Listagem realizada pela EDGE sobre os 50 livros que todos deveriam ter na industria do desenvolvimento.
THEORY
Trigger Happy: The Inner Life of Videogames, by Steven Poole
Flow: The Psychology of Optimal Experience, by Mihalyi Csikszentmihalyi
Rules of Play, by Katie Salen and Eric Zimmerman
Half-Real: Video Games between Real Rules and Fictional Worlds, by Jesper Juul
Unit Operations: An Approach to Videogame Criticism, by Ian Bogost
DESIGN PRACTICE
Fundamentals of Game Design, by Ernest Adams and Andrew Rollings
21st Century Game Design, by Chris Bateman and Richard Boon
Gender-Inclusive Game Design, by Sheri Graner Ray
A Theory of Fun for Game Design, by Raph Koster
Balance of Power: International Politics as the Ultimate Global Game, by Chris Crawford
Digital Game-Based Learning, by Marc Prensky
WRITING
Game Writing: Narrative Skills for Videogames, edited by Chris Bateman
GRAPHIC DESIGN
Creating the Art of the Game, by Matthew Omernick
The Visual Display of Quantitative Information, Visual Explanations and Envisioning Information, all by Edward Tufte
Pause and Effect: The Art of Interactive Narrative, by Mark Stephen Meadows
MUSIC AND AUDIO
The Fat Man on Game Audio: Tasty Morsels of Sonic Goodness, by George Alastair 'The Fat Man' Sanger
ONLINE GAMES AND COMMUNITY
Developing Online Games: An Insider’s Guide, by Jessica Mulligan and Bridgette Petrovsky
Designing Virtual Worlds, by Richard Bartle
Community Building on the Web: Secret Strategies for Successful Online Communities, by Amy Jo Kim
THE HISTORY OF GAMES
The Oxford History of Board Games, by David Parlett
The Ultimate History of Video Games, by Steven L. Kent
Supercade: A Visual History of the Videogame Age 1971 - 1984, by Van Burnham
SOCIOLOGY
Joystick Nation, by J.C. Herz
Killing Monsters: Why Children Need Fantasy, Super Heroes, and Make-Believe Violence, by Gerard Jones
What Video Games Have to Teach Us About Learning and Literacy, by James Paul Gee
Everything Bad Is Good for You, by Steven Johnson
From Barbie to Mortal Kombat: Gender and Computer Games, edited by Justine Cassell and Henry Jenkins
Pikachu's Global Adventure: The Rise and Fall of Pokémon, edited by Joseph Tobin
PEOPLE, PROJECTS AND BUSINESSES
The Mythical Man-Month: Essays on Software Engineering, by Frederick P. Brooks
Peopleware: Productive Projects and Teams, 2nd edition by Tom Demarco and Timothy Lister
Postmortems from Game Developer, edited by Austin Grossman
Game Over, Press Start to Continue, by David Sheff, with new material by Andy Eddy
Masters of Doom, by David Kushner
Smartbomb: The Quest for Art, Entertainment, and Big Bucks in the Videogame Revolution by Heather Chaplin and Aaron Ruby
he Xbox 360 Uncloaked by Dean Takahashi
OTHER MEDIA AND USEFUL DISCIPLINES
Understanding Comics, by Scott McCloud
Story: Substance, Structure, Style, and the Principles of Screenwriting, by Robert McKee
A Pattern Language, by Christopher Alexander et al
The Design of Everyday Things, by Donald Norman
DEEP BACKGROUND
Homo Ludens, by Johan Huizinga
Man, Play, and Games, by Roger Caillois
The Ambiguity of Play, by Brian Sutton-Smith
Understanding Media: The Extensions of Man, by Marshall McLuhan
INSPIRATIONS
The Lord of the Rings, by J.R.R. Tolkien
Dungeons & Dragons Player’s Handbook, by various authors
Star Trek, originated by Gene Roddenberry
The Hunt for Red October, by Tom Clancy
Watchmen, by Alan Moore and Dave Gibbons
The Hero with a Thousand Faces, by Joseph Campbell
Hamlet on the Holodeck: The Future of Narrative in Cyberspace, by Janet H. Murray
janeiro 24, 2009
humanidades e as ciências da computação
Computers should not be black boxes but rather understood as engines for creating powerful and persuasive models of the world around us. The world around us (and inside us) is something we in the humanities have been interested in for a very long time. I believe that, increasingly, an appreciation of how complex ideas can be imagined and expressed as a set of formal procedures — rules, models, algorithms — in the virtual space of a computer will be an essential element of a humanities education. Our students will need to become more at ease reading (and writing) back and forth across the boundaries between natural and artificial languages. Such an education is essential if we are to cultivate critically informed citizens — not just because computers offer new worlds to explore, but because they offer endless vistas in which to see our own world reflected.por Matthew Kirschenbaum que é Professor Associado de Inglês do Maryland Institute for Technology in the Humanities na University of Maryland.
