2018/10/17

2018年度 第4回定例研究会「Playing by Ear: Audio Games」

下記の通り、ライプツィヒ大学のCäcilia Sauer氏による,今年度の第4回定例研究会「Playing by Ear: Audio Games」を10月26日に開催いたします.みなさまふるってご参加ください。
Title:
“Playing by Ear: Audio Games”
Date and Time
2018/10/26 16:00-
Place
Gakujikan 2F Reserch Room3(研究会室3), Ritsumeikan Kinugasa campus in kyoto
http://en.ritsumei.ac.jp/access/
Speaker:
Cäcilia Sauer, PhD Student at Leipzig University, [j]Games: Japan Videogame Research Initiative
Abstract:
This paper aims to present the status of the forthcoming PhD Dissertation: „Playing by Ear: Audio Games“ (Working titel). The topic of this dissertation is the aesthetics of audio-only games, the particularity of their gaming experience and their social impact on both visually-impaired and sighted players. In the recent years video games have increasingly focused on visuals. Mainstream games are using graphics to attract their audience, with games like “Assassins Creed Origins” or “Final Fantasy XV” even implementing photo modes for players to take their time to enjoy the “beautiful landscapes”. Yet in Audio Games those “selling arguments” are missing. Audio Games are Games that, rather than graphics, use sound to build up gaming worlds and thus are far more accessible so people with all levels of sight. Up until now Audio Games have always been more of a marginal phenomenon in video game industry with only smaller indie game companies or fans developing their own acoustical equivalent to visual video games (although in all kind of genres, including racing games, fighting games, RPGs, adventures and so on). In this presentation, I will present the results of the first field work I have done up until now – both in Germany and Japan. Being a rather unknown phenomenon, not much is known about the audio game market in general. So currently I try to collect different data from both audio game players and developers, in order to create some kind of overview about audio game industry and its audience: Why do people play and create games which are rather restricted in their form of expression? Are they even considered as being “restricted”? And are only blind and visually-impaired players interested in this kind of audio-only games?

2018/09/03

お知らせ:DiGRA 2019 Call for Paper

 翌2019年8月6日~10日かけて開催予定のDiGRA 2019でのCall for Paperが下記のとおりリリースされております。
 詳細は、http://www.digra2019.org/をご覧ください。

Call for Papers

‘Game, Play and the Emerging Ludo Mix’

Media mix (wasei-eigo, メディアミックス or ‘media mikkusu’) bears a particular meaning in Japanese popular culture originating from anime production and consumption in the 1960s. Similarly to cross-media, media convergence, and transmediality, it refers to ways of presenting, representing, and sharing content on different platforms and media allowing dynamic communication between them. Media mix is best seen as a commercial approach as it was conceived to improve advertising strategies through heavy reliance on characters. Of particular importance for media mix are Intellectual Properties that link together various media products and entertainment services across technologies and platforms from TV to toys and game arcades. Its anime origins also bring along a range of analogue formats and outlets as parts of media mix. Conventionally, digital games are seen as one of these possible outlets.
In DiGRA 2019, we invite contributors to consider the possibility of ‘ludo mix’ where games and play increasingly occupy the focal point of such a diversified distribution and consumption model. Ludo mixes may include several versions of a game or several different games together with other content thus resulting in novel media ecologies, business models, and development and consumption cultures.

Papers are invited to the following eight tracks

Games spectatorship

live events, LAN publics, esports spectatorship ecosystems, livestreaming and broadcasting practices, LetsPlays, player micro-celebrity cultures, research methods, non-player viewership, game design/platforms and audience, diversity and watching/playing, infrastructure and materialities of spectatorship, learning practices through watching

Games business

game production, development cultures, design practices, monetization, funding, marketing, brands, merchandise, ancillary products, co-production, creative industries)

Philosophy and critique

analyzing across platforms and formats, close readings, ontologies and frameworks, historical studies, philosophical explorations, literary analysis

IP, law and games

humanities-­informed approaches to legal aspects of making, selling, marketing, purchasing, consuming and co-creating games

Making sense of play and players

everyday play in the media mix, ethnography and microethnography, analytics, lived game cultures, ludic subjectivities, player-generated content, fans, virtual / actual domains of play, diverse players, demographics, humans and nonhumans in play

Computer games and artistic expression

ludo mix for art games and game art, computer games and playable media as means of artistic expression: case studies, theoretical and practical descriptions, designs, reflections, and evaluations

Serious games

applied games, learning in and around games, designing learning, knowledge gained through digital game play, serious game development and production

Doing games research

practices and methods of research, publication and teaching, regional practices and research cultures, institutional practices, games design research

