[ecrea] 2nd CFP G|A|M|E: Technology evolution and perspective innovation – 3D and spatial depth today and yesterday.

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G|A|M|E - Game as Art, Media, Entertainment
http://www.gamejournal.it

2nd CFP for G|A|M|E n.2/2013 (http://bit.ly/P9MV4P)

Deadline for abstract (max. 500 words): November 2nd, 2012

Technology evolution and perspective innovation – 3D and spatial depth
today and yesterday.

The second issue of G|A|M|E| will investigate 3D technologies and
their implications for the video game world. The concept of 3D, in
this context, refers to both stereoscopy and, more generally,
tridimensional systems of representation that have been dominant in
video games since the early 1990s. The issue welcomes all
contributions dealing with these graphic technologies and their
influence as representational and aesthetic tools.

While the history of 3D and stereoscopy is long and varied, the past
few years have witnessed an increasing diffusion and commercialisation
of stereoscopic devices, from the rise of stereoscopic cinema to the
spread of 3D home screens and projectors. As a consequence, the
concept of 3D, in relation to film production, distribution and
exhibition, univocally identifies the phenomenon of stereoscopic
vision. On the contrary, this same concept is problematic when applied
to the video game medium. On the one hand, the definition of 3D in
video games historically addresses the shift from bidimensional to
tridimensional graphic engines. Nevertheless, this term has more
recently been adopted in its cinematic acceptation – the one of
stereoscopic vision – in relation to the video game medium. In a time
when 3D presents itself as a problematic and ambiguous conceptual
label, G|A|M|E intends to investigate its nature as both
tridimensional graphic and stereoscopic vision.

In this context, we want to investigate the concept of
tridimensionality intended not only as the development and the
implementation of the stereoscopic vision, but also as a regime of
representation that has been dominant in video games since the early
1990s. According to this vision, we want to investigate both the
objects, artefacts and products around which this innovation took
place and the evolution process of the polygonal graphic.

We aim to develop this analysis on two layers: the first layer is
external to the text and questions the nature of the video game as
dispositif, a structure that requires a configuration between the
player, the interface, the machine and the roles played by
perspective, tridimensionality and depth in this process; the second
layer is internal and envisions an analysis within the text and its
contents, thus working to critique the development of spatial depth
and perspective in video games.

Furthermore, we propose a first research line that focuses on the
influence of the medium's structure (the gaming machines and devices)
over the spatial dimension of the text. We question whether there are
any differences (and which would they be) in terms of creating a sense
of spatiality and depth between playing on different devices such as:
arcade machines; tablets; conventional home-consoles; PCs; VR helmets
etc. We want to trace the history of the means of spatial
representation and depth from pre-cinema screens, through cinema, up
to modern game consoles.

We are also interested in researching the technological, aesthetic and
functional reasons behind the shift from the bidimensional to the
tridimensional and polygonal graphic that took place in the early
2000s. Taking a historical perspective, we are interested in analysing
the early productions based on polygonal engines comparing them to the
ones of the second generation (for example, we want to study the
innovations brought by games such as Battlezone, Shadow of the Beast,
Hunter and Midwinter, Wing Commander on the 16 bit machines;
Wolfenstein 3D on MS-DOS; Super Mario 64 and The Legend of Zelda:
Ocarina of Time on Nintendo 64; Tomb Raider on PlayStation), ending
with an analysis of contemporary productions in which the structure of
the polygons is covered in textures and hidden by mapping effects and
shaders.

Furthermore we inquire as to why some specific genres (FPS, simulation
games) have been particularly linked to the realistic representation
of depth and space achieved through the use of polygons, whilst other
genres (such as puzzle games and adventures) have shown a stronger
tendency towards abstract forms of representation. What are the
strategies that tie each genre to a polygonal or bidimensional
representation, with particular regard to those games in which this
choice affects the structure of the text (as in RPGs and fighting
games)? What is the relation between abstraction/metaphor and realism
in video game representations of space and depth?

The second research line enquires the aesthetic and linguistic
repercussions of the rise of 3D as stereoscopic vision in video games.
We want to analyse the aesthetic (graphic related), functional
(gameplay related) and economic reasons behind the development and
commercialisation of stereoscopic devices such as the Nintendo 3DS. We
also want to investigate the content of those video games that allow
for stereoscopic vision, highlighting its benefits and the
disadvantages.

Finally, on a comparative perspective that aims to investigate the
relationship between video games and other forms of art and media,
what are the relations between stereoscopy in film productions and in
video game productions? What is the relation of video games' spatial
and depth representation with other forms of art? Is it possible to
talk about a “ludic” representation of spatial perspective in other
media? How did the evolution of perspective and space representation
in video games affect the “ludic” character of other media?

Scholars are invited to submit 500 words abstracts by November 2nd,
2012 , dealing with the development of tridimensional perspective and
the commercial, expressive, and artistic impact that this
technological shift has had on video game production and reception. We
also welcome studies on retro-gaming and video game history, as well
as the evolution of hardware and the expressive results for videoludic
productions. Finally, we encourage a reflection on the role played by
3D in establishing and/or reinforcing the relation between video games
and the contemporary mediascape.

Suggested key questions and issues

Virtual worlds and the role of 3D (as stereoscopy and tridimensional
graphics) in shaping perspective and sense of depth that affects the
fruition/immersion in the virtual environment.

Devices and platforms for stereoscopic gaming: portable consoles from
Nintendo Virtual Boy to Nintendo 3DS; from smartphones such as LG
Optimus 3D to Google Glasses prototype; from the 3D gaming on PC to
the evolution of VR-headsets).

The development of the spatial depth in early video games up to
contemporary productions.

The shift from a bidimensional depth to a tridimensional one.

> From Leon Battista Alberti to Need for Speed: the perspectival space
from arts to video games. The shift from a bidimensional to a
tridimensional ludic screen (from cinema screen to virtual reality).

Genres and spatial depth representation.

Relations between stereoscopy in video games and in other media.

Analysis of stereoscopic 3D video games: potential advantages and disadvantages.

Is there a connection between depth's formal representation and
narrative structure in video games? How does the spatial depth affect
gameplay?

What are the relations between the realistic representation of depth
in video games and abstract ones?

Spatial depth in non-3D video games: formal analysis and case studies.

What are the differences between the non-stereoscopic and the
stereoscopic versions of video games (for example Super Mario 3D Land
and Zelda: Ocarina of Time 3D)? What are the spatial effects of
remakes such as Mortal Kombat or Double Dragon, which adopt the
perspective of the original titles?

3D and issues of taxonomy: how do we define specificity and continuity
between 3D graphics and 3D stereoscopy?

Stereoscopy and its characteristic within video game texts: how does
stereoscopic vision affect game playing?

3D distribution and diffusion: what are the problems in the reception
of this new technology, and what are the reasons behind its
difficulties in being taken up by the market?

The impact of 3D hardware development on software: what are the
affordances of stereoscopic video gaming consoles and how do they
affect game design and programming?

Historiography of 3D and tridimensional engines: how does the shift
from raster to vector and poligonal graphics affect the evolution of
the medium of the video game?

3D engines: what kind of artefacts are 3D graphic engines and how can
we analyse them?

3D as marketing vector: in what ways has the video game industry used
3D (in both its meanings as stereoscopic vision and tridimensional
graphics) as a marketing tool?

The role of tridimensional graphics in enforcing the relation between
video game and cinema – the advent of cinematic games.

For enquires or information, please write us at:(gameitalianjournal /at/ gmail.com)

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