Breaking The Stack: Understanding Videogame Animation through Tool-Assisted Speedruns

IF 0.3 2区 艺术学 0 FILM, RADIO, TELEVISION
Madison Schmalzer
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引用次数: 1

Abstract

This article examines the ways videogames become animated by looking at gaming practices that subvert traditional notions of play: specifically tool-assisted speedruns (TAS). A TAS is a playthrough of a videogame that is preprogrammed by a human so that the inputs can be automatically played back in full without a human operator. This practice requires an intimate knowledge of the inner workings of gaming systems, often to the point of productively breaking the games through glitches and exploits. These extreme practices give a unique insight into the ways animation occurs within videogames and reveals games to be animated in a variety of ways that are often not primarily directed towards the visual nor humans. This article outlines four of these modes of animation separating them into multi-tiered ‘layers of animation’: sensory output, game states, code, material, and operator. TASs help to demonstrate these layers are actually discrete forms of animation that do not necessarily impact one another from becoming individually animated.
打破堆栈:通过工具辅助的Speedruns理解电子游戏动画
本文通过观察颠覆传统游戏概念的游戏实践,特别是工具辅助速跑(TAS),来研究视频游戏的动画化方式。TAS是一种由人类预先编程的视频游戏,因此输入可以在没有人工操作的情况下自动完整播放。这种做法需要对游戏系统的内部工作有深入的了解,通常可以通过故障和漏洞有效地破坏游戏。这些极端的做法让我们对视频游戏中动画的发生方式有了独特的了解,并揭示了游戏的动画化方式多种多样,而这些方式往往不是主要针对视觉或人类的。本文概述了其中四种动画模式,将它们分为多层“动画层”:感官输出、游戏状态、代码、材质和操作符。TAS有助于证明这些层实际上是离散形式的动画,它们不一定会因单独设置动画而相互影响。
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来源期刊
Animation-An Interdisciplinary Journal
Animation-An Interdisciplinary Journal FILM, RADIO, TELEVISION-
CiteScore
0.70
自引率
25.00%
发文量
19
期刊介绍: Especially since the digital shift, animation is increasingly pervasive and implemented in many ways in many disciplines. Animation: An Interdisciplinary Journal provides the first cohesive, international peer-reviewed publishing platform for animation that unites contributions from a wide range of research agendas and creative practice. The journal"s scope is very comprehensive, yet its focus is clear and simple. The journal addresses all animation made using all known (and yet to be developed) techniques - from 16th century optical devices to contemporary digital media - revealing its implications on other forms of time-based media expression past, present and future.
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