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It further utilises Bourdieusian critical theory to elucidate the power relations between game developer, medium, and player, and demonstrates how atmosphere is deployed as a rhetorical device by developers.
Finally, it evaluates how effectively atmosphere suspends disbelief and convinces players of historical authenticity. This paper therefore demonstrates the significance of atmosphere in video games, particularly those levelled at mainstream audiences as popular representations of antiquity.
It also highlights the value of video games as facilitators of interactive and engaging experiences where one may access the no-longer-accessible past, as well as the importance of active and critical engagement with their content in the face of the rhetoric of atmosphere.
The line also verbalizes that the game's intradiegetic atmosphere in the sense of meteorological phenomena surrounding and influencing gameplay and story.
Here, as a Reddit user points out, the howling wind would be interpreted as a sign of bad luck and change — two aspects adding to the game's global themes.
In this contribution, I will focus on 'game-atmospheres' as remediated meteorological phenomena. My thesis is that, as a hybrid art form, digital games draw from concepts of atmospheres found in other media formats such as literature or films and the players' tacit knowledge about meteorological phenomena and their influence on cultural and societal aspects.
Based on these observations, I intend to draft a concept for contextualizing different connotations for and uses of 'atmospheres' as meteorological phenomena in digital games.
Although they are often viewed as mere backgrounds or accompaniments, I want to bring them to the foreground and, by taking an intermedial approach, show the atmosphere's role in producing realism, context, meaning, and Stimmung in digital games.
How has this approach shaped the game itself? What elements were taken from modern Japanese pop culture to make up a distinct atmosphere of feudal Japan?
What does this mean for the player? It is a vital part of digital games, fillingthem with life and undoubtedly enhancing the experience for players.
Game Sound as well as Game Music are key design elements in the sense that they can greatly support visual efforts to create an atmosphere and are furthermore capable of evoking as well as adding to different atmospheres themselves.
This is due to the immediate nature of sound and music, whose direct connection to our feelings and emotions has been a frequent talking point in historic musicology.
It is frequently used but rarely broken down to what it really means or implies. Albeit these difficult prefixes, this paper aims to describe and discuss the interrelationship between sound, music, and atmosphere.
It will use examples from games like Inside Playdead , Kona Parabole , The Longest Journey-Series Funcom and Red Thread Games , Virginia Variable State and others.
He identified ambient music as a genre that can be engaged over various levels of intensity, from being merely a calm auditive layer at an otherwise busy airport to holding the full attention of the listener, encompassed in its spherical sounds.
When applying this idea to digital games, a new kind of game emerges: the ambient game. This paper aims to present ambient games as playable atmospheres by iterating through the aforementioned layers of engagement in a reversed order: As layers of interaction are removed, atmosphere emerges as the underlying structure.
The removal of interaction layers in games is not a new practice and has been performed in the context of artistic game modifications.
These atmospheres exist only inside the mind of the experiencer. Atmosphere in buildings cannot be reduced to the formal qualities of a space: Juhaani Pallasmaa argues that atmosphere is a multi-sensory, culturally involved process, particular to the place it is experienced, noting that they are an intermediate between the perceiver and the world that invokes the perceivers entire sense of being Pallasmaa, , p.
Bohme likens this to setting a stage, and argues that the creation of atmospheres can be understood through the concrete praxis of stage-setting Böhme, , p.
Viewed in this manner, the atmosphere is intimately tied to the situation where it is experienced, and there may be concrete procedures with which to tune the environment.
Through these two lenses, roleplaying is the setting of a stage for an imaginary world, and through dialogue, all players take on the roles of both actors, authors, and set designers - finding out what will happen, rather than pre-planning it like a plot, while creating a singular atmosphere felt by all players present.
As such, atmospheres experienced when playing a roleplaying game are puzzlingly imagined spaces embedded in the material qualities of imagined spaces, the suggested actions of the characters, and the actions which the players perform around the table.
What I propose is the development of a model that can explain how imaged space, character actions, player actions and mechanics with particular means create, sustain, and dispel atmospheres in roleplaying games.
However, the limitations of mainstream cinema language for VR narration development are increasingly apparent. This particular media-history conjuncture has a precedent one hundred years ago: The birth of cinema and the exploration of experimental film, which attempts to hack the psyche perception of the very fabric of reality, as well as breaking the self-referential logic of theater and literature.
In this paper, I attempt to establish a connection between techniques ofExperimental Cinema and the creation of avant-garde sensorial atmospheres for VR.
This paper is divided into 3 broad parts: Part 1 provides an analysis of theory and praxis in the works of Dziga Vertov and Kino-Eye for a non-individual narrative, of Maya Deren and the staging of dreams by ritualistic modes, and Raoul Ruiz and his poetic for spiral narratives.
Part 2 outlines some of the key principles behind aesthetic and technical atmospheric elements on outstanding immersive VR Experiences such as Note on Blindness, Bjork's "family", and a selection of works by the MIT-Media-Lab.
In the remainder of the paper, I will focus on establishing a parallel and comparative analysis of the case of studies and its poetic and formalistic dynamics from a media theory point of view.
Still, a comprehensive manual of experimental Cinema into VR is beyond the scope of this paper, and its main objective is to shed light on underlying principles and dialectic dynamics that can further enrich the development methods for the creation of deeper and newer atmospheres.
Hopefully, this paper can suggest ways for a conscious craft of human-machine interfaces that transcend the limits of theatrical representation andexpand the possibilities of sensorial perception into a brand new myriad of dreams.
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Technische Hochschule Köln last amended August Page 2 of 2 Enrollment Information Advanced Standing Cologne Game Lab Digital Games Master's Students need to choose two out of three disciplines: Game Arts, Game Design, Game Programming.
At first, they attend In the 3rd semester, students solely focus on their project Winter semester Full-time program No Full-time program Flyer Digital Games Program-related aptitude test English Winter semester 7 semesters Please follow the link below Courses at the Cologne Game Lab Dr.