| Ambrosetti, F. (n.d.). Urban Terror 2.6 released. June 2, 2006, http://www.gamershell.com/news/4383.html. |
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| Added by: Mark Grimshaw 02 Jun 2006 05:49:23 UTC |
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| "Well Silicon Ice Development, the team behind Urban Terror, a great Q3 realism mod, has announced the release of the beta version 2.6 this Saturday November 9, 2002." |
| Corner, J. (1992). Presumption as theory: 'realism' in television studies. Screen, 33(1), 97–102. |
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| Added by: Mark Grimshaw 28 Mar 2006 11:02:36 UTC |
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| There is a realism of form -- "staging, directing, acting, shooting and editing" -- and a realism of theme -- "plausibility of characterization, circumstance and action" |
| Mentions a further emotional realism based on Ien Ang's Watching Dallas book which is "deep-level resonances with the emotional organization of the viewer" |
Defines two initial types of realism as they relate to television:
1. Verisimilitude: being like the real.
2. Reference - being about the real. |
| Doane, M. A. (1980). Ideology and the practice of sound editing and mixing. In T. de Lauretis & S. Heath (Eds.), The Cinematic Apparatus (pp. 47–56). London: Macmillan. |
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| Last edited by: Mark Grimshaw 24 Feb 2006 09:11:15 UTC |
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| "The ineffable, intangible quality of sound requires that it be placed on the side of the emotional or the intuitive. If the ideology of the visible demands that the spectator understand the image as a truthful representation of reality, the ideology of the audible demands that there exist simultaneously a different truth and another order of reality for the subject to grasp." |
| "In the arguments over sound perspective, 'realism' (as an effect of the ideology of the visible) is viewed as conflicting with intelligibility". |
| Spoken words reveal directly the psychological interior revealing the character on screen. While image can do this, sound is more direct. Image is best at defining the exterior (i.e. visible realism) whereas sound best defines the interior (i.e. psychological realism). |
| Law, C. (n.d.). Urban Terror! GameSpy June 2, 2006, http://archive.gamespy. ... ghts/urbanterror_a.shtm. |
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| Added by: Mark Grimshaw 02 Jun 2006 07:33:41 UTC |
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| Bot Killer: "Ever since we were kids we all have imagined what it would be like to be on an elite team of Navy Seals, or a deadly group of angry terrorists. Now with the power of id Software's Quake III engine, Silicon Ice Development will be capable of making a more realistic environment than anything ever seen before in a total conversion. Our goal is to make a fast pace, action packed, brand spankin' new, totally realistic, gore-covered, super mod." |
| GottaBeKD: ""Urbanites" will get lost in the reality of it all. From the beautiful present day locations to the frighteningly real models, there will be tons of things working together to give our players that action fix that they all need." |
| WU: "Urban Terror is a total conversion that aims to achieve the realistic sense of suspense and action that real life situations would provide. Although its primary inspiration is realism, we are not forgetting the community we are developing for." |
| Dokta8: "The science fiction theme of Quake is replaced by conventional weapons and urban landscapes. Gameplay is also enhanced to add more detail and realism to the gaming experience. By enhanced I mean that there will be more to winning a round than simply fragging opponents with a rocket launcher as weapons respond differently when you are running or crouching, and at long or short ranges. Skill and strategy plays an increasingly important part in Urban Terror." |
| McMahan, A. (2003). Immersion, engagement, and presence: A new method for analyzing 3-D video games. In M. J. P. Wolf & B. Perron (Eds.), The Video Game Theory Reader (pp. 67–87). New York: Routledge. |
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| Last edited by: Mark Grimshaw 14 Jul 2006 10:50:30 UTC |
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Defining realism as one of the factors of immersion/presence, McMahan describes two parts of it: social realism and perceptual realism.
She extends Fencott (1999)'s work and his argument that, because presence relies on perception (which is a mental rather than sensory/tactile state), increased presence derives from increased field of view and a strong sense of foreground and background. Fencott has derived Perceptual Opportunities which include:
- Sureties -- indicators, signs, architectural detail
- Shocks -- polygon leaks, poor design - anything which detracts from presence and indicates that this is merely a game
- Surprises -- nonpredictable details that are a part of the virtual world's logic and design. 3 types of surprises
- Attractors - tempt the user to do something.
- Connectors -- similar to sureties in helping the user's orientation.
- Retainers -- make the user "linger and enjoy" parts of the environment.
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| PainBerry. (n.d.). Realism: Is it possible in any quake game? June 2, 2006, http://planetquake.game ... rials.Detail&id=110. |
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| Added by: Mark Grimshaw 02 Jun 2006 07:43:14 UTC |
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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!" |
| Youngblood, G. (1970). Expanded cinema. London: Studio Vista. |
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| Last edited by: Mark Grimshaw 05 Mar 2006 11:41:49 UTC |
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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." |