janeiro 23, 2009
videojogos sem crise
Apesar da crise os videojogos bateram todos os recordes em 2008. Conjuntamente hardware e software totalizaram 21,33 mil milhões de doláres nos EUA apenas, ou seja mais 19% do que em 2007, segundo relatório da NPD Group.
Aqui fica a lista dos 10 jogos mais vendidos nos EUA em 2008.
1. Wii Play w/ remote - Wii – Nintendo – 5.28 million
2. Mario Kart Wii w/ wheel – Wii – Nintendo – 5.00 million
3. Wii Fit w/ balance board – Wii – Nintendo – 4.53 million
4. Super Smash Bros. Brawl - Wii – Nintendo – 4.17 million
5. Grand Theft Auto IV - Xbox 360 – Take-Two – 3.29 million
6. Call of Duty: World at War - Xbox 360 – Activision – 2.75 million
7. Gears of War 2 - Xbox 360 – Microsoft – 2.31 million
8. Grand Theft Auto IV - PS3 – Take-Two – 1.89 million
9. Madden NFL '09 - Xbox 360 – Electronic Arts – 1.87 million
10. Mario Kart - DS – Nintendo – 1.65 million
A análise da lista demonstra a esmagadora força da Nintendo, nomeadamente do conceito Wii, evidenciando que afinal abrir o espectro de audiências compensa. Os 4 primeiros lugares são da Nintendo o que é deveras impressionante e a PS3 claramente a perder influência com apenas um jogo na lista.
[a partir de Wral.com]
Aqui fica a lista dos 10 jogos mais vendidos nos EUA em 2008.
1. Wii Play w/ remote - Wii – Nintendo – 5.28 million
2. Mario Kart Wii w/ wheel – Wii – Nintendo – 5.00 million
3. Wii Fit w/ balance board – Wii – Nintendo – 4.53 million
4. Super Smash Bros. Brawl - Wii – Nintendo – 4.17 million
5. Grand Theft Auto IV - Xbox 360 – Take-Two – 3.29 million
6. Call of Duty: World at War - Xbox 360 – Activision – 2.75 million
7. Gears of War 2 - Xbox 360 – Microsoft – 2.31 million
8. Grand Theft Auto IV - PS3 – Take-Two – 1.89 million
9. Madden NFL '09 - Xbox 360 – Electronic Arts – 1.87 million
10. Mario Kart - DS – Nintendo – 1.65 million
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4CvmygE6ufHc8jGbIb4gFqPPeytpGusg_r6JZRhihtDBS-x7ghflR649KPSPdR3t9KbZYpeJE2IHL3DSbZpvOo4s2BmvgNGrPtdLNOWjF-kUpNNyT3mjWDjMTPt-zv1lz5WE6cg/s400/wii-fit-header.jpg)
[a partir de Wral.com]
Jobs #19
Senior Lecturer in Special Effects – Senior Lecturer
School of Games Computing & Creative Technologies
Ref: CCA036AC
The University of Bolton’s degrees in Special Effects Development have proved extremely popular and we are now looking for an individual to join this cross-disciplinary team.
You should ideally have a reputation for developing cutting-edge visual effects using 3D CGI tools (ideally Autodesk Maya and/or 3DS Max) as well as experience in the related fields of compositing and video/film (pre and post production). Industrial experience is essential as you will be expected to mentor students through the production workflow mirroring good practice as much as possible.
