evolution of technology and 3d games - jess magnus

8/9/2019 Evolution of Technology and 3D Games - Jess Magnus

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How has the evolution of technology affected the

development of 3D games?

Jessica Magnus

Extended Essay.

BA Hons! "ames A#t and Design.

$o#wich %nive#sity of the A#ts& '()*.


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How has the evolution of technology affected the development of 3D games?

A+st#act

,his #epo#t conside#s va#ious elements within the histo#y of the games indust#y that can +e

significantly #elated to the development of 3D games. 3D #efe#s to +oth the illusion of 3D when

displayed two dimensionally& and fo# mo#e #ecent games the use of 3D modeling to c#eate th#ee

dimensional g#aphics. -ince the fi#st 3D game& develope#s have st#ived to evolve games and have

achieved this in va#ious ways. ,he a#eas that a#e explo#ed within this essay& include /latfo#m0&

Dist#i+ution0& 1mme#sion in te#ms of /#esence0 and "#aphics0 and how these have all ultimately

shaped 3D games and playe# expe#ience. ,his #epo#t examines specific points of technological

development in histo#y and #elating this towa#ds pa#ticula# games that stand out as

g#ound+#ea2ing at the time of thei# #elease. -ome of the games conside#ed include Tearaway Media

Molecule& '()3! fo# use of the platfo#m the /- ita& L.A. Noire ,eam Bondi& '())!& with its use of

Motion-can technology& Assassins Creed: Black Flag %+isoft& '()3! fo# its g#aphical development&

Grand Theft Auto 5 4oc2sta# $o#th& '()3!& with its imp#ovements into a#tificial intelligence and

Forza 5 ,u#n )(& '()3! fo# +oth its g#aphical evolution and development into new featu#es within its

a#tificial intelligence. ,he #esea#ch will conclude into loo2ing at the possi+ilities fo# 3D games in the

futu#e and what we can expect +oth as playe#s and develope#s& with #efe#ence to ,he 5a#m 6)0sgame Get !en ,he 5a#m 6)& '()6! and thei# cu##ent use of the 3D scanning technology& ,ho#s2an.

7)8


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9:$,E$,-

A+st#act /age )

9ontents /age '

,a+le of 1llust#ations /age 3

1nt#oduction /age *

9hapte# ); /latfo#m and dist#i+ution. /age 6

9hapte# '; 1mme#sion& p#esence and g#aphics evolution. /age ))

9hapte# 3; 1nnovation& p#esence and the playe# expe#ience. /age )6

9hapte# *;


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,a+le of 1llust#ations

5igu#e ). Media Molecule. '()3!. The "un # Tearaway "creen Ca$ture. Availa+le f#om;

http;>>tea#away.mediamolecule.com> 7Accessed )th $ov& '()3.8

/age @

5igu#e '. Media Molecule. '()3!. Back %anel &a'$le # Tearaway "creen Ca$ture.

Availa+le; http;>>tea#away.mediamolecule.com> 7Accessed )th $ov& '()3.8

/age @

5igu#e 3. "9ha#t. '()3! Glo(al )ardware Tools. Availa+le f#om;

http;>>www.vgcha#t.com> 7Accessed )st Jan '()*.8

/age =

5igu#e *. ,he E-A. '()3!. "A# *" )ouseholds %latfor'. Availa+le f#om;

http;>>www.theesa.com>facts>pdfs>esaef'()3.pdf 7Accessed ) st Jan '()*.8

/age =

5igu#e 6. "amasut#a. '()3!. +ost ,nteresting New +arkets for -e!elo$ers. Availa+le f#om;

http;>>www.gamasut#a.com>view>news>)=6*(> 7Accessed ) st Jan '()*.8

/age C

5igu#e @. ,om+ 4aide#. '()3!. The Ti'e Line of Lara Croft. Availa+le f#om;

http;>>www.sc'sea.com>showth#ead.php?t=)6( 7Accessed )( th $ov& '()3.8

/age ))