Important Dates

Submission opens: December 5, 2018
Final submission deadline (Full Papers, Abstracts, Panels, and Doctoral Consortium): February 5, 2019
Acceptance/rejection notification (Full Papers, Abstracts, Panels, and Doctoral Consortium): March 18, 2019
Final submission deadline (Workshops): April 8, 2019
Acceptance/rejection notification (Workshops): April 22, 2019
Reviewed and rewritten full papers final deadline: May 28, 2019
Conference dates: August 6-10, 2019

2018/08/29

中村彰憲『中国ゲーム産業史』発刊のお知らせ

 本センターの中村彰憲教授が執筆した『中国ゲーム産業史』がGzブレインより発刊されました。
 同書は、中国への長年の取材をもとにして、1990年代からの中国ゲーム産業について詳しく解説したものです。

<目次>
中国ゲーム産業史 年表
序章 :中国ゲーム産業史で紐解 くチャイニーズ・イノベーションの真実
第 1 章 :世界最大のエンターテインメント大国―中国
第 2 章 :中国ゲーム産業の混沌 (~1997 年 )
第 3 章 :中国ゲーム産業の形成 (1998 年~2004 年 )
第 4 章 :中国ゲーム産業と中国政府の役割
第 5 章 :中国ゲーム産業黎明期における日本企業の動態
第 6 章 :中国ゲーム産業の発展 (2005 年~2009 年 )
第 7 章 :中国文化産業振興政策の形成と発展
第 8 章 :中国ゲーム産業の拡大 (2010 年~2014 年 )
第 9 章 :中国ゲーム産業拡大期における日系企業の動態
第 10 章 :中国ゲーム産業の現在、そして未来 (2015 年~)
第 11 章 :中国ゲーム産業進化論 (おわりに変えて)

 書籍版については「ebten」から、電子書籍版については各種電子書籍ストアにて、購入が可能となっております。

<ebten> 書籍版:http://ebten.jp/p/7015018071951/

2018/07/30

DIGRA 2019 、8月6日から10日まで京都の立命館大学にて開催。基調講演にゲームクリエイターの水口哲也氏とeスポーツの世界的権威、T.L. Taylor氏の登壇が決定



T.L. Taylor氏

水口哲也氏

 立命館大学ゲーム研究センター(RCGS) は、日本デジタルゲーム学会(DiGRA JAPAN)ならびにデジタルゲーム学会(DiGRA)とともに2019年8月6日から10日までの間、京都の立命館大学でDiGRA2019を開催することを発表します。
 テーマは「ゲーム、プレイ、そして台頭するルド・ミックス※」
 今後、本テーマに関連したサブテーマとともに研究発表の応募要領の詳細を公式ホームページ (http://www.digra2019.org/) にてリリースしていきます。
 また、基調講演にはゲームクリエーターで慶応大学教授の水口哲也氏とeスポーツの世界的権威でマサチューセッツ工科大学(MIT)教授のT.L. Taylor氏の登壇いたします。
 DiGRAはこれまで、ヨーロッパ、オセアニア、アメリカ、アジアならびに中東と世界中からデジタルゲームに関する研究者が集い、研究成果を発表してきました。これを機にぜひ世界中のゲーム研究者との交流を促進できればと考えております。日本デジタルゲーム学会の会員の皆様につきましてはふるって研究の応募をよろしくお願いします。


※ルドミックス(Ludomix)とはゲームを中心としたメディアミックス(Mediamix)が広がりつつある昨今の状況を反映して考案された造語です。



 






2018/07/27

2018年度 第3回定例研究会「Computational Craft - Procedural Generation and Game Design for Textiles」

下記の通り、ウースター工科大学のギリアン・スミス氏による,今年度の第3回定例研究会「Computational Craft - Procedural Generation and Game Design for Textiles」を開催いたします.みなさまふるってご参加ください。
Title:
Computational Craft - Procedural Generation and Game Design for Textiles

Date and Time:
13:00-14:00 July 30, 2018

Place:
CC101, 1st Floor, Creation Core, BKC

Speaker:
Gillian Smith, Worcester Polytechnic Institute, USA

Abstract:
Traditional handcrafts provide a rich domain for exploring new kinds of playable and computational experiences. There is significant shared history and conceptual overlap between computer science and fiber-based crafts such as quilting and embroidery. This talk presents three projects that sit at the intersection of games, textiles, and computer science: 1) Threadsteading is a game designed and played on computerized quilting and embroidery machines; 2) eBee is a collaborative strategy game that merges electronics and quilts; 3) Hoopla is an interactive, procedural embroidery generator. These projects share common threads such as bridging the digital and the physical, questioning authorship and creativity, exploring new modes of interaction, and disrupting the gendered assumptions associated with computation and craft. Together, they also point toward new research directions in HCI, AI, games, and education.