The ideal candidate will possess an Honours Degree with industry related practical skills in this area and be ready to contribute to industrial groups in the sector as part of our “Professional University” model. You should be capable of developing and maintaining links with industry as well as raising the profile of the course and the School, nationally and internationally.
The School of Games Computing and Creative Technologies has a history of developing successful courses in the area of Creative Technologies. We are an innovative school and we are looking for the right candidate to help us continue developing.
The School is committed to providing a supportive environment for its staff to enable them to achieve their career aspirations and make a positive contribution to the ongoing development of the University, by offering excellent staff development opportunities.
In addition the successful candidate can expect to benefit from generous leave entitlement of 35 days per annum, plus bank holidays. There is the opportunity to join the Teachers’ Pension scheme. The University promotes well-being initiatives and staff can participate in child-care voucher and eye-care schemes. Subsidised sport facilities are available on site.
Candidates invited for interview will be required to bring along documentary evidence (originals required) of right to work in the United Kingdom, and Award Certificates for verification.
Please note that this appointment is subject to Criminal Records Bureau (CRB) Enhanced Disclosure.
Salary in the range of £32, 238 - £41,409 per annum.
Completed Academic Application Form (available from http://www.bolton.ac.uk/POD/Personnel/A-ZDownloadableForms/Home.aspx) should be returned to the Personnel Office, The University of Bolton, Deane Campus, Deane Road, Bolton BL3 5AB by February 2nd 2009. Interviews will be held at the University. For further information please contact Dr Rachel McLean. r.mclean@bolton.ac.uk
School of Games Computing & Creative Technologies
Ref: CCA036AC
The University of Bolton’s degrees in Special Effects Development have proved extremely popular and we are now looking for an individual to join this cross-disciplinary team.
You should ideally have a reputation for developing cutting-edge visual effects using 3D CGI tools (ideally Autodesk Maya and/or 3DS Max) as well as experience in the related fields of compositing and video/film (pre and post production). Industrial experience is essential as you will be expected to mentor students through the production workflow mirroring good practice as much as possible.
The ideal candidate will possess an Honours Degree with industry related practical skills in this area and be ready to contribute to industrial groups in the sector as part of our “Professional University” model. You should be capable of developing and maintaining links with industry as well as raising the profile of the course and the School, nationally and internationally.
The School of Games Computing and Creative Technologies has a history of developing successful courses in the area of Creative Technologies. We are an innovative school and we are looking for the right candidate to help us continue developing.
The School is committed to providing a supportive environment for its staff to enable them to achieve their career aspirations and make a positive contribution to the ongoing development of the University, by offering excellent staff development opportunities.
In addition the successful candidate can expect to benefit from generous leave entitlement of 35 days per annum, plus bank holidays. There is the opportunity to join the Teachers’ Pension scheme. The University promotes well-being initiatives and staff can participate in child-care voucher and eye-care schemes. Subsidised sport facilities are available on site.
Candidates invited for interview will be required to bring along documentary evidence (originals required) of right to work in the United Kingdom, and Award Certificates for verification.
Please note that this appointment is subject to Criminal Records Bureau (CRB) Enhanced Disclosure.
Salary in the range of £32, 238 - £41,409 per annum.
Completed Academic Application Form (available from http://www.bolton.ac.uk/POD/Personnel/A-ZDownloadableForms/Home.aspx) should be returned to the Personnel Office, The University of Bolton, Deane Campus, Deane Road, Bolton BL3 5AB by February 2nd 2009. Interviews will be held at the University. For further information please contact Dr Rachel McLean. r.mclean@bolton.ac.uk
Jobs #18
Assistant Professor, New Media Studies
The Department of Global Communications at The American University of Paris invites applications for a permanent position at the rank of Assistant Professor to begin August 1st, 2009. The department seeks candidates with expertise in new media as well as to teach other more general communications and media courses (such as communication research methods, media globalization, history of communications, PR, political economy of media). Candidates' research and teaching should demonstrate global and cross-cultural understanding. The successful candidate will combine a commitment to scholarship, excellence in teaching, and university service. Candidates should have completed their doctorate at the time of appointment. Fluency in French as well as other languages is an advantage. If a successful candidate does not have the right to work in France, AUP will apply for the appropriate visa. Family relocation, however, depends on French immigration law.
