[Zurück]


Vorträge und Posterpräsentationen (mit Tagungsband-Eintrag):

F. Kayali, M. Pichlmair:
"Playing Music and Playing Games - Simulation vs. Gameplay in Music-based Games";
Vortrag: F.R.O.G. - Vienna Games Conference 2008, Wien; 17.10.2008 - 19.10.2008; in: "F.R.O.G. - Vienna Games Conference", Phaidra, Universität Wien, Wien (2008), 12 S.



Kurzfassung deutsch:
Dieses Paper beschreibt Aspekte der Simulation in musikbasierten Spielen.

Kurzfassung englisch:
When hearing the term `simulation´, most players would instinctively think about driving, flying, or sports games. In advertisements, this class of games boasts about its realism. Steven Poole highlights a different quality of sports video games when he asserts that the "... modern sports game is no longer a re-creation of an actual sport so much as it is a re-creation of viewing that sport on television." (Poole, 2000). He argues that sports video games primarily simulate the presentational layer of sports. While they simulate many aspects of a sport with dedicated game mechanics, those always trail the audiovisual realism. Analogue, athleticism-, skill- and experience-based bodily movements are mapped to a digitally controllable, accessible representation in a game-world (see Kayali & Purgathofer 2007). This mapping necessarily results in a reduction of complexity. At the same time the visual representation successfully emulates the - similarly `flat´ and reduced - televised reality. The same holds true for music-based games. There, the simulation of the setting, style and presentation of music is much more usual than authentically modelling a specific instrument in software. In other words: Guitar Hero (Harmonix Music Systems, 2005) simulates a live recording of a rock concert, rather than it simulates playing guitar.

Schlagworte:
Simulation, Music-based games, Game Design, Interaction Design

Erstellt aus der Publikationsdatenbank der Technischen Universität Wien.