Ambrosetti, F. Urban Terror 2.6 released. . Retrieved June 2, 2006,
Added by: sirfragalot 02 Jun 2006 07:49:23 Europe/Copenhagen
"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."
Blesser, B., & Salter, L.-R. (2007).
Spaces speak, are you listening? Experiencing aural architecture. Cambridge, Massachusetts: MIT Press.
Added by: sirfragalot 12 Feb 2014 16:37:10 Europe/Copenhagen
A discussion on auditory spatial awareness. Conclusions, based mainly on case studies of blind people:
Auditory spatial awareness is a skill that must be learnt and is difficult to learn. Different aural cultures have different abilities and there is no one sensitivity to aural space; rather a group of independent sensory skills (some more aware of spatial volumes, others more aware of objects in that space). Controlled experiments showing humans have give auditory spatial awareness should be treated with care as they are artificial and, in testing one spatial factor, usually remove other potentially confusing factors.
Bouchard, S., St-Jacques, J., Robillard, G., & Renaud, P. (2008). Anxiety increases the feeling of presence in virtual reality.
Presence: Teleoperators and Virtual Environments, 17(4), 376–391.
Added by: sirfragalot 25 Sep 2018 16:28:33 Europe/Copenhagen
Suggest that there is a limit to the linear equation between increasing sophistication of immersive technology/level of realism and development of presence.
Chion, M. (1994).
Audio-vision: Sound on screen C. Gorbman, Trans. New York: Columbia University Press.
Added by: sirfragalot 27 Apr 2016 08:51:48 Europe/Copenhagen
"Of two war reports that come back from a very real war, the one in which the image is shaky and rough, with uneven focus and other "mistakes," will seem more true than the one with impeccable framing, perfect visibility, and imperceptible grain. In much the same way for sound, the impression of realism is often tied to a feeling of discomfort, of an uneven signal, of interference and microphone noise, etc."
Corner, J. (1992). Presumption as theory: 'realism' in television studies.
Screen, 33(1), 97–102.
Added by: sirfragalot 28 Mar 2006 11:02:36 Europe/Copenhagen
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.
Crawford, C. (1997). The art of computer game design. Retrieved January 28, 2008, from
http://www.vancouver.ws ... ame-book/Coverpage.html
Last edited by: sirfragalot 29 Jan 2008 11:26:59 Europe/Copenhagen
"...a game is a closed formal system that subjectively represents a subset of reality."
Darley, A. (2000).
Visual digital culture: Surface play and spectacle in new media genres. London: Routledge.
Last edited by: sirfragalot 05 Nov 2006 11:59:08 Europe/Copenhagen
Claims that the idea of producing realism has dominated the computer image industry/research since the late 1970s. Realism is defined as the degree of resemblance to real-world objects with, for images, photography being the yardstick.
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.
Last edited by: sirfragalot 24 Feb 2006 09:11:15 Europe/Copenhagen
"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).
Ekman, I. 2005,
Meaningful noise: Understanding sound effects in computer games. Paper presented at Digital Arts and Cultures, Kopenhagen.
Last edited by: sirfragalot 14 Oct 2008 01:21:01 Europe/Copenhagen
To be diegetic, game sound must be considered real in the context of the story.
A game sound that is a diegetic referent, references or signifies something real inside the game.
Ellis, S. R. (1996). Presence of mind: A reaction to Thomas Sheridan's "further musings on the psychophysics of presence".
Presence: Teleoperators and Virtual Environments, 5(2), 247–259.
Last edited by: sirfragalot 26 Jul 2018 10:46:56 Europe/Copenhagen
In suggesting that interface performance in virtual environments can be improved by decreasing presence, Ellis suggests removing or controlling the realism of spatial information.
Flach, J. M., & Holden, J. G. (1998). The reality of experience: Gibson's way.
Presence: Teleoperators and Virtual Environments, 7(1), 90–95.
Last edited by: sirfragalot 11 Sep 2018 17:21:24 Europe/Copenhagen
"the reality of experience (i.e. presence or immersion)."
