Reflection:

As I reflect my journey of research on the topic of stylized art, I think this journey has expanded my understanding on this topic a lot. I think I realized more of its potential and application in the gaming industry.

My journey began with my curiosity and interest on stylized art: what makes it so captivating? How they made it? How it is developed? These question let me trace the history of video game and how stylized art developed.

Stylized art favour exaggerated features, vibrant colours. This style can evoke emotions and create memorable experience while providing a unique identity to a game.

I consider the knowledge gained from this study to be the cornerstone of my future endeavors. Whether from the perspective of designing games, art directing, or critiquing and analyzing games, this study on stylized game art will be invaluable. I envision applying these concepts to create unique gaming experiences or contribute to discussions about the future direction of gaming art.

As I finished this chapter of my research, I realized that my journey on stylized game art has just began. I think this field is ever-evolving, with new technologies and ideas emerging and developing. There’s a lot for me to explore and learn. I’m looking forward to use what I learned in theory on real life application. I wish one day to use my skill to contribute to the vibrant world of stylized art.

Afterall, this research meant more for me than just an academic study. This research makes me see more possibilities and makes me more passionate about stylized game art. I think there’s a bright future in this field and I want to be part of it.

Full Draft:

Introduction

1. Realistic art in video games can bring players a fast and strong sense of immersion. exp: Horizon 2, “The Last of Us 2″ and Red Dead Redemption 2

2. The cost is expensive

3. Player’s equipment not good. Stylized art demand less.

4. Stylization is a term that has evolved with the development of digital games.

5. Explore the history of video game and study the role of art and aesthetics in video games.

6. Why some artists still prefer stylized aesthetics rather than solely focusing on achieving hyper-realistic representations in modern era?

Literature review

1. Järvinen (2009) stated that with the advancements in audiovisual technology, caricaturists have presented an alternative to photorealism as well.

2.According to Understanding Video Games: the essential introduction, the focus of stylized art is the exaggeration of a person or an object’s most prominent features (Egenfeldt-Nielsen et al. 2013).

3.Patrick Wyatt (2012), former producer and lead programmer at Blizzard, expounds upon the rationale behind the choice of stylized art for World of Warcraft. He states that the vibrant and resplendent visual landscape of the game was deliberately adopted to differentiate it from contemporaneous counterparts that predominantly employed a more realistic and restrained colour scheme, thus enabling World of Warcraft to carve a distinct market for itself.

4.E.H. Gombrich explains that artists during the post-impressionist era purposefully use distortions in physique within their art to emphasise their artistic intentions.

Methodology

1. literature review of the historical progression and evolution of digital games.
2. case study on renowned game designer Jenova Chen. Chen’s exceptional ability to achieve both artistic and commercial success offered valuable perspectives for this research.
3. Examining the benefits of stylized arts from the actual creation of stylized art, this examination aims to reinforce previous points on the benefits of stylized arts.

1.Development of stylized art

1.1 Evolution of digital games

1.70s a marked the infancy of video games, and technological limitations greatly limited the graphical capabilities of gaming systems.

2. the 80s that art started to develop (Bethke, 2003). Artists like Shigeru Miyamoto managed to create the iconic art of Donkey Kong and Mario (Roger, 2014). Game developers needed to effectively present a unique and simplified art style within the limitations of the limited graphics capabilities of the time.

3. All in all, the prevalence of stylized game art in the early days was largely driven by the technological limitations of the time. This period in gaming history is a testament to the ingenuity of developers who managed to create timeless classics with the limited resources available to them.

1.2 Contemporary application of stylized art in Digital Games

1. The current mainstream games are 3D games, which can be traced back to the application of 3D technology in video games in the 1990s.

2. 1990s, the emergence of more powerful game consoles and computers, photorealism was gradually adopted by more and more people.

3. why some companies continue to favor stylized game development when today’s hardware allows games to run more realistically than they did in the 1970s?

4. Realism is not the only determinant of a game’s success or appeal (Mevada, 2023).
5. Historically, in game development, stylization choices have contributed to a variety of strategic considerations, such as brand identity, artistic vision, and even market demand. (World of Warcraft, Minecraft, Ashes, and Overwatch are known for their unique stylized art that has become part of their brand identity.)