5igu#e =. :ne $ews /age. '()3!. Assassins Creed /: Black Flag # 0(o& 1ne !s. 0(o& 234

Co'$arison. Availa+le f#om;

http;>>www.onenewspage.us>video>'()3))'>)6)6'(=>Assassin9#eedBlac2

5lagF+ox.htm 7Accessed )st Jan '()*.8

/age )'

5igu#e . Bette# 4eality. '()*!. Thorskan &a'$le ,'age. Availa+le f#om;

http;>>2ota2u.com>in'()6wemightfinallygetnextgenvisuals)*C6)3=)**

7Accessed th Jan '()*.8

/age )

738

http://www.onenewspage.us/video/20131128/1515207/Assassin-Creed-Black-Flag-Xbox.htmhttp://www.onenewspage.us/video/20131128/1515207/Assassin-Creed-Black-Flag-Xbox.htmhttp://www.onenewspage.us/video/20131128/1515207/Assassin-Creed-Black-Flag-Xbox.htmhttp://www.onenewspage.us/video/20131128/1515207/Assassin-Creed-Black-Flag-Xbox.htm


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Chapter 1 – Platforms and Distribution

:ne of the ea#liest 2nown video games that was developed in )C6'& was the digitied ve#sion of

$oughts and 9#osses 101 A.-. Douglas& )C6'!. ,his ea#ly game would have +een conside#ed

#evolutiona#y at the time& in the same way that the fi#st 3D game was& 2- +onster +aze Evans&

)C)! that was developed Lust ove# 3( yea#s late# in )C) istve#se& '()(!. 1n those 3( yea#s game#s

saw the #elease of hund#eds of games& with the li2es of "$acewar 4ussell& )C@'!& %ong Ata#i& )C='!

and %ac'an $amco& )C(!. Each one was diffe#ent and innovative due to the evolution of

ha#dwa#e. $ow in '()*& almost 3( yea#s since that fi#st 3D game& developments in technology have

allowed games to g#ow at a phenomenal #ate


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9Figure .;

:the# elements include using the +ac2 touch pad& which allows the playe# to touch0 inside the

game and cause a di#ect impact within the game wo#ld& th#ough finge# movements demonst#ated in

Figure 7.

9Figure 7.;

Tearaway Media Molecule& '()3! is Lust one example of a game availa+le fo# a specific console.


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num+e# of othe# platfo#ms availa+le& which a#e all p#oducing ve#y diffe#ent games& which can +e

seen in Figure 2.

9Figure 2.;

,his cha#t& #ep#esentative of sales figu#es f#om '((6 to '()*& does not necessa#ily #ep#esent playe#Ns

p#efe#ence fo# a means of playing and it does not show all platfo#ms. $eve#theless it does #ep#esent

some of the many consoles cu##ently availa+le to playe#s and the#efo#e can +e an indication of how

many types of games a#e availa+le. 5o# example& consoles such as F+ox :ne and /-* will have mo#e

5i#st /e#son -hoote# games +ecause of its ha#dwa#e& compa#ed to the 3D-& which as a $intendo

p#oduct has mo#e family f#iendly games such as +ario =art $intendo& C')3!.

9Figure /.;

5#om Figure / we can see a mo#e gene#al ove#view of the platfo#m ma#2et. Along with consoles& ahigh pe#centage of playe#s game on thei# pe#sonal home compute# /9!. 1n cont#ast to the typical

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console o# hand held system& the /9Ns p#ocessing powe# has allowed even g#eate# development

within games& pa#ticula#ly in #efe#ence to g#aphics and the sie of games li2e the sie of game

wo#lds!. Most comme#cial games a#e availa+le on /9 +ecause of this.

