Réflexions sur les jeux avec sucre en poudre, poivre en grain… et un peu de vitriol.
D’où viennent les genres de jeux vidéo et à quoi servent-ils ? Ce chapitre présente les fonctions et les dynamiques des genres vidéoludiques à travers ses trois catégories d’utilisateurs : la production (entreprises et équipes de développement de jeux), la distribution (éditeurs et commerçants) et la réception (critiques et journalistes,
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Few home video game consoles have had such an impact on the video game industry as the Nintendo Entertainment System (NES). Released in the United States in 1985, it revived the market after the video game industry crash of 1983. This encyclopedia entry details its history, covering its design process,
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Nintendo released the Super Famicom in 1990 in Japan and the Super Nintendo Entertainment System (SNES) in 1991 in North America and 1992 in Europe. Its release allowed Nintendo to successfully counter the PC-Engine in Japan and to mitigate the success of the SEGA Genesis in North America during a
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This issue of Kinephanos seeks to address game promotion and representation at the point of sale and wider advertising contexts. Its papers discuss the intersection of promotion with many different perspectives, from audience expectations and game experience to the history of games, globalization and feminism, to film aesthetics, authenticity and gamification.
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Most other accounts declare the Super NES the undisputed victor of the “16-bit console wars” of 1989–1995. In this book, Dominic Arsenault reminds us that although the SNES was a strong platform filled with high-quality games, it was also the product of a short-sighted corporate vision focused on maintaining Nintendo’s
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Technological innovation in the video games industry is a rich area of research that has barely been explored as of yet. It is usually taken for granted in game historiography that “[g]ame graphics were, and to a large extent still are, the main criteria by which advancing video game technology
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