scholarly journals Mental Map-Preserving Visualization through a Genetic Algorithm

2021 ◽  
Vol 11 (10) ◽  
pp. 4336
Author(s):  
Mojiborrahman Dehvari ◽  
Chuan-Kai Yang ◽  
Enrico Armando
Keyword(s):  
Genetic Algorithm ◽  
Video Game ◽  
Graph Drawing ◽  
Undirected Graph ◽  
Research Topic ◽  
Web Based ◽  
Mental Map ◽  
Game Industry ◽  
The Aesthetic ◽  
Over Time

The video game industry has evolved significantly, with different genres becoming popular over time, but how to visualize such information by curating data into a form that makes it easier to identify and understand the trends is quite an interesting research topic. This research focuses on producing an animation of aesthetically pleasing two-dimensional (2D) undirected graphs based on PC video game datasets. The data are further analyzed for developing a web-based application giving users the ability to control and create the animation of a graph. To make it easier to understand the animation of a graph, the changes between the displays of the previous and the following periods are set as small as possible, allowing a user to grasp the differences of the graph’s structure faster. A genetic algorithm-based undirected graph drawing that minimizes both the aesthetic criteria and mental map cost are proposed in this research to tackle this problem. Furthermore, based on our experiments, we could find the best period to start with, so we do not necessarily need to start from the first period to calculate the animation result. Our experiment results proved that a smoother animation could be achieved, and information is better preserved throughout the animation.

NO SECOND CHANCE FOR A FIRST IMPRESSION: THE ROLE OF AESTHETICS IN EARLY ACCESS VIDEO GAMES

2021 ◽  
Author(s):  
ALEXANDER SCHLÜTER ◽  
MATTHIAS WALDKIRCH ◽  
KATRIN BURMEISTER-LAMP ◽  
JAN AUERNHAMMER
Keyword(s):  
Video Games ◽  
Video Game ◽  
Innovation Management ◽  
Aesthetic Perception ◽  
Early Access ◽  
The Aesthetic ◽  
The Impact ◽  
Second Chance ◽  
Over Time

This paper investigates the impact of aesthetics in early game development based on a quantitative of 367 early access games. We identified the relationship between aesthetic perception in early video games reflected in the user reviews, comments, and subsequent positive and negative video game recommendations over time. We find that customer co-creation in product innovation is increasingly negative feedback over time when the game’s aesthetic early impression is perceived as negative. The implications for innovation management are that aesthetics design impacts the response to customer-ready prototypes. Managers should take the aesthetic design and user perception in early development into account and not delay the attention to aesthetics to a later product release stage.

‘Weekends became something other people did’: Understanding and intervening in the habitus of video game crunch

2020 ◽  
pp. 135485652091386
Author(s):  
Amanda C. Cote ◽  
Brandon C. Harris
Keyword(s):  
Discourse Analysis ◽  
Critical Discourse Analysis ◽  
Video Game ◽  
Critical Discourse ◽  
Creative Industry ◽  
Labor Practices ◽  
Speed Up ◽  
Identity Based ◽  
Game Industry ◽  
Over Time

‘Crunch’ – a period of unpaid overtime meant to speed up lagging projects – is a common labor practice in the video game industry and persists despite many costs to developers. To understand why, we conducted a critical discourse analysis of Game Developer magazine (2000–2010) to explore how industry members perceive and discuss gamework (1) in a publication for developers, by developers and (2) during the first decade in which serious conversations about labor emerge in the games industry. Our analysis found that many gameworkers treat crunch as ‘inevitable’ due to three specific themes: games as an unmanageable creative industry, an anti-corporate ethos, and a stereotypical developer identity based on passion and perfectionism. These constructions – combined with the industry’s project-based nature and cultures of passion and secrecy – build crunch into the habitus of gamework, helping reproduce exploitative labor practices. However, habitus can and does change over time, providing interested employees, companies, and labor organizers a means to intercede in existing work practices. We suggest a multipronged intervention that could build a healthier, more sustainable habitus of gamework.

scholarly journals Found in Translation: Evolving Approaches for the Localization of Japanese Video Games