:ne technological development that has g#eatly affected /9 games is +ecause of the company

alve. alve is the company +ehind )alf#life 6>al!e "oftware< ??@8< Left / -ead 6>al!e "outh< 744@8

and %ortal 6>al!e "oftware< 7448


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1ndie develope#s a#e now +ecoming a maLo# pa#ticipant within the indust#y and ma#2et. ,he #ise of

the indie has +een st#ongly #elated to the evolution of the mo+ile platfo#m


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Chapter 2: Immersion, presence and graphics evolution.

9onside#ing the va#ious effects of technological developments& +oth in te#ms of content and visuals&

we can Kuestion how the a+ility to p#esent #ealistic& +elieva+le0 wo#lds has affected the playe#0s

expe#ience of the 3D game. ,he te#m imme#sion0 is often th#own a#ound as #elating to the idea of a

+elieva+le0 wo#ld. ,he#e can +e games with a #ealistic wo#ld and atmosphe#ic sounds and yet

imme#sion is not achieved0 B#own& 9ai#ns. '()3!& the#efo#e what is meant +y imme#sion?

1n games& imme#sion is +#o2en down into th#ee levels& engagement0& eng#ossment0 and total

imme#sion0 Jennett& '((!. ,hese th#ee levels outline how Nimme#sionN #efe#s to a pe#son +eing so

intensely involved with a game that they shut out the outside wo#ld completely and feel compelledto continue playing.


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As it stands& 3D games have #eached a pinnacle point in development& #ecent times have seen the

technical and a#tistic sophistication of games g#ow to an amaing deg#ee0 ,avino#& '((C!. ,his

g#owth in technology can +e seen in next gene#ation ha#dwa#e& #ecently in home consoles& which

has allowed fo# companies to c#eate stunning games and show the possi+ilities fo# imp#oving

games +y upg#ading g#aphics. -ee Figure .

9Figure .;

Figure shows a compa#ison +etween Assassins Creed: Black Flag %+isoft Mont#eal& '()3! g#aphics

on diffe#ent consoles. %+isoft has added in new featu#es within the game& such as the new play style

and plot that consists of playing as a pi#ate on a flag ship!& and +ecause of this new plot the game

includes an extensive amount of wate#. ,h#ough the detail of the wate#& we see that a g#eat deal of

time and effo#t has +een put into the g#aphics compa#ed to p#evious games in the f#anchise. ,he

F+ox :ne has fa# g#eate# components within it that allows fo# these +ette# g#aphics& demonst#ated

in Figure . :ne can see the cont#ast +etween the two ve#sions and how the capa+ilities of consoles

have d#amatically changed& as the most #ecent instalment compa#ed to p#evious games in the se#ies

is of much highe# detail.

Anothe# example demonst#ating this is the Forza +otors$ort series ,u#n )(& (6)3! f#om ,u#n )( & a

f#anchise that noticea+ly concent#ates on g#aphics& pa#ticula#ly with its cu##ent #elease Forza 5 ,u#n

)(& '()3! as ,u#n )( places an emphasis on Kuality ove# Kuantity fo# its nextgen dQ+ut0 4o+inson&

'()3!. ,he ma#2eting +uild up a#ound the #elease was heavily concent#ated on the Kuality of detail

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and g#aphics in the game& illust#ated +y #epo#ts and a#ticlesP even the gameNs #elease t#aile# included

the ph#ase actualin game footage0 5o#a 6& '()3!. An 1"$ video #eview shows a compa#ison

+etween Forza / ,u#n )(& '())! and Forza 5 compa#es the g#aphics and o+vious advancement in the

level of detail in the latest instalment compa#ed to its p#edecesso# 1"$& '()3!. ,he video outlines

how a lot of attention on the new #elease seemed to +e focused on its g#aphics and ,u#n )(0s desi#e

to inc#ease game +elieva+ility& something often st#ived fo# in #acing games.