Re Gibson, "action takes precedence. The experience depends more on what can be "done" than on the quality of visual or acoustic images."
"in the design of experiences in virtual environments the constraints on action take precedence over the constraints on perception."
IJsselsteijn, W. A., Freeman, J., & de Ridder, H. (2001). Presence: Where are we?
Cyberpsychology & Behavior, 4(2), 179–182.
Last edited by: sirfragalot 11 Sep 2018 17:19:40 Europe/Copenhagen
Presence is "an illusory shift in point of view"
The illusion of "being there" in a virtual environment is enhanced by "more accurate reproductions and/or simulations of reality."
Law, C. Urban Terror!
GameSpy, . Retrieved June 2, 2006, http://archive.gamespy. ... ghts/urbanterror_a.shtm
Added by: sirfragalot 02 Jun 2006 07:33:41 Europe/Copenhagen
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.
Last edited by: sirfragalot 01 Feb 2018 15:16:24 Europe/Copenhagen
realism as one of the factors of immersion/presence, McMahan describes two parts of it: social realism and perceptual realism. She extends Fencott's (1999) 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.
PainBerry. Realism: Is it possible in any quake game? . Retrieved June 2, 2006,
http://planetquake.game ... rials.Detail&id=110
Added by: sirfragalot 02 Jun 2006 07:43:14 Europe/Copenhagen
"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!"
Ribbens, W., & Malliet, S. (2010). Perceived digital game realism: A quantitative exploration of its structure.
Presence: Teleoperators and Virtual Environments, 19(6), 585–600.
Last edited by: sirfragalot 17 Oct 2018 13:57:35 Europe/Copenhagen
"whether a media text is perceived as realistic [...] is important because research suggests that user perceptions can be better predictors of behavioral outcomes than the features of the medium itself"
"rule-based characteristics of an electronic game count as better contributors to its overall reality impression than its audiovisual characteristics. The three most important factors [...] were simulational realism, freedom of choice, and character involvement. Graphical aspects such as perceptual pervasiveness or narrative aspects such as authenticity accounted for a substantially smaller amount of the explained variance."
Has a different take on authenticity than might be expected – one that is subjective rather than objective (i.e. the shotgun in Terminator is not objectively authentic but might be subjectively perceived as authentic).
Schafer, D. M., Carbonara, C. P., & Popova, L. (2011). Spatial presence and perceived reality as predictors of motion-based video game enjoyment.
Presence: Teleoperators and Virtual Environments, 20(6), 591–619.
Added by: sirfragalot 17 Oct 2018 12:03:18 Europe/Copenhagen
Interactivity is the starting point in the chain of variable relationships "which then proceeds to influence perceived reality and presence. Perceived reality then also predicts presence, which in turn leads to enjoyment."
Shilling, R., Zyda, M., & Wardynski, E. C. 2002, November 30
Introducing emotion into military simulation and videogame design: America’s Army: Operations and VIRTE. Paper presented at GameOn, London.
Last edited by: sirfragalot 19 Dec 2010 06:19:33 Europe/Copenhagen
"A flat recording is not only emotionally flat; it also sounds unrealistic
(Yewdall, 1999). Instead, flat recordings [in AA:O] were mixed with other explosive sounds to compensate for the weaknesses of the reproduction media." Yewdall, D. (1999). Practical Art of Motion Picture Sound. Boston, MA: Focal Press.
Snow, B. (2009) Realistic game audio has us pining for beeps of yesteryear.
ars technica, . Retrieved March 20, 2009, http://arstechnica.com/ ... c-punch-to-the-face.ars
Added by: sirfragalot 20 Mar 2009 05:39:27 Europe/Copenhagen
A quote from Scott Steinberg: "Modern titles accurately replicate recognizable sounds such as gunfire or screeching tires,".
Youngblood, G. (1970).
Expanded cinema. London: Studio Vista.
Last edited by: sirfragalot 05 Mar 2006 11:41:49 Europe/Copenhagen
"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."