Contextual Studies Project 3:
Representation and Space
For the next 8 weeks I shall be researching, discussing and summarising the following:
The audio/ visual representation of digital games
How representations have evolved from the conception of gaming to modern video games.
In doing this I will focus on other critical areas such as technology, creativity and culture in relation to their impact on the above. Other crucial points to my research will be Gender, Ethnicity and cultural difference. Furthermore with space being an element to the topic, I will be approaching or addressing the construction and subsequent development of game-worlds and environments.
The introduction to the topic was a lecture by Marie Claire, which looked at the definitions of both Space and Representations using a number of dictionary answers before setting a quick group research task to be carried out.
The dictionary answers shown at the lecture were surprisingly intriguing and threw up some interesting definitions:
“Representation
1 the action of speaking or acting on behalf of someone or the state of being
so represented : asylum-seekers should be guaranteed good legal advice and representation.
2 the description or portrayal of someone or something in a particular way or
as being of a certain nature : the representation of women in newspapers.
• the depiction of someone or something in a picture or other work of art :
Picasso is striving for some absolute representation of reality.
• a thing, esp. a picture or model, that depicts a likeness or reproduction of
someone or something : a striking representation of a vase of flowers.
• (in some theories of perception) a mental state or concept regarded as
corresponding to a thing perceived.
3 ( representations) formal statements made to a higher authority, esp. so as
to communicate an opinion or register a protest : certain church groups are making
strong representations to our government.
• a statement or allegation : any buyer was relying on a representation that the tapes
were genuine.
ORIGIN late Middle English (in the sense [image, likeness] ): from Old French
representation or Latin repraesentatio(n-), from repraesentare ‘bring
before, exhibit’ (see represent ). “
(Marie Claire, Year 1 Representations and Spaces (2011))
At the time I wondered how some of these might fit a video game context, so decided to briefly look through the Representation definitions to see which would fit:
1: Seemingly relative to law (to represent someone) but at the same time could be related to games (a video game representing ideas/ a fictional universe/ current technological advancements/ cultures/ etc.)
2: More of a judgemental definition (representing someone as …). Again games translated well into this (i.e.: the representation of a particular faction/culture/ gender/ etc. in a game universe). Some games have even received severe criticism for particular representations given in games (i.e.: Call of Duty Modern Warfare 2’s infamous ‘airport’ level)
3: This definition is more relative to the artistic side of games development (i.e. Naruto Ultimate Ninja Storm has succeeded in creating a representation of the Anime art style in the game world which bridges the two mediums, etc.)
4: Could be interlinked with definition 3 as they both refer to the representation of an object/ element in relative to another but personally I think this is targeting less artistic representations. For example perhaps movements, or play style? (i.e.: FIFA 11 has created a somewhat flawless representation of the play style of a particular football team/ football in general, etc.)
5: This definition is somewhat difficult as it refers to connotations from a perceived item (i.e.: if a vase of flowers was perceived, what would that unconsciously represent to the person).It is entirely possible to link this to games, but in a far more personal way which will differ to each player. (i.e.: Playing Spyro the Dragon unconsciously causes a representation of my childhood, etc.).
6: This possible ‘Representation’ is centred on expressing opinions to some group or audience. The definition can be applied to some games should they be making a particular point in the game (i.e.: -----------) or even out of it (i.e.: MineCraft making a strong representations to the games industry that the indie games sector has room for massive profit and innovation).
7: This is the only one which I found difficult to justifiably link to video games.
One of the tasks set was to find brief definitions of the terms: Technology, Creativity and Culture – due to their presence in the research criteria and then new meanings found in analysing just the definitions behind ‘Representation’, there was merit in finding those definitions.
Definitions:
Technology
–noun
1.
the branch of knowledge that deals with the creation and use of technical means and their interrelation with life, society, and the environment, drawing upon such subjects as industrial arts, engineering, applied science, and pure science.
2.
3.
4.
The sum of the ways in which social groups provide themselves with the material objects of their civilization.
Creativity
noun
1.
2.
The ability to transcend traditional ideas, rules, patterns, relationships, or the like, and to create meaningful new ideas, forms, methods, interpretations, etc.; originality, progressiveness, or imagination: the need for creativity in modern industry; creativity in the performing arts.
3.
Culture
1.
the quality in a person or society that arises from a concern for what is regarded as excellent in arts, letters, manners, scholarly pursuits, etc.
2.
3.
4.
development or improvement of the mind by education or training.
5.
the behaviors and beliefs characteristic of a particular social, ethnic, or age group: the youth culture; the drug culture.
6.
Anthropology . the sum total of ways of living built up by a group of human beings and transmitted from one generation to another.