6. The preference for stylized games is a testament to the multi-faceted nature of the gaming industry, where artistic expression, innovation and market dynamics all play a vital role in shaping the interactive entertainment landscape.

2. The advantage of stylized art in game design

2.1 How Jenova Chen use stylized art in his game 

1.Jenova Chen is an influential figure in video game design, known for her unique gaming aesthetic and use of stylized art.

2.Using beautiful graphics, engaging scenes or stories, and gameplay and missions that encourage interaction, players can achieve unique interdependent and helping relationships, teaching us how to get along with others and ourselves, and ultimately achieving emotional healing (Clark, 2010)

3.Chen’s cross-cultural background leads him to think deeply about games as an art form, ultimately creating games that bring transformative experiences to people.

4.As an important medium for Chen’s artistic expression, stylized art shows great potential in terms of emotional communication and artistic value.

2.2 How Jenova Chen use stylized art to create a positive interaction for players 

1.Chen’s gaming style is often characterized by simplicity and harmonious visuals.

2.In “Sky”, cold colors are the main color of the environment, while the player’s is bright orange – the sharp contrast between the two colors is more conducive to highlighting the player’s important position in the game. Flower uses a vibrant, ever-changing color palette to reflect the mood and narrative progression of the game.

3. Jenova Chen’s game aesthetic and stylized artistic approach are characterized by emotional depth, minimalism, and a harmonious blend of visual elements and game mechanics.

3. Stylized art’s creation

The challenge of stylized game art is how to effectively convey the unique characteristics of an asset, environment, or character to the player while utilizing fewer intricate details.

Conclusion:

1.stylized art makes the style of the game more unique

2. stylized art typically requires fewer polygons, which makes it less demanding on hardware

3. stylized art can also enhance the image of a gaming brand in addition to being an aesthetic preference.

4. Stylized art is extensively utilised and widely embraced in the realm of video games.

5. As technology continues to advance, it can be expected that there will more innovative and visually stunning video game art in the future.

Bibliography:

Introduction

1. Realistic art in video games can bring players a fast and strong sense of immersion. exp: Horizon 2, “The Last of Us 2″ and Red Dead Redemption 2

2. The cost is expensive

3. Player’s equipment not good. Stylized art demand less.

4. Stylization is a term that has evolved with the development of digital games.

5. Explore the history of video game and study the role of art and aesthetics in video games.

6. Why some artists still prefer stylized aesthetics rather than solely focusing on achieving hyper-realistic representations in modern era?

Literature review

1. Järvinen (2009) stated that with the advancements in audiovisual technology, caricaturists have presented an alternative to photorealism as well.

2.According to Understanding Video Games: the essential introduction, the focus of stylized art is the exaggeration of a person or an object’s most prominent features (Egenfeldt-Nielsen et al. 2013).

3.Patrick Wyatt (2012), former producer and lead programmer at Blizzard, expounds upon the rationale behind the choice of stylized art for World of Warcraft. He states that the vibrant and resplendent visual landscape of the game was deliberately adopted to differentiate it from contemporaneous counterparts that predominantly employed a more realistic and restrained colour scheme, thus enabling World of Warcraft to carve a distinct market for itself.

4.E.H. Gombrich explains that artists during the post-impressionist era purposefully use distortions in physique within their art to emphasise their artistic intentions.

Methodology

1. literature review of the historical progression and evolution of digital games.
2. case study on renowned game designer Jenova Chen. Chen’s exceptional ability to achieve both artistic and commercial success offered valuable perspectives for this research.
3. Examining the benefits of stylized arts from the actual creation of stylized art, this examination aims to reinforce previous points on the benefits of stylized arts.

1.Development of stylized art

1.1 Evolution of digital games

1.2 Contemporary application of stylized art in Digital Games

2. The advantage of stylized art in game design

2.1 How Jenova Chen use stylized art in his game 

2.2 How Jenova Chen use stylized art to create a positive interaction for players 

3. Stylized art’s creation

Conclusion:

1. stylized art makes the style of the game more unique

2. stylized art typically requires fewer polygons, which makes it less demanding on hardware

3. stylized art can also enhance the image of a gaming brand in addition to being an aesthetic preference.

4. Stylized art is extensively utilised and widely embraced in the realm of video games.

5. As technology continues to advance, it can be expected that there will more innovative and visually stunning video game art in the future.

