Relationship between development and quality of video games

Procedural content generation is helping game developers to create significant quantity of high quality dynamic content for video games at a fraction of cost of the traditional methods. Procedural texture synthesis is a sub category of procedural content generation which helps video games to have significant variations in textures of the environments and the objects across the progress of the game and to avoid repetition. Generative Adversarial Networks are a class of deep learning algorithms which are capable of learning the patterns and creating new patterns. In this paper, Generative Adversarial Networks is used for procedural content generation for original textures synthesis for video game development. This method is used by video game designers for autonomous redesigning of objects and environment textures. This process saves significant time and cost in video game development. The particular attention in this paper is on procedural synthesis of ground surface textures. The generated texture samples are visually acceptable and have mean score of 2.45 with 0.1 standard deviation after 2K iteration. Also the discriminator loss of generated samples reached 0.74 at the final stage of training. The proposed framework can be used as an effective procedural texture synthesis framework for video game design and development.

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.

Problem and goal. The article describes the processes of development of methods of teaching computer science in the organization of extracurricular activities, which contributes to the effectiveness of teaching computer science through the use of games and game forms of organization of extracurricular activities. The aim was to identify the features of the development of an interactive computer game, which is characterized in that it combines all the topics of the course of computer science grades 5-8 and allows to use the tools of an interactive whiteboard, combining them into a single system (grouping objects, working with layers, etc.), and also provides the ability to play using mobile devices, both in the classroom and remotely. This allowed us to take into account the peculiarities of the method of using interactive games in the process of teaching informatics in the conditions of extracurricular activities of students in grades 5-8 and to assess the effectiveness of training, increase motivation and consolidation of students’ knowledge in informatics and increase interest in the subject “Informatics”. Methodology. The development of a specially designed interactive game in the process of teaching informatics in the conditions of extracurricular activities of students in grades 5-8 is carried out by analyzing the possibility of didactic features of extracurricular activities in informatics of schoolchildren in grades 5-8, studying the psychological and pedagogical aspects of teaching students in the conditions of extracurricular activities in informatics using interactive games, observation, organization and conduct of pedagogical experiment and analysis of its results. Results. The possibilities and role of interactive game in the process of teaching informatics in the conditions of extracurricular activities of schoolchildren are revealed. This theoretical justification for the use of interactive games as a tool for development of extracurricular activities in informatics for school students grades 5-8. On the basis of the obtained data, an interactive computer game was developed, introduced and tested as a means of developing extracurricular activities in computer science, the contents of interactive game tasks were selected and systematized, the effectiveness of the method of using interactive games in extracurricular activities in computer science was tested. Conclusion. The results allowed us to conclude that the effectiveness of the game is entirely determined by the extent to which it is implemented educational goals due to the state standard of secondary education in computer science and information and communication technologies. Creation and application of interactive games in extracurricular activities on informatics of pupils of 5-8 classes should take into account general didactic principles (scientific character, availability, systematicity, visibility, continuity, etc.), as well as specific didactic principles due to the use of the advantages of interactive whiteboard - adaptability and interactivity of learning, the implementation of computer visualization capabilities, the development of intellectual potential of students.

BackgroundSimilar to broader health disparities, Latinx adolescents have higher rates of high-risk sexual behavior resulting in pregnancy rates that are 2 times higher and sexually transmitted infection rates that are 5 to 8 times higher than non-Hispanic, white adolescents. Novel approaches are needed to reduce high-risk sexual behavior among Spanish-speaking Latinx adolescents who represent the fastest-growing group of US immigrants.ObjectiveThis study aimed to partner with Spanish-speaking Latinx adolescents in a participatory design process to develop and test a Spanish-language video game intervention to decrease high-risk heterosexual behavior.MethodsThis is an iterative, two-phase, mixed methods study. In phase 1, we conducted focus groups with Spanish-speaking Latinx adolescents to elicit feedback on the content and format of an existing English-language video game. Feedback was then incorporated into an expanded and culturally adapted Spanish-language video game. In phase 2, we pilot tested the feasibility, acceptability, and preliminary efficacy of the new Spanish-language video game intervention by measuring known antecedents to sexual behavior (intentions, self-efficacy, risk perception, and knowledge) assessed at enrollment and 12-week follow-up. We applied a thematic analysis to examine focus group feedback and a bivariate analysis to analyze pre- and postquantitative data.ResultsIn phase 1, 15 Spanish-speaking Latinx adolescents provided feedback for further video game development. A Spanish-language video game was then produced and tested in phase 2. We recruited and enrolled 24 Spanish-speaking Latinx adolescents aged 15 to 17 years. Participants played the video game for an average of 4.2 hours during monitored sessions. Pilot testing demonstrated feasibility and acceptability; 65% (3/20) of participants stated that they would play it again, and 65% (3/20) said they would recommend it to friends. Condom-specific knowledge did significantly increase between baseline and follow-up (P=.007). Other variables of sexual behavior antecedents did not differ significantly between baseline and 12-week follow-up.ConclusionsAn iterative participatory design process in partnership with Spanish-speaking adolescents produced an innovative and acceptable Spanish-language video game intervention aimed at decreasing high-risk sexual behavior in adolescents. Pilot testing demonstrated preliminary feasibility and yielded essential information for further video game development.