7.
Biology .
a.
the cultivation of microorganisms, as bacteria, or of tissues, for scientific study, medicinal use, etc.
b.
the product or growth resulting from such cultivation.
8.
9.
10.
the product or growth resulting from such cultivation.
–verb (used with object)
11.
to subject to culture; cultivate.
12.
Biology .
a.
to grow (microorganisms, tissues, etc.) in or on a controlled or defined medium.
b.
The final task set in the lecture was a research project based in groups around acquiring information on the following:
1 Low Pixel character
1HD Character
1 Silent/ Simple Sound Environment
1 Fully immersive 3D environment
These were the Notes which I took on the first two topics (as our group had split into two to maximise coverage.
Research Project:
(Group: Me, Ronnie Appleton, Dominic Beresford-Webb, Josh Allen, Jack Bennett and Robert barret sprot)
Representation – 1 Male and 1 Female (or 1 ‘’other’’ in either case)
Spyro the Dragon
Not really the expected choice given classics such as Mario, Pacman, etc. but he’s a good example of transition from low polygon to low pixel when you consider his GBA adventure/ crossover with Crash Bandicoot.
Technology (and Creativity)
These two headings move hand in hand when it comes to the Spyro character. As technology evolved, so did the character – moving from the low poly beginnings of the PlayStation, to the low pixel screen of the Gameboy advance and finally to standard ‘’next gen’’ consoles such as the Xbox 360 and PlayStation 3. In each of these platform leaps, the character began to change with each developer (Insomniac initially creating the series and continuing until the PlayStation 2 and GBA games). The final character – whilst retaining the trademark colour scheme and biology as the original, shares little with the insomniac Spyro.
As technology grew, Spyro became less of the innovation that it was on the PlayStation one, and became a standard (if not less than standard) quality next generation game – especially in terms of use of technology.
Culture
The Culture surrounding Gaming at the time of Spyro’s origin was very much on of bright colours and animal based protagonists to cater for a younger audience of gamers. This is obvious when you consider just some of the critical successes at the time (Banjo Kazooie, Gex, Croc, and Crash Bandicoot). In addition it was very much an era for the plat forming genre (to the point of which it gained ‘genre recognition’. In some ways this again is reflected in the choice of animal basis for Spyro (Wings – allow for gliding between platforms/ overall flying, Fire breath and Horns – some form of ‘attack’). Spyro became one of the forerunners for this stereotypical animal platformer and that convention still remains to some extent today (Ratchet and Clank, Jak and Daxter, Banjo Kazooies recent revival, etc.).
2: HD character - Nathan Drake (Uncharted Series)
The Uncharted series is still very much seen as a benchmark for current gen games consoles and this is clear to see in the protagonist – Nathan Drake.
Technology:
"Our characters they typically have eighty thousand polygons in you know, one character, like the main character. In total- what we try to push through to the graphics chip at one point two million triangles that we try to draw every frame. We do a lot using the cell processor."
(Pal England – Lead Programmer, Naughty Dog (Information Sourced: http://uk.gamespot.com/forums/topic/27066622 accessed 23/03/2011)
While I can’t necessarily validate the source, judging by the 30,000 polygons used for Nathan Drake in Uncharted 1, it’s not entirely impossible to consider that being a valid statement. Of course, it refers to the single player, as multiplayer toned down massively. Still, the current gen technology was well utilised in Uncharted – allowing for extra superficial character detail such as wet clothing, blood stains, etc.
Creativity: The creativity largely lied not in actual character design but rather the mannerisms of the character. This was because Naughty Dog had chosen to create a character which was not a well-trained individual such as Marcus Fenix or Master Chief. The ‘everyman’ approach to Drake meant that creative muscles had to be flexed in approaching just how to create a personality which reflects what a player would be feeling like in the scenarios that Drake gets into. The worried grunts, panicked remarks and general animations all create a representation to the player that this character is constantly battling for his life.
Culture
There are several points in which culture firmly takes its place in the creation of Nathan Drake, and it is largely due to the influences behind the game. Naughty Dog conceptualised Uncharted as a game which would reflect the ‘treasure hunter’ philosophy which was created in critically successful texts such as Indiana Jones, National Treasure and the Mummy. It could be a safe bet that Brendan Fraser’s character ‘Rick’ in The Mummy played some kind of part to Nathan Drakes origin due to the stereotypical quips, constant life threatening positions, clothing and overall bravado behind both Characters.
Other influences (at least to how the character ‘’plays’’): Gears of War (cover system, weapon selection (pick- ups as well)) and Assassin’s Creed (Climbing Mechanics).
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