| PainBerry. Realism: Is it possible in any quake game? Retrieved June 2, 2006, from http://planetquake.game ... ditorials.Detail&id=110 |
 
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| Added by: Mark Grimshaw-Aagaard 02/06/2006, 07:43 |
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"I've been watching Urban Terror since its initial release. While advertised by many as "Action Quake for the Arenas" it most certainly is not, boasting its own, quite different personality. The team definately seem to be picking up and responding to the shortcomings of realism games to date, whether they know it or not. Even their weapons specialist (who you would think would be obsessed with instigating realism redundancies) has figured out that random offset on weapons totally undermines skill. Many of their mappers understand how much more important gameflow is than eyecandy (althought eyecandy is great and all). They're taking a good perpective with their game design - if it's realistic, and it benefits the game, it's in, otherwise they sidestep it. They kept in strafe jumping ferchrissake! This is realism grown to maturity, with the idio(t)syncracies of their parents breeded out. Definately one to watch, for realism and unrealism fans alike.
So, is realism possible in any Quake game? Well, now you're just talking simulations.
Is a realism/game cross over possible in any Quake game? With a little decency, common sense and taste, hell yeah!" |
| Poole, S. (2000). Trigger happy: Videogames and the entertainment revolution. New York: Arcade. |
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| Added by: Mark Grimshaw-Aagaard 03/07/2021, 09:23 |
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| The more realistic a character's movements may be, the more frustrated a player may become that the character cannot complete other realistic, and therefore to be expected, movements. |
| "it is lack of coherence rather than unrealism which ruins a gameplaying experience." |
| Ribbens, W., & Malliet, S. (2010). Perceived digital game realism: A quantitative exploration of its structure. Presence: Teleoperators and Virtual Environments, 19(6), 585–600. |
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| Last edited by: Mark Grimshaw-Aagaard 17/10/2018, 13:57 |
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| "whether a media text is perceived as realistic [...] is important because research suggests that user perceptions can be better predictors of behavioral outcomes than the features of the medium itself" |
| Has a different take on authenticity than might be expected – one that is subjective rather than objective (i.e. the shotgun in Terminator is not objectively authentic but might be subjectively perceived as authentic). |
| "rule-based characteristics of an electronic game count as better contributors to its overall reality impression than its audiovisual characteristics. The three most important factors [...] were simulational realism, freedom of choice, and character involvement. Graphical aspects such as perceptual pervasiveness or narrative aspects such as authenticity accounted for a substantially smaller amount of the explained variance." |
| Sakellariou, A. (2020). How RDR2 prioritizes realism at the expense of playability. Retrieved May 28, 2021, from https://screenrant.com/ ... xtreme-boring-controls/ |
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| Last edited by: Mark Grimshaw-Aagaard 28/05/2021, 12:49 |
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| "There are too many mundane, small tasks Red Dead Redemption 2 forces players to complete. In order to maintain the efficacy of their guns, players must routinely clean and inspect them, otherwise, they’ll get a notification on their screen informing them their gun is poor quality. Players also have to go to their horse in order to change weapons, something that’s easy to forget especially when players are about to start a mission.The main problem is that while, yes, individuals would have to do these sorts of things if they were an outlaw in real-life, it’s annoying to be forced to do it mid-game. Many folks play video games to escape from reality, as a way to relieve stress or tension." |
| Schafer, D. M., Carbonara, C. P., & Popova, L. (2011). Spatial presence and perceived reality as predictors of motion-based video game enjoyment. Presence: Teleoperators and Virtual Environments, 20(6), 591–619. |
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| Added by: Mark Grimshaw-Aagaard 17/10/2018, 12:03 |
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| Interactivity is the starting point in the chain of variable relationships "which then proceeds to influence perceived reality and presence. Perceived reality then also predicts presence, which in turn leads to enjoyment."
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| Shilling, R., Zyda, M., & Wardynski, E. C. 2002, November 30, Introducing emotion into military simulation and videogame design: America’s Army: Operations and VIRTE. Paper presented at GameOn, London. |
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| Last edited by: Mark Grimshaw-Aagaard 19/12/2010, 06:19 |
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"A flat recording is not only emotionally flat; it also sounds unrealistic
(Yewdall, 1999). Instead, flat recordings [in AA:O] were mixed with other explosive sounds to compensate for the weaknesses of the reproduction media."
Yewdall, D. (1999). Practical Art of Motion Picture Sound. Boston, MA: Focal Press. |
| Snow, B. (2009). Realistic game audio has us pining for beeps of yesteryear. ars technica, Retrieved March 20, 2009, from http://arstechnica.com/ ... c-punch-to-the-face.ars |
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| Added by: Mark Grimshaw-Aagaard 20/03/2009, 05:39 |
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| A quote from Scott Steinberg: "Modern titles accurately replicate recognizable sounds such as gunfire or screeching tires,". |
| Youngblood, G. (1970). Expanded cinema. London: Studio Vista. |
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| Last edited by: Mark Grimshaw-Aagaard 05/03/2006, 11:41 |
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| "If the visual subsystems exist today, it is folly to assume that the computing hardware won't exist tomorrow. The notion of 'reality' will be utterly and finally obscured when we reach that point ... [of generating] totally convincing reality within the information processing system ... We're entering a Mythic age of electronic realities that exist only on a metaphysical plane." |