,hese two examples demonst#ate companies and develope#s that a#e placing a lot of emphasis on

the games appea#ance and a#e almost playing it safe0 with how they develop content. Howeve#&

with the development of the next gene#ation consoles and othe# ha#dwa#e& +oth now and in the last

few yea#s& we can see a change in the indust#y. -ome develope#s choose to step away f#om this

safety of updating g#aphics. ,he#e a#e develope#s that a#e using availa+le technology to attempt to

c#eate innovative and cuttingedge games.

,his can +e seen with an ea#lie# example of the '()) game L.A. Noire ,eam Bondi& '())!. -ince the

+eginning of video games the games indust#y has d#eamed of c#eating one thing a+ove all else a

game that is indistinguisha+le f#om a filmO


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L.A. Noire ,eam Bondi& '())! was a maLo# example of the use of motion captu#e in games. ,he

technology offe#ed such a new level of imme#sion to gameplay0 B#oughall& '()(! that many

+elieved at the time of #elease that it would +e the futu#e fo# games. $eve#theless& having +een

#eleased in '())& facial motion captu#e and Motion-can itself is still not widely used in games. 1t

was also noted that the#e we#e some issues +ehind the technology& as Motion-can only captu#ed

that of the movement of the face& when coupled with the +ody animation that is c#eated th#ough

no#mal #igged animation the #esults we#e Ludged as Kuite stiff and unnatu#al Rin/oole& '())!&

causing the playe# to feel disconnected f#om the illusion which was c#eated th#ough #ealistic facial

animation.

/laye#s0 expectations continue to #ise and thei# demand fo# animation as clea# and detailed as the

facial animation of L.A. Noire ,eam Bondi& '())! fo# the enti#e +ody is the next step fo# 3D games

5#eeman& '())!. 9ompanies such as Sauntic D#eam commented on Motion-can +eing a dead end0

"oldman& '())!& and so stated thei# movement towa#ds full +ody animation captu#e was the next

step.

As g#aphics and technology of this type continue to g#ow we can #elate this +ac2 to the idea of

p#esence th#ough the inc#ease in g#aphics& +elieva+ility in the game and the p#og#ession of cha#acte#detail allows the playe# to feel mo#e involved and connected to the game wo#ld. ,echnology& such

as Motion-can has aimed to c#eate N3D appealN& and ove#come the +attle that game designe#s face of

showing #ealistic 3D games th#ough the +a##ie# of the 'D sc#een 9handle#& '())!. Even though

Motion-can has not +een used in any othe# p#oLects except L.A. Noire & some companies a#e using 3D

motion captu#e technologyP ,en'* have used facial captu#e fo# c#eating va#ious faces within )alo /

3*3 1ndust#ies& '()'! ,en'*.info& '()*!. As it stands& the idea of 3D motion captu#e is a

phenomenal step fo#wa#d in 3D as it c#eates #ealistic and p#og#essive games& +ut fo# now the

technology may not +e +eing used in all games +ut can +e whe#e it is seen to fitP it is howeve# most

definitely a step fo#wa#d towa#ds g#aphically outstanding 3D games B#oughall& '()(!.

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Chapter 3 Innovation, presence and the pla!er e"perience.

:the# developments in technology also have fu#the# cont#i+utions to add to the idea of p#esence.

/laye#s must +elieve in the featu#es and #eactions of the game wo#ld itself to have g#eate#

+elieva+ility. /hysics in games #efe#s to simulating the laws of physics Hol2o#n& '((!& such as the

law of g#avityP physics can +e seen in ea#ly games such as %ong Ata#i& )C='!. /hysics in the o#iginal

%ong a#e imp#essive. 1t shows well displayed geomet#y physics. But in todayNs video games& physics

a#e +ecoming inc#easingly #ealistic0 Millions& n.d.!. /a#ticula# a#eas of physics development include

elements such as wate#& lighting and g#avityP we can see this in the game Assassins Creed: Black Flag

%+isoft Mont#eal& '()3!& whe#e the advances in technology have allowed the wate# within the

game to +e g#eatly alte#ed and imp#oved. Most games now have #ealistic physics within the wo#ld&

such as convincing Lumps and falls& and even featu#es such as #ain and fog& +uilding upon the

playe#s +elieva+ility in the wo#ld and the#efo#e the playe#s feeling of p#esence.