In order to design new methodologies for evaluating the user experience of video games, it is imperative to initially understand two core issues. Firstly, how are video games developed at present, including components such as processes, timescales and staff roles, and secondly, how do studios design and evaluate the user experience. This chapter will discuss the video game development process and the practices that studios currently use to achieve the best possible user experience. It will present four case studies from game developers Disney Interactive (Black Rock Studio), Relentless, Zoe Mode, and HandCircus, each detailing their game development process and also how this integrates with the user experience evaluation. The case studies focus on different game genres, platforms, and target user groups, ensuring that this chapter represents a balanced view of current practices in evaluating user experience during the game development process.

The video game industry is still in its infancy and lacks academic research concerning the actual process of developing a video game. Even though many aspiring video game developers dream of becoming a professional video game developer, someday reaching that goal is mostly bolstered by many self-experience failures as more formal academic resources are lacking. In this research, we have attempted to combine the well-established basic marketing concepts with the development process itself in an effort to bring some form of formal education into the video game development process.

With the booming of technology development, video games gradually became a kind of common way to relax. Nowadays cellphones and laptops are generalizing, and video games’ quality has become better than before. Video games seem to be a necessity in people’s daily life, especially the teenagers and the young. This study works on different environments between the US and China leading to the differences in video game development and people’s perspective towards it. The environment is composed of countless elements. This study will focus mainly on education, institutions, and gaming companies in these two different countries. The totally different education, policy, and companies will bring different opinions about video games. The purpose of the study is to compare the differences and seek both benefits and disadvantages of each side. These facts shape the parents from these two countries to have quite different opinions about video games. Compared to Us parents, China parents’ attitudes are relatively serious towards video games and think it will bring more negative influences. US parents are relatively open to video games. Also, the different environment causes teenagers in China may be more obsessed with video games than Us teenagers.

Women in video game development face issues such as the pay disparity reported at Rockstar North and the “bro culture” issues reported within Riot Games. Some development roles are rewarded more, whether by pay or creative voice, than others. Although there has been research into gender disparity by roles within other entertainment industries, such as the movie industry, there has yet to be a data-based examination of gender disparity broken down by role within the video game industry. To provide a more nuanced examination of the gender gap that exists in game development, we analyze the gender and roles for 14,265 staff listed in the credits of 27 games produced by seven of the video game publishers most represented in top seller lists to discover how the distribution of women and men varies by role.

This chapter of the volume examines how developers finance the video game development work. All entrepreneurial business are by definition (in the Schumpeterian view) indebted, but the finance capital market for video game developers is thin, that is, there are few qualified professional investors with the sufficient degree of expertise needed to make qualified investments. In lieu of a professional investment market, developers use a variety of options including self-financing (at times on the basis of student loans, not exactly consistent with the legislator’s intentions), outsourcing work, research grants from the state or regional or local governments, or smaller investments made by other game developers or publishers with a positive cash flow. The video game industry is on aggregate level running at a profit, and the industry has been commercially oriented from the outset, that is, it has not been subject to subsidies or other policy-related support. Developers largely take pride in being “in the money” from the outset, and tend to describe, for example, the Swedish film industry as an unfortunate case of statefunded media production that undermines the integrity and creative freedom of participants as film production includes a considerable degree of red tape. Nevertheless, developers are concerned about the lack of a more qualified understanding of the video game industry and its significance for the economy in policy-making quarters. They would have appreciated at least less complex rules regarding, for example, international recruitment as the industry currently suffers from a shortage of qualified developers, that is, programmers.