Bibliography:

Research Objective 

The purpose of this research is to analyse the application of stylized art design in video games.

Academic research on visual aesthetics is relatively limited, as most studies examining video games tend to focus more on gameplay.

Since MoMA announced in 2012 to set video games as a new category of artwork with a selection of video games, there is no doubt video games can be seen as art mediums.

Like any other art medium with an entertaining purpose, such as film and animation, the art side of video games shouldn’t be overlooked, especially when video games rely heavily on graphic presentation to advertise and communicate to players.

This research aims to study the development of different genres of game aesthetics and their relation to fine art with the support of practical research.

The goal was to explain how stylized art design influences players’ experience and emotions attached to the game.

Draft:

Abstract:

1. Game community uses stylized art to refer to visual design that isn’t focused on achieving a photorealistic appearance.

2. Stylized art usually depicts and presents an object in a way that uses less detail and emphasises its features.

3. Stylized art is more like a concept that continues to evolve and update with graphics hardware development, and gradually forms its image in the game community and industry.

4. stylized art benefits greatly to the artistry and interactivity of games, and also provides unlimited potential in the future.

Keywords:

Stylized Art, Digital Game, Computer Graphic, Game Design, Branding

Content table draft:

Introduction

Literature review

Methodology

1.Development of stylized art

1.1 Evolution of digital games

1.2 Contemporary application of stylized art in Digital Games

2. The advantage of stylized art in game design

2.1 How Jenova Chen use stylized art in his game

2.2 How Jenova Chen use stylized art to create a positive interaction for players

3. Stylized art’s creation

Conclusion

Bibliography

What is a methodology in a research paper?

The methodology in a research paper, thesis paper or dissertation is the section in which you describe the actions you took to investigate and research a problem and your rationale for the specific processes and techniques you use within your research to identify, collect and analyse information that helps you understand the problem.

The methodology section of your research paper allows readers to evaluate the overall validity and reliability of your study and gives important insight into two key elements of your research: your data collection and analysis processes and your rationale for conducting your research. When writing a methodology for a research paper, it’s important to keep the discussion clear and succinct and write in the past tense.

What to include in a methodology

1. Restate your thesis or research problem. …
2. Explain the approach you chose. …
3. Explain any uncommon methodology you use. …
4. Describe how you collected the data you used. …
5. Explain the methods you used to analyze the data you collected. …

My methodology draft:

1. literature review of the historical progression and evolution of digital games.
2. case study on renowned game designer Jenova Chen. Chen’s exceptional ability to achieve both artistic and commercial success offered valuable perspectives for this research.
3. Examining the benefits of stylized arts from the actual creation of stylized art, this examination aims to reinforce previous points on the benefits of stylized arts.

I talk to Nigel this week. He gave me a lot helpful tips on how should I construct my essay and how should I improve it.

Notes:

Should be able to refer back to the question.

What is the advantage of using a stylized game? Help with the conclusion

Find more proof for the essay.

In conclusion I can say: well the advantage is this. This advantage is this.

Clearly saying to people about answering the question

If there’s any question that can’t be answered, just say it’s fair to assume this, however, further research is required to establish this.

Does the production process make it easier or cheaper? Why is it easier and cheaper? Why is it an advantage? Is it because it’s faster? Less heavy file?

First: make the definition of stylized art in the abstract better. Make sure better what stylized means. Need to find who made the term stylized or a company. How stylized game different from non-stylized games.

What advantage stylized art has in modern games. 

What advantage does it have?

Find proof and support for my conclusion.

What is the benefit of stylized art in modern games(contemporary digital game)?(title maybe)

Maybe the title could be:

Conclusion:

Although stylized game may have some disadvantage

Obvious one is not realistic, but it has other more advantages, more artistic and expressive. Can help with the narrative.

I want to include a case study of Genova Chen in my thesis. I really admire his work and his journey on game development. I think he achieve both business success and artistic success with his work. Also I’m interested in his non-binary theory in his game.

Here’s my notes

Information about Genova Chen:

As a co-founder, Chen Xinghan founded thatgamecompany game company, which has successively launched CLOUD, FlOw , FLOWER , JOURNEY and SKY . All these 5 excellent games that are artistic, caring and enhance players’ emotional experience.

