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Three-dimensional games are an indispensable tool in education and cultural transmission, offering users immersive experiences that facilitate learning through engagement and direct experience. The aim of this study was to design and implement an advanced cutscene sequencer in Unity 3D, targeted at educational and cultural games, to assist game developers in producing cinematic interludes, which are a key narrative element in games. The project methodology encompassed a detailed process of planning, design, and implementation. This involved the comprehensive use of various tools, including Unity 3D for game development, C# for scripting, Visual Studio for integrated development, Git for version control, Blender for 3D modeling, Substance Painter for texturing, and Audacity for audio editing. These tools collectively facilitated the development of a robust cutscene sequencer system designed to create engaging and dynamic narrative scenes. The project's results indicate that the use of an advanced sequencer can significantly impact the efficiency and creativity of the game and educational material creation process, offering developers the opportunity to explore practically unlimited viewing perspectives. This tool enables the creation of rich and diverse visual experiences, which is crucial for engaging and educating players. [ABSTRACT FROM AUTHOR]

Three-dimensional games are an indispensable tool in education and cultural transmission, offering users immersive experiences that facilitate learning through engagement and direct experience. The aim of this study was to design and implement an advanced cutscene sequencer in Unity 3D, targeted at educational and cultural games, to assist game developers in producing cinematic interludes, which are a key narrative element in games. The project methodology encompassed a detailed process of planning, design, and implementation. This involved the comprehensive use of various tools, including Unity 3D for game development, C# for scripting, Visual Studio for integrated development, Git for version control, Blender for 3D modeling, Substance Painter for texturing, and Audacity for audio editing. These tools collectively facilitated the development of a robust cutscene sequencer system designed to create engaging and dynamic narrative scenes. The project’s results indicate that the use of an advanced sequencer can significantly impact the efficiency and creativity of the game and educational material creation process, offering developers the opportunity to explore practically unlimited viewing perspectives. This tool enables the creation of rich and diverse visual experiences, which is crucial for engaging and educating players.

The article explores the challenges to (media) consumerism posed in the indie action game Hotline: Miami (Dennaton Games, 2012). Hotline deconstructs not only indulgence associated with violent gaming but also its main nostalgic interest--the cultural era of the 1980s--through a ludification of excess. I will aim to demonstrate this through an analysis of the game's "procedural rhetoric" (Bogost) and narrative structure. Overwhelming the player's senses with intense audiovisuals, and explicitly confronting her motivations for participating in extreme violence, the game balances the game experience between a trance-like state of indulgent overexposure and metaleptic commentary. The sensory overload is also sharply contrasted with the level of precision necessary to complete the levels, bending the adrenaline-pumping core of the gameplay towards mechanics more common in stealth-based games. The system of in-game rewards and the overall narrative structure further complicate the purposefulness of player acts, questioning the teleology of gore in gaming and subverting the conventional notion of video game violence as entertainment. As I will argue, the metaludic commentary destabilizes the game through irony, relativizing the player's commitment to it. In so doing, it makes Hotline: Miami a prime example of "dissonant development" (Dyer-Witheford and De Peuter), a game that manages to both sweep the market and challenge its basic premises as an entertainment medium. [ABSTRACT FROM AUTHOR]

Although basketball games have received broad attention, the forms of game reports and webcast are purely content-based cross-media: texts, videos, snapshots, and performance figures. Analytical narrations of games that seek to compose a complete game from heterogeneous datasets are challenging for general media producers because such a composition is time-consuming and heavily depends on domain experts. In particular, an appropriate analytical commentary of basketball games requires two factors, namely, rich context and domain knowledge, which includes game events, player locations, player profiles, and team profiles, among others. This type of analytical commentary elicits a timely and effective basketball game data visualization made up of different sources of media. Existing visualizations of basketball games mainly profile a particular aspect of the game. Therefore, this paper presents an expressive visualization scheme that comprehensively illustrates NBA games with three levels of details: a season level, a game level, and a session level. We reorganize a basketball game as a sequence of sessions to depict the game states and heated confrontations. We design and implement a live system that integrates multimedia NBA datasets: play-by-play text data, box score data, game video data, and action area data. We demonstrate the effectiveness of this scheme with case studies and user feedbacks. [ABSTRACT FROM PUBLISHER]