:the# featu#es that add to p#esence include the aspect of A#tificial 1ntelligence o# A1. A1 can +e

defined as the a+ility of a compute# o# othe# machine to pe#fo#m actions thought to #eKui#e

intelligence0 ,he5#eeDictiona#y.com& '()*!& and the collective att#i+utes of a compute#& #o+ot& o#

othe# mechanical device p#og#ammed to pe#fo#m functions analogous to lea#ning and decision

ma2ing0 ,he5#eeDictiona#y.com& '()*!. ,he fi#st definition defines A1 as a machine ca##ying out

human tas2s& howeve# the second definition is mo#e useful in unde#standing the element of A1 in

games& as A1 adds #ealistic and intelligent +ehaviou#0 within game wo#lds 4esea#ch.mic#osoft.com&

'()*!. 1t has al#eady +een stated that the #ecent instalment of the Forza +otors$ort series ,u#n )(& (6

)3!& Forza 5 ,u#n )(& '()3!& placed a g#eat deal of emphasis on the g#aphics in the game& seemingly

not adding anything else to the gameplay. Howeve#& they have in fact implemented new mechanics

to c#eate a whole new expe#ience in #acing games +y ma2ing the A1 of othe# ca#s in a #ace seem li2e

actual #eal life playe#s ,-A& '()3!& something that has not +een made clea# in its ma#2eting. ,he A1

system 2nown as D#ivata#s0 analyses the playe#Ns d#iving ha+its and play style to c#eate an A1

competito# modelled f#om this data to #ace against Evans,hi#lwell& '()3!.


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Anothe# example is the massive glo+al success Grand Theft Auto 5 4oc2sta# $o#th& '()3! which has

also imp#oved the A1 in compa#isons to p#evious games of the se#ies. 5o# example& the $on

/laya+le 9ha#acte#s $/9s! a#e made to seem as if they a#e actually living within thei# game

wo#lds0 Hic2s& '()3!. :the# featu#es include when a playe# #etu#ns to a save point& they find thei#

cha#acte# in a diffe#ent location o# activity to whe#e they we#e left. ,his allows the playe# to +elieve

that thei# cha#acte# has +een continuing to liveN independently. ,his not only allows the playe# to

have a g#eate# +elieva+ility in the game itself& +ut also gives them an emotional connection and

attachment to the game +y ma2ing it appea# that thei# cha#acte#s live and +#eathe as they do. :the#

featu#es include female $/9s will get Tne#vousT if you follow them too closely0& and othe# elements

such as +eing a+le to Nt#ic2N police office#s +y hiding in +ushes o# du#ing a ca# chase tu#ning of you#

lights and pa#2ing Hic2s& '()3!.

i2e the small gestu#es that can +e detected f#om the facial captu#e within L.A. Noire ,eam Bondi&

'())! < these a#e all slight adLustments that we as playe#s a#e conscious of as they #elate to aspects of

eve#yday life. 1t has ta2en some time fo# these featu#es to appea# in gamesP +efo#e this& such

elements we#e not possi+le due to the lac2 ha#dwa#e capa+ility. ,hey may seem small

imp#ovements& +ut they ma2e the playe# feel mo#e comfo#ta+le and at ease in the game. ,hese

developments in ha#dwa#e we#e not evolved pu#ely to c#eate +ette# imme#sion& g#aphics and

+elieva+ility& +ut have ultimately achieved this. ,he p#eviously discussed games all demonst#ate

how this g#owth has c#eated innovative games that a#e ultimately affecting the playe# expe#ience.