In the process, Chen Xinghan set multiple records. FlOw was the most downloaded game on Sony PSN in 2007 and was collected by MoMA (New York Museum of Modern Art); FLOWER broke the PSN North American first-week download record and was collected by the Smithsonian American Art Museum (Washington, DC).

In 2013, JOURNEY won six awards including “Best Download Game”, “Best Visual Art”, and “Best Game Design” at the GDC Game Developers Conference. In the same year, it won the Grammy Award for Best Video Soundtrack. Nominated. In the end, JOURNEY won more than 180 awards and broke two Guinness records (the most awarded independent game in the world and the most acclaimed PS4 art game).

Compared with literature, painting and even movies, the history of games is not that long. But Chen Xinghan also regards games as artistic creation. He said: “Whether a game can be elevated from ‘popcorn’ to a ‘classic across the ages’, to me, is the key to making adults respect the game. A good work of art often has an emotional impact. After the audience, let the audience introspect and become their own growth.”

No matter what the subject matter is, from adventure to social interaction, the most distinctive feature of Chen Xinghan’s game works is “emotion”: using beautiful pictures, fascinating situations or stories, and gameplay and tasks that encourage interaction, players can achieve a unique The relationship of interdependence and help teaches us how to get along with others and ourselves, and ultimately achieve emotional healing.

Draft:

Main Body of Text

Is video game visual art important?

It is because the function of video games decides that the design for video games has to be highly interactive, and its primary focus, the art aesthetic for a game, sometimes is overlooked. Through research on the history of video games and debates on whether video games are art, it is clear that for the past fifty years, video games have achieved recognition in the world of popular art for their significant developments. MoMA announced in 2012 to set video games as a new category of artworks with a selection of video games and the intention to grow the number of their collection in the future (Antonelli, 2012). Though academic study usually focuses on technical issues in games. The art design in video games should be addressed.

Why is stylized graphics widely used?

Though not all video games are art, all of them are a business. And business requires efficiency. From the perspective of traditional art, stylization of art makes it easier for humans to observe the intention and emotion in an artwork. The common application of stylized art in this field may be that it has more advantages when it tells a story and conveys emotions to the players. Another reason is that video games usually have a fantasy or sci-fi background, such as Legend of Zelda (1986) and Final Fantasy 14 (2010). It is easier to use stylization to process a setting in a non-realistic sense. In this sense, the realism style may limit the approaches to mise-en-scene.

What are the key aspects of stylized art?

Modern real-time render games have a very complicated look. Players found themselves entering a new virtual space with an unfamiliar body in a digital environment with plants, water, and light. It seems that there are numerous factors that influence the visual aesthetic of video games. However, similar to the creation of traditional art, video game art can be broken down into simpler aspects to study. Various experiments have shown that shape and material are the primal factors that define how stylized artwork in the game looks. Studies from the game graphic production inspired the experiment methods will be conducted in this research. 

Conclusion

The application of stylized art in video games is considerably wide and common. Stylized artworks enhance a game’s aesthetic value, narrative, emotional involvement, virtuosity, and interactivity. With the development of technology, there are infinite possibilities to be explored in this field. Maybe in the future, it is through the art design of video games a new and distinctive kind of art will be born.

Literature Review Draft

There has been debate about whether video games can be viewed as art. Aaron Smuts (2005) states in his paper that though not all video games should not be considered art, several games have exceeded the majority of popular cinema. Though under the definition of fine art, video games may seem artistically insignificant. There’s no doubt that the art of video games has been given great importance. Grant Tavinor (2009) demonstrated that video games, though different from traditional artworks, are similar to many other forms of art. Like artworks, “they do have perceptual and formal structures that are the objects of an aesthetic and interpretive engagement in much the same way as other artworks. Games are created by talented individuals and groups who can garner a reputation for their creative exploits, and who we are in many cases tempted to call artists”(Tavinor, 2009, p.174). Tavinor’s point is significant because top-tier companies in the industry, like Nintendo and Square, often hire artists trained in this field to work. It is because of the work of artists that game aesthetics like Mario became a world phenomenon. This is significant because there are few in-depth studies about visual art from video games, and the phenomenon should inform that attention in this field is necessary. Tavinor’s statement also leads to the point that game art can be created and analysed through the perspective of traditional art.

