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Which clippings match 'Wolfenstein 3D' keyword pg.1 of 1
28 NOVEMBER 2014

Stuart Brown: the evolution of video game graphics

[1] Pixel Pioneers: A Brief History of Graphics, Part One;
[2] Sprite Supreme: A Brief History of Graphics, Part Two;
[3] Polygon Realm: A Brief History of Graphics, Part Three;
[4] Voodoo Bloom: A Brief History of Graphics, Part Four;
[5] Future Crisis: A Brief History of Graphics, Part Five.

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TAGS

3D games • arcade game • artificial life game • Asteroids (arcade space) • Battlezone (video game) • Borderlands (video game) • casual gaming • cell shading • chromatic aberration • cinematic effects • cinematic platformer • colour graphics • console game • Defender (video game) • Delta Force (video game) • Doom (video game) • Far Cry (video game) • first-person shooter • flat shading • flat shading polygons • FPS (games) • Galaxion (arcade space) • game mechanic • Gears of War • god game • Gouraud shading • GPU • Grand Theft Auto • graphics hardware • Guitar HeroHalf-Life (video game)history of video gamesindie gamesinteractive mediaisometric projection • Jet Set Radio • lens flare • Limbo (game) • Minecraft • motion blur • Myst (video game) • Night Trap (video game) • open worldPac-Man • pixels • platform game • playfield • polygon art • Prince of Persia (video game) • puzzle platformerQuakeraster image • ray casting • Ridge Racer (video game) • role-playing game (RPG)rotoscope animationRPG • Shadow of the Colossus • Space Invaders • sprite • sprite scaling • sprite sheet • Star Cruiser (video game) • Star Fox (video game) • Stuart Brown • Super Meat Boy • texture mapping • Tomb Raider (video game) • TronUnreal Engine 3vector graphics • video game graphics • video gamesvisual fidelityvisual trick • volumetric pixels • Voodoo (graphics card) • voxel • WiiWolfenstein 3D

CONTRIBUTOR

Simon Perkins
10 APRIL 2011

Wolfenstein 3D: Pac-Man intragame

"An intragame is a game within the game, e.g. the Pachinko machine in Duke Nukem 3D [or a Pac–Man level in Wolfenstein 3D]. Since computer games are based on simulator technology that could mix or include any other game in addition to the main game, the main game will be the only one classified."

(Aarseth, Smedstad and Sunnanå, 2003, p.49)

1). Video capture of secret Pac–Man level within Episode 3 of Wolfenstein 3D.

2). Table of Contents for Level Up: Digital Games Research Conference Proceedings, DiGRA and Utrecht University

3). Espen Aarseth, Solveig Marie Smedstad and Lise Sunnanå (2003). 'A multi–dimensional typology of games', in Copier, Marinka; Raessens, Joost, Level Up: Digital Games Research Conference Proceedings, DiGRA and Utrecht University

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19923Daction hero • Adrian Carmack • Apogee SoftwareCastle Wolfensteincomputer gamesdigital cultureDiGRADuke Nukem 3Deaster eggEspen Aarsethfirst-person point of viewfirst-person shooterFPS • game genres • game within the game • gameplaygames • id Software • intragame • Lise Sunnana • mise-en-abymeNaziPac-Man • Pachinko • PC gamesreflexivityrun and gunScott Miller • shareware • Solveig Marie Smedstad • tribute • typology of games • video gamevirtual environmentsWolfenstein 3D

CONTRIBUTOR

Simon Perkins
09 APRIL 2011

The death and rebirth of Duke Nukem Forever: a history

"Duke Nukem Forever was announced in 1997, after its predecessor, Duke Nukem 3D, had rocked the PC market with a hero who liked kicking ass, hanging out with strippers, and murdering alien police officers that were, literally, pigs. It was inappropriate, raunchy, and amazing.

It was also one of the games that gave 3D Realms the success that brought its destruction. Duke Nukem Forever began life as a completely self–funded game; its developer wanted nothing less than perfection, and would chase every update in technology in order to deliver it. The game saw monumental delays, suffered the slings and arrows of a gaming world that was first angry and then tolerant of its favorite whipping boy, had its home taken away, and has since risen from the dead.

Is the public still interested in Duke Nukem? Hell yes it is. This is the story of the gaming industry's favorite joke, and how Duke may finally have the last laugh."

(Ben Kuchera, 7 September 2010)

Fig.1 'Duke Nukem Forever | History of a Legend Episode 1', 2011

Fig.2 trailer from Electronic Entertainment Expo, 1998

Fig.3 video capture of 1991 side–scrolling 'Duke Nukum' version

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19911993199619972011 • 3D Realms • action heroalien invasion • Allen Blum • anti-hero • Apogee Softwarecharacter designcomic bookcomputer gameconsolecultural literacydeveloperdigital cultureDuke NukemDuke Nukem 3D • Duke Nukem Forever • Duke Nukem II • Duke Nukem: Manhattan Project • Duke Nukum • E3Electronic Entertainment Expo (E3)first-person shootergames • Gearbox Software • George Broussard • graphic representationheavy metalhistoryhomoeroticismhumour • Joe Siegler • Jon St. John • kick ass • kick ass and chew bubble gum • lair • Los AngelesmisogynyparodyPC gamesPlaystation 3point of viewpop-culture • Randy Pitchford • renegade • run and gunScott Millerself-fundedself-referentialsequel • SHMUP • side-scroller • spectaclestory • Todd Replogle • video gameviolencevisual depictionWolfenstein 3DXbox 360

CONTRIBUTOR

Simon Perkins
08 DECEMBER 2009

Gamers and Gorehounds: The Influence of Video Games on the Contemporary Horror Film

"In translating a digital game to the big screen, these titles rely on the integration of aesthetics and narrative from their game counterparts to further enhance the viewing experience. The utilization of game narrative in the horror adaptation film is partially based on the acceptance of the video game medium as a cyberdrama, which emphasizes 'the enactment of the story in the particular fictional space of the computer.'[54] Many popular titles were not only about motor coordination and skill, but about becoming immersed in good storytelling. Author Janet Murray states, 'A story has greater emphasis on plot; a game has greater emphasis on the actions of the player. But where the player is also the protagonist or the god of the story world, then player action and plot event begin to merge.'[55] Murray describes the player's attachment to the game narrative as dramatic agency, which 'requires that we script the interactor as well as the world, so that we know how to engage the world, and so that we build up the appropriate expectations.'[56] "

(Timothy D. Alley, p.47, 2007)

54. Janet Murray, "From Game–Story to Cyberdrama." First Person. Eds. Noah Wardrip– Fruin and Pat Harrigan (Cambridge, MA: The MIT P, 2004) 4.

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aesthetics • Brainscan • consoleconvergenceculture • cyberdrama • David Cronenbergdigital culture • Doom • Duke Nukem 3Ddystopia • eXistenZ (1999) • first-person point of viewfirst-person shooterFPS • Freddys Dead • gamesGrand Theft Autohorrorhorror filmJanet Murray • Lawnmower Man • mediumQuakeremediationrepresentationtechnologytechnophobiaThe Matrix (1999)The Wizard of Ozvideo gamevirtual realityvisual communicationvisual designvisual languageWolfenstein 3Dzombie • zombie invasion

CONTRIBUTOR

Simon Perkins
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