In the transformation of the global games industry, the possibilities of games as a site for artistic and independent experimentation along with exploration have blossomed. As gaming has become increasingly mainstream, it has at the same time fostered innovative forms of new media practice that merge media arts and game art. This can be witnessed in the mounting divergence and contestant around what constitutes digital art both within and outside of the gaming industry. Parallel to the shifting notion of new media, gaming as an art form has evolved to encompass both interactive and non interactive genres.
Indeed, much of game art precariously straddles the two worlds of new media and contemporary art, occupying a satellite discourse that has the capacity to critique and challenge both worlds. In a period marked by convergence, gaming has emerged with and informed as well as networked social media. Given these changes, one is left to ask: what is the art of gaming? Game art? What are the differences and overlaps between game art, new media art and contemporary art? How does gaming change how we define and conceptualize new media? And what does gaming change how we define and conceptualize new media? What does new media mean anyway? New media calls for a new stage in media theory whose beginnings can be traced back.
Game studies is interdisciplinary and draws from variety of traditions such as sociology, anthropology, computer science, visual culture, media and communication, arts, puzzles etc. The realm of Web 2.0 has had a major impact not only on how games are played and shared but also upon how notions of community, collaboration, identity and authorship are conceptualized and practicised. This in turn has complicated how digital art, game art and new media are defined along with where the boundaries exist between the three areas.
The gaming experience is a general term referring to what users experience and evaluate with respect to graphics, sound, story structure, character design, scoring, various levels, number of players and other categories that fall under what it is like to play the game. In other words functional satisfaction or lack of thereof users obtain from the game is referred to as game play. Differences in product attributes exist between offline and online games and the central tension from the fact that an online game is a type of modified offline game architecture with community identity added to the gaming experience. On the flip side, community is a product attribute particular to online games that creates a sense od solidarity, camaraderic and satisfaction amongst users via communication, competition and other forms of interaction. Many user communities such as guilds, clans and alliances have been formed in online games. These communities facilitate gameplay of new members and strengthening a sense of unity for community members is critical to generating quality extended game play and this retaining players over the long term. Offline games usually involve one or two or more players vying against a preser program while online games feature a massive number of users engaged in mutual warfare or cooperation. A majority of offline game players play slowly and deliberately. But it is different with online game players. They engage in speedy game play via communicating, chatting or interacting with other users, rapidly increasing their experience rate. Online gamers cooperate and compete with other users.
In online services payment for rendering services instead of payment for software is the main source of revenue. Users of online games are required to pay a connection fee to access and play the game. With the partial pay model of item sales, users pay for their server connection through making in game item purchases. If a server connection fee is not paid consistently in the form of item purchases or on subscription basis, users of online games are typically unable to connect to the server or cannot play the game smoothly or to theory full satisfaction. Of course, online games require the fame to be installed or the application to be installed, usually by downloading the client from the internet. But this does not necessarily constitute a sale. It is merely exchange of information. With online games, once users are secured, a continuous stream of revenues are generated. The strength of communities formed within the game is one of the determining factors for the success of online games and this leads us to the key difference.
The most booming and user attracting industry, now days is Gaming. If you make a hit, you are in for forever, but a miss will not give you chance to coming back to the field. With the advancing market and limited budget, its competitive to deliver the outstanding quality on this platform
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Mavens TCL is Best & Top Online Gaming Solutions Company providing services in India, USA, UK, Canada, Australia, Argentina, Egypt, Brazil, South Africa, Cyprus, Ireland, Sweden, France, Netherlands, Switzerland, Singapore, HongKong, Spain, Italy and Worldwide