Located in central Paris, The American University of Paris offers an international and multicultural educational environment in the liberal arts tradition, offering both BA and MA programs in Global Communications, taught in English. The department specializes in the international and comparative study of media, communication and culture.
Interested candidates are asked to send applications, to include a brief cover letter, statement of research interests, one writing sample, curriculum vitae, evidence of teaching effectiveness, and three letters of reference by post to Dr. Justin McGuinness, Chair of the Search Committee, Department of Global Communications, The American University of Paris, 6 rue du Colonel Combes, 75007 Paris, France. Any questions regarding the post are to be sent to comsearch@aup.fr. Applications will be considered immediately and until March 7th, 2009.
The Department of Global Communications at The American University of Paris invites applications for a permanent position at the rank of Assistant Professor to begin August 1st, 2009. The department seeks candidates with expertise in new media as well as to teach other more general communications and media courses (such as communication research methods, media globalization, history of communications, PR, political economy of media). Candidates' research and teaching should demonstrate global and cross-cultural understanding. The successful candidate will combine a commitment to scholarship, excellence in teaching, and university service. Candidates should have completed their doctorate at the time of appointment. Fluency in French as well as other languages is an advantage. If a successful candidate does not have the right to work in France, AUP will apply for the appropriate visa. Family relocation, however, depends on French immigration law.
Located in central Paris, The American University of Paris offers an international and multicultural educational environment in the liberal arts tradition, offering both BA and MA programs in Global Communications, taught in English. The department specializes in the international and comparative study of media, communication and culture.
Interested candidates are asked to send applications, to include a brief cover letter, statement of research interests, one writing sample, curriculum vitae, evidence of teaching effectiveness, and three letters of reference by post to Dr. Justin McGuinness, Chair of the Search Committee, Department of Global Communications, The American University of Paris, 6 rue du Colonel Combes, 75007 Paris, France. Any questions regarding the post are to be sent to comsearch@aup.fr. Applications will be considered immediately and until March 7th, 2009.
janeiro 17, 2009
imaginação e o céu
Uma clara visão francesa realizada por Yoann Lemoine percorre a estética visual e o ritmo sonoro deste anúncio realizado para o canal Tiji (canal cabo para crianças francês), contudo nem é isso que me leva a colocar o anuncio/filme aqui é antes de mais o frisson provocado pela descoberta do propósito (climax) tendo em conta o personagem. Em uma palavra, delicioso.
Para onde vão os balões quando se nos escapam da mão e voam para o céu?
[Versão HD]
[a partir de No Fat clips]
Para onde vão os balões quando se nos escapam da mão e voam para o céu?
[Versão HD]
[a partir de No Fat clips]
janeiro 16, 2009
alongando o storytelling
"As filmed advertising changes into longer forms (brought to you, of course, by the Internet) it will be interesting to see how storytelling will change and who specifically (creatives and directors) will rise to the top. It’s tough to break free of more than fifty years of intuition and the reduction of stories into a mere thirty seconds." Barbarian blog [12.2008]A tendência está aí e como o texto nos diz graças à web. Será esta uma tendência para ficar? Os custos de produção são bastante mais elevados e demorados, mas não tenhamos dúvidas quanto à capacidade para gerar retenção na memória. O processo de contar histórias (storytelling) continua a ser o meio mais eficaz de o fazer e claramente que a publicidade só terá a ganhar em fazê-lo. Veja-se o anúncio de 4m44s da Saatchi.
