![]() Being attentive to user experience increases reflexivity in media development and use, as well as enhances communication between creators and users.Better yet, ExpressVPN also offers obfuscation.īut, unlike Surfshark and NordVPN, whose obfuscation features can only be used with OpenVPN, ExpressVPN’s obfuscation can be used with any protocol! Analyzing gameplay socialization provides insight into the significance of user experience with new media technologies, which has implications for media creators and users. Finally, I discuss some methods players developed to pragmatically handle increasing complexity in terms of outcomes of gameplay socialization. ![]() Complexity in digital games rises with the potential addition of human interactants, and I analyze player-to-player interactions in cooperative and conflictual situations to show how players socialized one another in terms of game rules and social norms. Such human-object relationships can be complex and social, and digital objects are major agents of socialization into digital games. A significant portion of their gameplay was spent interacting with digital objects, some of which became significant others. I outline a process of gameplay socialization that organizes the development of meaning-making over the course of their participation, and show how players had varied socialization experiences. Players engaged in micro-level meaning-making processes through which they made sense of the virtual environments. Using a symbolic interactionist approach and an array of qualitative methods such as observations, talk-aloud protocols, audiovisual recordings of gameplay, “gameplay reviews” and in-depth interviews, I extracted rich data from the gameplay and interpretations of eight university student participants who each played approximately 20 hours of each game. I explore how participants experienced socialization into two digital games that they had never played before, World of Warcraft and Portal 2. This study addresses a lack of research into the socialization experiences of new media technology users. Among these, digital games continue their rise in significance, constituting a visible domain within which people learn and develop specific sets of skills and practices. The result is a ‘soundscape’ style approach well suited to attaining both the emotive power of linear compositions as well as a closer relationship between music and visuals, seemingly a ‘best of both worlds’ videogame musical approach. ![]() In the process I discover that the game uses music in a way similar to the dominant paradigm, while also exhibiting a musicality within the in-game sound effects and level ambience. The final component of the thesis is an investigation into the use of music within the Xbox videogame Halo 2 (2004) through discussion with the composer, Martin O’Donnell, and an analysis of the music and sound of the game. A number of games that do, however, break from tradition and utilise music in exceptional ways are then discussed and their potential for adoption in future games is assessed. After examining the case for videogame uniqueness, the thesis looks to the current musical paradigm within videogames and, finding it somewhat lacking, offers a critique of the paradigm. This thesis draws upon a number of authors to identify areas unique to videogames, and examines the implications for the employment of music within them. Various efforts have been made to view videogames in light of other media such as film and narrative while few have yet to address, specifically, ways in which videogames present unique opportunities for expression. Unlike traditional artistic endeavours such as literature, painting or sculpture, videogames and their creation, according to Janet Murray, are still in an incunabular period.
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