  
Game Development ◽  
Global Game ◽  
Three Generations ◽  
Game Industry ◽  
Material Conditions ◽  
Game Developers

This oral and written history examines three generations of pioneering women game developers from Argentina, Uruguay, and Chile—the South American region known as the Southern Cone. Each of the individuals interviewed—Marcela Nievas, Sofía Battegazzore, Maureen Berho, and Martina Santoro—offers insight on female leadership over three generations of precipitous growth in regional game development. Together, their personal and professional trajectories demonstrate how the embodied and material conditions of game production condition diverse histories of game development, challenging universalizing myths of a global game industry in which “anybody can make games.” At the same time, these four developers' histories working outside the conventional centers of the global game industry reflect the transformative role of women developers and game designers across the Global South in shaping three generations of global game culture.

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