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Chapter # – $hat Can $e %"pect in the &uture'

"ames a#e changing. $ow that games have #eached a once unthin2a+le level of detail& filled with

na##ative twists and mechanical ploys& we can see how some companies a#e ta2ing on newchallenges in an attempt to ta2e games even fu#the#. 5o# most games this includes content& g#aphics

and mechanics. But games a#e g#owing in othe# ways& develope#s a#e aiming to c#eate o#iginal&

#adical and even a#tistic games.


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:the# ventu#es within 3D scanning include the&

/olish company Bette# 4eality& who do effects wo#2 fo# adve#tise#s and HollywoodO who

have developed a piece of technology called ,ho#s2an. 1tNs designed to scan #eal

envi#onments then #ec#eate them in 3D... the NtechN has +een +uilt fo# and is +eing used +y

studios li2e '(th 9entu#y 5ox0 /lun2ett& '()*!.

Figure @ demonst#ates the technology ,ho#s2an& which allows fo# you to c#eate stunning #ealistic

envi#onments pu#ely f#om the photog#aphs>scans ta2en.

9Figure @.;

At this time within the games indust#y& we can see this technology slowly +eing implemented into

games. ,he technology has +een used +y the company ,he 5a#m 6) fo# thei# futu#e #elease& Get

!en ,he 5a#m 6)& '()6!. As the game is made with softwa#e gene#ated g#aphics and ,ho#s2an& the

game demonst#ates that the the +o#de# +etween the two loo2s li2e itNs dissolving0 /lun2ett& '()*!.

,he game is desc#i+ed as actually loo2ing next gen0 /lun2ett& '()*! and ce#tainly demonst#ates

how 3D scanning could +e a g#eat possi+ility fo# the futu#e of games. Howeve#& the technology also

could indicate how the #ole of the 3D a#tist within games could change& conside#ing that thei# #ole

may ultimately +e o+solete if the use of NtechN such as ,ho#s2an +ecomes common use.


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#ealistic goal. Because of this not only can we suggest that the content of games will change& +ut also

the way in which we play games& as mentioned th#ough diffe#ent types of consoles such as the

:culus 4ift& and ideas li2e how Mic#osoft envisages t#ansfo#ming the playe#sN #oom into an

imme#sive gaming envi#onment0 BB9 $ews& '()'!& th#ough technology such as 3D scanning.

As it stands this is Gthe most exciting time to +e in the games indust#y Jac2son& '()*!. ,echnology

is g#owing #apidly which is having an effect +oth on the la#ge# comme#cial ma#2et +ut also within

the independent ma#2et. G-uddenly eve#ything doesnNt loo2 the same Jac2son& '()*! in games and

this is the hope fo# the futu#e. $ot only can we expect inventive content and g#aphics +ut also

games that go +eyond typical conventions& such as with the idea of Na#t gamesN& as a#t games a#e

#apidly detou#ing 7-198 mainst#eam game expectations0 9atlow and "a##ett et al.& '()(!. ,his could

+e g#eatly due to the cu##ent developments in digital dist#i+ution& new consoles& and nondi#ect

ha#dwa#e +eing used +y indiesN& allowing them to Gmove away f#om the identification of a game#

Jac2son& '()*!& such as how mo+ile platfo#m games now have a wide# ta#get audience such as olde#

female playe#s.

7)C8


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Conclusion.

"ames have changed d#amatically and th#ough thei# histo#y we can see specific tu#ning points that

show games +eing p#og#essive and #evolutiona#y. Examples that have +een outlined within this

essay a#e Lust a few developments that define the cu##ent changes in 3D game c#eation. Even with

the va#ious examples shown it can +e said Gif games we#e cinema we would still +e in the silent e#a