The first step in understanding the user experience needs of the video games industry is to ascertain current practice. The following chapter gives an overview of the game development process and provides background on the time frame and roles involved. We present case studies from three world-class development studios and show how the user experience is currently addressed during a game’s creation. The first case study with Disney’s Black Rock Studio details the development of their most recent racing game, Pure, and describes the usability testing which the developer believes improved the game’s Metacritic score by 10%. The second case study with Zoe Mode refers to several of their recent releases, Rock Revolution, You’re in the Movies, and games in the Eye Toy series. Special consideration is given to understanding and addressing players in a language appropriate to their background as gamers. The third case study with Relentless Software concentrates on the studio’s use of focus group testing and attention to the casual gamer demographic. In addition to showing real-world examples of current practice, this chapter identifies the contribution that HCI can make for user experience methodologies in the games industry. Recommendations are made for generally applying usability techniques earlier in development, and user experience testing later once a playable vertical slice is available. We conclude with some discussion of innovative methodologies and pose the need for a formalised framework for user experience in video game development.

Video games are becoming an increasingly popular means of entertainment, as well as learning, especially those based on historical events and personalities. However, the issue of historical accuracy and interpretation in these games remains relevant, as errors and simplifications can distort the public's perception of history. This study aims to analyze the role of historical accuracy in video games and its impact on players' understanding of history. The purpose of this study is to determine the importance of historians in the development of video games, and to assess how games approach the task of presenting historical authenticity. It also examines the potential impact of video games on education and historical interest, emphasizing the significance of accurately presenting historical facts to avoid mythologization and misrepresentation. The research employs methods such as analyzing literary sources, conducting interviews with video game developers and historians, and conducting comparative analysis between video games and historical facts. The scientific novelty of this research lies in its analysis of how video games and their historical accuracy affect the formation of collective historical memory. Unlike previous studies that mainly focused on the descriptive aspect of video games, this research aims to explore how historians can contribute to their creation by ensuring the transmission of reliable historical data and accurate interpretations. An important aspect of this study is the critical analysis of historical anachronisms and inaccuracies in popular video games. The research identifies the causes of these errors and suggests ways to improve historical accuracy in video game content. Additionally, the article addresses the commercial and cultural challenges that developers face when incorporating historical content into video games and proposes strategies to strike a balance between entertainment and education.

The article considers the phenomenon of the video game industry growth as the latest trend in the development of the e-commerce market for digital products in the post-pandemic period. The latest technologies and the active promotion of the Internet usage have contributed to the emergence of a new type of games – video games. Video games are gradually replacing regular games and have a direct impact on how Internet users fill their free time, as they offer an expanded range of products and services, both gaming and non-gaming. Features of incomes volumes change in various directions of the entertainment industry for understanding of a share of video games in the general volume of its growth are outlined. The increase in interest in video games has been found to be due to a structural shift in the entertainment industry caused by the COVID-19 pandemic and the forced self-isolation of most people around the world. The global costs of video games by types of devices were analyzed, which allowed to form an understanding of the increased interest of users in games presented in a format available for use on smartphones. In 2019, consumers spent $149 billion (excluding equipment) on video games, compared to $35 billion in 2004. The distinctive features of the demographics of gamers in the United States are listed, which can be taken as a basis for marketing research of e-commerce of computer games in other countries. The peculiarities of the marketing campaign of the company "CD Project RED" – a well-known giant on the market of development and implementation of computer games are researched. The key problem of "CD Project RED" management has been extremely high ambitions and the scale of statements that cannot be fulfilled on practice. As a result of marketing activities, gamers' expectations were so high that it was impossible to create a game that would satisfy the excitement that the company's marketers have been creating for eight years. Understanding the mistakes in marketing activities has already allowed the management of "CD Project RED" to smooth out the financial consequences of the previous failure. Unlike most sectors of the economy that suffered from the effects of forced downtime during the COVID-19 pandemic, the gaming sector "went against the flow" and found opportunities where other sectors suffered losses.