janeiro 15, 2009
Obama hiperreal
O auge do design está estampado num filme de 30 minutos lançado a uma semana do dia das eleições. Não pelo tão badalado custo de transmissão (cerca de 6 milhões, 1 milhão por cada canal) até porque o filme foi com certeza mais caro do que isso, mas pela enormidade da sua duração. Apelidado de infomercial, uma combinação entre a publicidade e o documentário, é contudo um filme de carácter político apresentado no seio de uma campanha em horário nobre, em quase todos os canais de nivel nacional americanos e pago para aí aparecer. Todos estes ingredientes diriam que 30 minutos é demasiado e insustentável, qualquer especialista em audiovisual diria que o produto se tornaria intolerável para os espectadores. Ora a verdade é que não vimos isso acontecer, não houve qualquer relato sobre essa intolerância ou mesmo sobre enfado ou aborrecimento no seu visionamento. Isso quererá dizer-nos que não estivemos verdadeiramente a assistir a um filme de campanha política, a um filme publicitário, à venda de um produto mas estivemos antes a assistir a um filme tecnicamente capaz e estruturado para gratificar o tempo nele despendido.
Gratificar é palavra de ordem da máquina de entretenimento. Não existe entretenimento sem recompensa ou gratificação. Quando a grande massa vai ao cinema, este não precisa apenas de compensar os 5 euros do bilhete mas precisa de compensar algo mais precioso que isso, o tempo nele investido. E se vamos investir 30 minutos é bom que valha a pena que seja compensador, qualquer outra hipótese leva à frustração e por consequência o afastamento natural do público-alvo. Não entro na sua desconstrução aqui porque seria um trabalho demasiado pesado e detalhado para um blog.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnabmgyRY8P7uhh6vPghdVPT4lj75_z0xfuSta_9rfdC4yE33MnPVYwLv6EhmZ7wR8gAyt4jlFzfkGYQ8NLrvrODqNjZGJwJoDKXa3PV_tSfPUnLqwTlL88VV-EeCkIgQPBOmfuw/s200/comicbooks1.jpg)
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMQt1dyxzY2V9Ty41kRmGL4-fRhkYGA_BB9ZxR3es6WNlxqsRK35acR7DfyFbQDFDHl_3P17rEm9slg7mTTfd2BYX1ryLYlhHmFplhLIjuSmr4-jEPzg-Jx6w90sqtpwJ-wZk06Q/s400/spider_obama.jpg)
Falta claro falar sobre o facto de todo o sistema ter sido montado com recurso a uma base tecnológica na internet que serviu no interesse de potenciar, agregando e dando-lhe coerência e unidade, a todas as mensagens passadas por via de outros media. Nunca a Web 2.0 fez tanto sentido.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCnGVV9kA590JOWumLT4QPdRnQmLbIKBffGdFEWKBlO5W1sk_EB5hKcmdpMexhznkSyp0v69MiUbl1I1o0fb0RlTn_NiJ8M8HS-BYrD3r8szHVgF_DRSsN_L0C4XgQhKQynfyoYg/s400/obama.jpg)
Veja-se agora o caso da manobra da Ikea, numa campanha apelidada "Embrace Change 09", que promete ajudar ao design da Sala oval com recurso a simuladores 3d com imobiliário Ikea.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkyQnRqVE4ZES5BBokx3qIN8UpUXHRC4a5jt6zlJW1hv9vYlABSOC2o0mgh6wUXbwzMB8KySuppYdHUcEKfmtonkSic39O5VIwD-2ZBJiu54BbVGVEIiDTareTYOSjLGQ_VFt7cg/s400/ikea_obama.jpg)
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janeiro 13, 2009
Claude Berri (1934-2009)
É no entanto enquanto produtor que Berri mais trabalhou e por isso mesmo nem sempre o seu trabalho obteve a visibilidade que pode obter um actor nos EUA ou um realizador na Europa. Contudo foi com ele que Gainsbourgh conseguiu realizar o seu Je t'aime moi non plus (1976); que Polanski conseguiu dar vida ao clássico Tess (1979); que Annaud pôde filmar L'Ours (1988) e L'Ammant (1992); que Berri pôs em cena Os Maias francês Germinal (1993); que Chéreau conseguiu uma proeza técnica e estética de contornos épicos La Reine Margot (1994); que Schlöndorff dirigiu The Ogre (1996). E já agora não podemos deixar de lembrar o primeiro filme da série Astérix et Obélix contre César (1999) realizado por Zidi.
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