Virtual Character Design for Games and Interactive Media

in terms of their presentation and performance, the virtual characters that appear in games today can be extremely complex and lifelike. These are characters that have the potential to make a powerful and emotional connection with gamers. As virtual characters become more intricate and varied, there is a growing need to examine the theory and practice of virtual character design. This book seeks to develop a series of critical frameworks to support the analysis and design of virtual characters.

[1]  M. Knapp,et al.  Nonverbal communication in human interaction , 1972 .

[2]  J. Baudrillard.  Simulacra and Simulation , 1981 .

[3]  S. Lawler.  Identity: Sociological Perspectives , 2007 .

[4]  Johan Höglund,et al.  Electronic Empire: Orientalism Revisited in the Military Shooter , 2008, Game Stud..

[5]  G. Maio,et al.  The Psychology of Attitudes and Attitude Change , 2015 .

[6]  Mike Wayne,et al.  TELEVISION NEWS AND THE SYMBOLIC CRIMINALISATION OF YOUNG PEOPLE , 2008 .

[7]  James D. Ivory,et al.  The virtual census: representations of gender, race and age in video games , 2009, New Media Soc..

[8]  Isaac V. Kerlow,et al.  Interactive entertainment , 1995, SIGGRAPH '95.

[9]  André Brock.  ‘‘When Keeping it Real Goes Wrong’’: Resident Evil 5, Racial Representation, and Gamers , 2011, Games Cult..

[10]  Rocksteady studios.  Batman. Arkham asylum : jeu vidéo , 2009 .

[11]  D. W. Fiske.  Consistency of the factorial structures of personality ratings from different sour sources. , 1949, Journal of abnormal psychology.

[12]  David M. Halperin.  Saint Foucault: Towards a Gay Hagiography , 1995 .

[13]  Mike Searle.  Dragon Age: Origins , 2009 .

[14]  R. E. Christal,et al.  Recurrent personality factors based on trait ratings. , 1992, Journal of personality.

[15]  Patricia S. Mann.  Gender Trouble: Feminism and the Subversion of Identity , 1992 .

[16]  Annie Penfield,et al.  The Half-Life , 2013 .

[17]  P. Ekman.  Unmasking The Face , 1975 .

[18]  Mark Grimshaw,et al.  Facial expression of emotion and perception of the Uncanny Valley in virtual characters , 2011, Comput. Hum. Behav..

[19]  Ed Hooks,et al.  Acting for Animators , 2001 .

[20]  L. R. Goldberg,et al.  Some determinants of factor structures from personality-trait descriptors. , 1989, Journal of personality and social psychology.

[21]  Adrienne Shaw,et al.  Do you identify as a gamer? Gender, race, sexuality, and gamer identity , 2012, New Media Soc..

[22]  Robin J. S. Sloan,et al.  Choreographing emotional facial expressions , 2010, Comput. Animat. Virtual Worlds.

[23]  W. Bainbridge.  Star Wars Galaxies , 2011 .

[24]  Joseph Campbell,et al.  The Hero with a Thousand Faces , 1949 .

[25]  Jason Osipa.  Stop Staring: Facial Modeling and Animation Done Right , 2003 .

[26]  Alan Malek,et al.  “Orientalism - Western Conceptions of the Orient” , 2012 .

[27]  Rob B. Briner,et al.  Changing Moods: The Psychology of Mood and Mood Regulation , 1996 .

[28]  Eszter Bohus.  Assassin's Creed III , 2013, SIGGRAPH Computer Animation Festival.

[29]  Amanda Powell.  Mass Effect 2 , 2010, SIGGRAPH '10.

[30]  David M. Newman.  Sociology: Exploring the Architecture of Everyday Life , 1995 .

[31]  L. Mulvey.  Afterthoughts on ‘Visual Pleasure and Narrative Cinema’ inspired by King Vidor’s Duel in the Sun (1946) , 1989 .

[32]  R. Plutchik.  The psychology and biology of emotion , 1994 .

[33]  Melanie Phillips,et al.  Dramatica: A New Theory of Story , 2004 .

[34]  Jean Newlove,et al.  Laban for All , 2003 .

[35]  Robert Zubek,et al.  MDA : A Formal Approach to Game Design and Game Research , 2004 .

[36]  David Freeman,et al.  Creating emotion in games: the craft and art of Emotioneering#8482; , 2003, CIE.

[37]  Timothy V. Schafer.  Better Game Characters by Design: A Psychological Approach , 2006 .

[38]  Rudolf Kremers.  Level Design: Concept, Theory, and Practice , 2009 .

[39]  Nicole Fruehauf.  Flow The Psychology Of Optimal Experience , 2016 .

[40]  Katie Salen,et al.  Rules of play: game design fundamentals , 2003 .

[41]  Jesse Schell,et al.  The Art of Game Design: A book of lenses , 2019 .

[42]  Nathaniel D. Poor.  Digital Elves as a Racial Other in Video Games , 2012, Games Cult..

[43]  Nikki Sullivan.  A Critical Introduction to Queer Theory , 2003 .

[44]  Brian Mcnair.  Striptease Culture: Sex, Media and the Democratisation of Desire , 2002 .

[45]  R. Plutchik.  Emotions and Life: Perspectives from Psychology, Biology, and Evolution , 2002 .

[46]  L. Sherby.  Journey , 2009 .

[47]  Adam W. Ruch.  Grand Theft Auto IV , 2012, Games Cult..

[48]  P. White.  Appraisal Theory , 2015 .

[49]  Naughty dog,et al.  The last of us : jeu vidéo , 2013 .

[50]  Edward T. Hall,et al.  A System for the Notation of Proxemic Behavior1 , 1963 .

[51]  Anthony W. Clare,et al.  On Men: Masculinity in Crisis , 2001 .

[52]  J. Bachorowski.  Vocal Expression and Perception of Emotion , 1999 .

[53]  Vít Šisler.  Digital Arabs , 2008 .