Arts ◽  
2021 ◽  
Vol 10 (1) ◽  
pp. 9
Author(s):  
Carme Mangiron
Keyword(s):  
Video Games ◽  
Video Game ◽  
Cultural Adaptation ◽  
Fine Tuning ◽  
Target Market ◽  
Culturally Adapted ◽  
Current Localization ◽  
Game Industry ◽  
Shed Light ◽  
Over Time

Japanese video games have entertained players around the world and played an important role in the video game industry since its origins. In order to export Japanese games overseas, they need to be localized, i.e., they need to be technically, linguistically, and culturally adapted for the territories where they will be sold. This article hopes to shed light onto the current localization practices for Japanese games, their reception in North America, and how users’ feedback can contribute to fine-tuning localization strategies. After briefly defining what game localization entails, an overview of the localization practices followed by Japanese developers and publishers is provided. Next, the paper presents three brief case studies of the strategies applied to the localization into English of three renowned Japanese video game sagas set in Japan: Persona (1996–present), Phoenix Wright: Ace Attorney (2005–present), and Yakuza (2005–present). The objective of the paper is to analyze how localization practices for these series have evolved over time by looking at industry perspectives on localization, as well as the target market expectations, in order to examine how the dialogue between industry and consumers occurs. Special attention is given to how players’ feedback impacted on localization practices. A descriptive, participant-oriented, and documentary approach was used to collect information from specialized websites, blogs, and forums regarding localization strategies and the reception of the localized English versions. The analysis indicates that localization strategies for Japanese games have evolved over time from a higher to a lower degree of cultural adaptation in order to meet target markets’ expectations. However, it was also noted that despite the increasing tendency to preserve the sociocultural content of the original, the language used in the translations needs to be vivid and idiomatic in order to reach a wider audience and provide an enjoyable gameplay experience.

Bluehole: Bluehole’s spectacular success in the video game industry

2018 ◽  
Vol 4 (2) ◽  
pp. 133-155
Author(s):  
Yongjin Oh ◽  
Seungchul Lee ◽  
Jaewon Lee
Keyword(s):  
Video Game ◽  
Video Game Industry ◽  
Game Industry

Dermatography: 10 Years of Applications as an Adjuvant Treatment after Nipple and Areola Reconstruction

2000 ◽  
Vol 17 (1) ◽  
pp. 23-26 ◽  
Author(s):  
Eddy M. Van Der Velden ◽  
Brigitte H. I. M. Drost ◽  
Otto E. Ijsselmuiden ◽  
Abraham M. Baruchin
Keyword(s):  
Breast Cancer ◽  
Radiation Therapy ◽  
Breast Surgery ◽  
Total Resection ◽  
Refined Method ◽  
Aesthetic Results ◽  
The Aesthetic ◽  
Small Parts ◽  
Bilateral Reconstruction ◽  
Over Time

Introduction: Nipple and areola reconstruction have recently become in demand because more women are having breast surgery because of breast cancer diagnoses. Many methods for reconstructing the nipple and areola of the breast have been described and several treatment methods have been developed to improve the aesthetic results. The purpose of this paper is to describe one method, dermatography, a refined method of medical tattooing and the results obtained from this method. Materials and Methods: Over 10 years, 112 patients were treated with dermatography for nipple and areola reconstructions. Of these, 89 patients had received a unilateral reconstruction and 23 received a bilateral reconstruction. The first dermatographic treatment was given 8–12 months after the last intervention by the plastic surgeon. The average session lasted 45 minutes. Results were assessed by means of a short questionnaire. Results over time were evaluated by comparing pictures from previous sessions. Dermatography uses a modified tattooing called a dermainjector machine. Keloidectomy is the technique used to reduce keloid in postoperative scars. The needles of the dermainjector are positioned at an angle of 70–90 degrees to the scar surface. Small parts of the keloid are removed. At the same time pigmentation is performed. Results: Patients evaluated their results as satisfactory. Pigmentation over 5 years was judged to be stable with minor loss of pigment in only 6% of the patients, all of whom received radiation therapy for their cancer. Dermatography was well tolerated by the patients. None of the patients required local anesthesia. Discussion: Patients receiving total resection of their breasts are getting younger and perceiving the results as a severe deformation of their bodies. Results of reconstruction are judged very critically. We found that our patients considered the general visual aspect of the nipple and areola shape more important, and most of the patients did not consider reconstruction of the actual nipple mound to be necessary.

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