As in any professional field, aspiring video game artists, designers, and developers must acquire the necessary skills and knowledge for a successful career. Higher education institutions offer varying video game Bachelor’s degree programs to meet the diverse needs of the industry. Our objective in this study was to explore these curricula to gain insight into and understanding of the contemporary video game higher education landscape. 
 
 We explored 113 Bachelor’s degree curricula in Europe that had publicly available information in English about their courses. We classified the courses within each curriculum using ten devised classifiers based on the IGDA Curriculum Framework 2008 but modified them to suit our interests. The content of the classified curricula was then used to create curriculum profiles – data vectors that characterize a curriculum based on its contents. These profiles allowed for hierarchical clustering and principal component analysis (PCA) to identify and investigate the three common types of video game curricula: video game art, interdisciplinary video game design, and video game technology/programming.
 
 Our results indicate that art and programming curricula are highly specialized, with clear distinctions in yielding Bachelor of Arts and Bachelor of Science degrees. Curricula focused on interdisciplinary video game design do not have such clear distinctions in the degree titles and content specialization. They are more varied in their profiles and tend to bridge the gap between art and programming curricula, reflecting the interdisciplinary nature of game design as a profession.
 
 Compared to results from previous studies, we found that contemporary curricula place a greater emphasis on graduation projects, internships, and soft skills. Our findings provide an overview of the current state of higher education in video games, which may prove helpful for those working with or interested in these curricula.

The aim of the article is to analyze the economic potential of the cross-platform approach in the video game industry within the context of the transformation of the digital entertainment market, as well as to identify key benefits and limitations associated with its active implementation. The study defines and substantiates the position of video games among other sectors of the entertainment industry, compares average annual growth rates, audience sizes, and leading countries as development centers. It is determined that the video game industry has the highest average annual growth rate and primarily targets youth and children. The dynamics of the popularity of major gaming platforms are analyzed. It is found that over the past three decades, the share of consoles in the video game market has significantly decreased, the PC segment has remained relatively stable, and mobile devices currently occupy the leading position. A trend toward technological innovations in the video game industry has been identified: the growing popularity of cloud and cross-platform gaming. The meanings of the terms «multi-platform» and «cross-platform» have been explained, and a retrospective of the development of these approaches to video game development has been provided. The most common modern platforms have been identified and compared according to several parameters: developers, price, popularity, and the level of support for cross-platform games. Key beneficiaries in the value creation chain who depend on the cross-platform approach to game development have been outlined: players, developers, and platform providers. For players, the statistical relationship between the number of platforms and gaming time was analyzed, and the positive effect of cross-platform functionality on social interaction was noted. For developers, the advantages of long-term support for cross-platform games were substantiated, and for platform providers, the positive impact on extending platform lifecycles was highlighted. As an example, the video game Fortnite is analyzed: revenue statistics are presented, and its financial success is substantiated as one of the most notable cases of applying a cross-platform approach in the digital economy. The results obtained can be used to develop monetization strategies, shape video game business models, and forecast further changes in the video game industry or related sectors of the experience economy.

PurposeThe purpose of this paper is to identify, characterize, and discuss paradigm shifts that have occurred in the video game industry with some emphasis on competition and competitiveness.Design/methodology/approachBasically, the paper depends upon a review of the literature associated with video game development. Past history is taken from texts and academic papers dealing with the subject. More current observations are taken from the business and popular press. These observations are placed within a context associated with the classic papers on industry evolution, paradigms, paradigm shifts, competition, and competitiveness.FindingsIt is difficult to capture present shifts in such a fast‐growing industry, but these shifts seem clear: the original entry of video games into the arcade sector that led to the industry and the demise of pinball; the development of the home cartridge and console that made the industry a home‐based phenomenon; the entry of independent game‐publishers that made the industry a two‐tiered one; and the development of massively multiplayer online role‐playing games (MMORPGs) that changed the way games are played.Originality/valueThe video game industry is an interesting one to follow. To an extent, its development characterizes our generation – fast paced, technologically oriented, and targeted toward the young and young at heart. This paper takes the subject away from a historical or anecdotal approach and places it within the context of industry evolution, paradigms, and paradigm shifts. It thus should be of value to students of not only video games, but also the evolution of rapidly growing industries and establishment of competitive advantages.