Jac2son& '()*!. 9lea#ly& the#e a#e still so many possi+ilities fo# games that have yet to +e #ealised&

we can see new types of games appea#ing +oth in te#ms of content and style. 1t is impo#tant to

conside#& the mass p#oduction of games and the indust#ial p#ocess that ma2es thei# p#oduction

possi+le& since +oth thei# aesthetic fo#m and thei# consumption a#e influenced +y this ove#a#chingst#uctu#e0 Egenfeldt$ielsen and -mith et al.& '()3!& meaning that many la#ge mainst#eam games

a#e often Kuite simila# in fo#mat +ecause of the st#uctu#e of the indust#y. Howeve# with the #ecent

g#owth of indie develope#s the#e is the capacity to c#eate games to go +eyond the conventions of the

mainst#eam ma#2et. As some of the examples show& the#e a#e attempts within the ma#2et to

expe#iment and c#eate a#tistic and o#iginal games. 5u#the# changes can +e seen with indie titles as

without this ove#a#ching st#uctu#e0 f#om the mass p#oduction of games0 Egenfeldt$ielsen and

-mith et al.& '()3!& indie games continue to develop new and o#iginal content. Develope#s have

many choices to ma2e in thei# games and it is the hope that they will choose to continue c#eating

f#esh and innovative games to test the +ounda#ies of what is possi+le.


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Bi+liog#aphy

(oo)s9atlow& 4.& "a##ett& M. and Mo#gana& 9. '()(. Artists re:thinking ga'es. ive#pool; 5A9,

5oundation fo# A#t and 9#eative ,echnology!.

9atlow and "a##ett et

al.& '()(!

Egenfeldt$ielsen& -.& -mith& J. H. and ,osca& -. /. '()3!. *nderstanding >ideo Ga'es. $ew

Ro#2& $.R.; 4outledge.

Egenfeldt$ielsen and

-mith et al.& '()3!

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http://www.oxm.co.uk/62293/forza-5s-ai-is-much-more-engaging-than-anything-youll-see-in-another-racing-game/http://www.oxm.co.uk/62293/forza-5s-ai-is-much-more-engaging-than-anything-youll-see-in-another-racing-game/http://www.escapistmagazine.com/news/view/108932-Heavy-Rain-Dev-Calls-L-A-Noires-MotionScan-Tech-a-Dead-End#TY2jYoC2lrEsM2yp.99http://www.escapistmagazine.com/news/view/108932-Heavy-Rain-Dev-Calls-L-A-Noires-MotionScan-Tech-a-Dead-End#TY2jYoC2lrEsM2yp.99http://www.computerandvideogames.com/435831/gta-v-sales-near-29-million-in-six-weeks/http://www.creativeplanetnetwork.com/dcp/news/photo-grammetric-fight-club/44053http://www.wired.com/design/2013/12/monument-valley-a-gorgeous-game-thats-like-an-m-c-escher-come-to-life/http://www.wired.com/design/2013/12/monument-valley-a-gorgeous-game-thats-like-an-m-c-escher-come-to-life/http://www.wired.com/design/2013/12/monument-valley-a-gorgeous-game-thats-like-an-m-c-escher-come-to-life/http://www.oxm.co.uk/62293/forza-5s-ai-is-much-more-engaging-than-anything-youll-see-in-another-racing-game/http://www.oxm.co.uk/62293/forza-5s-ai-is-much-more-engaging-than-anything-youll-see-in-another-racing-game/http://www.escapistmagazine.com/news/view/108932-Heavy-Rain-Dev-Calls-L-A-Noires-MotionScan-Tech-a-Dead-End#TY2jYoC2lrEsM2yp.99http://www.escapistmagazine.com/news/view/108932-Heavy-Rain-Dev-Calls-L-A-Noires-MotionScan-Tech-a-Dead-End#TY2jYoC2lrEsM2yp.99http://www.computerandvideogames.com/435831/gta-v-sales-near-29-million-in-six-weeks/http://www.creativeplanetnetwork.com/dcp/news/photo-grammetric-fight-club/44053http://www.wired.com/design/2013/12/monument-valley-a-gorgeous-game-thats-like-an-m-c-escher-come-to-life/http://www.wired.com/design/2013/12/monument-valley-a-gorgeous-game-thats-like-an-m-c-escher-come-to-life/


25/28


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