So what are the visual genres of video games? A study in 2012 found Owen Demers, an award-winning art director with years of experience in the industry. He defined six visual genres of digital painting: realistic, hyper-real, stylized, simplified, graphic, and fantastic (Wu,2012). Though for most artists who generally divide video game visuals under the category of realistic and stylized, Demers’ genres of digital paintings seem too complicated.

     Image source:https://subscription.packtpub.com/book/game-development/9781785282140/1/ch01lvl1sec11/choosing-a-visual-style 

With the development of technology and sufficient budget, companies nowadays can produce realistic environments that capture the shape of reality. However, many major companies still use stylized art over realism. It seems strange because realism appears to work better in the way of bringing an immersive experience, which is essential. In Gombrich’s book on art history, he shows that during the post-impressionist era, artworks featured using visual distortion when representing objects and subjects. Such as Picasso, whose artwork is famous for its intentionally distorted physique. Though realism is ignored, the artistic process of reality brings out more of the artist’s intent (Gombrich, 1995). Gombrich’s view shows that perhaps intentionally done stylized art can help a game convey emotions to players more efficiently than realism. Also, video games usually have fantasy or sci-fi backgrounds. By using stylized visuals, it is easier to achieve the visual which realism cannot. Bordwell and Thompson commented on the German expressionist film The Cabinet of Dr. Caligari that the film uses stylization to present a madam’s fantasy, so the lack of realism in this film cannot be condemned (Bordwell & Thompson, 2001). Saito and Takahashi’s Comprehensible Rendering paper shows examples of how just changing contouring lines and material can present various effects for different fields (Saito & Takahashi, 1990). A study from 2015 also believed that shape and material are two of the most influential factors in defining how stylized characters look (Zell et al., 2015). Inspired by that, this research will thereby experiment based on comparing the material and shape and its effect on stylization design.

Why I choose stylized art as the focus of my research

I really want to be good at actually making stylized game asset, that is why I’m doing this study theoretically to enhance my understanding. Also I believe there’s a lot potential in stylized game art as well.

Notes on the history of the development of video game

In 1980, NAMCO launched the “Pac-Man” game that became popular around the world.
In 1983, the superstar “Nintendo FC” with global sales of 60 million units was officially launched. Needless to say, Nintendo’s FC’s status in the gaming industry goes without saying. Nintendo and its FC have given birth to a new culture – gaming culture.
In 1985, two of the most classic games in history were born: Tetris and Super Mario. All related versions of Super Mario have sold 540 million units. Subsequently, classic FC games appeared one after another, such as “Contra”, “Tank Battle”, “MapleStory”, “Street Fighter”, etc.
In 1988, the first CD-Rom-based “The Manhole” was released, laying the foundation for the popularity of CD-type games.
In 1989, Nintendo officially released the Game Boy portable game.
In addition to console games, arcade games also began to enter the “golden age” in the 1980s, reaching their peak in 1983. The aforementioned Pac-Man and Donkey Kong were both initially released on arcades. However, due to the impact of the “Atari Shock”, American arcades gradually declined, and the focus began to shift to Japan. In the late 1980s, TECHN S JAPAN released “Double Dragon”, becoming the ancestor of the scroll fighting game. In the same year, CAPCOM launched “Street Fighter”, the first fighting game.
In 1990, SEGA launched the Game Gear, the first handheld color game console. In 1994, another epoch-making electronic game console, the PlayStation, came out, completely overthrowing Nintendo’s 10-year dominance.
At the same time, on the PC platform, the emergence of “Wolfenstein 3D”, the originator of FPS games developed by idsoftware, created an unprecedented new game mode. Then in 1993, he created another game that changed the history of the game industry – “Doom”, which completely opened the era of first-person shooting games. Today’s 3D games are basically designed based on these classic games.
In 1994, Blizzard’s father appeared on the scene, and “Warcraft” became popular all over the world immediately after its launch. In the following years, Blizzard launched several “Warcraft” games one after another. Of course, when it comes to Warcraft, we have to mention the king of MMORPGs – “World of Warcraft”. “World of Warcraft” was released in 2004 and soon became the It became the production model of MMORPG. Later, the game mechanisms of many large-scale online games were made with reference to World of Warcraft. The release of these games directly established Blizzard’s dominance in the gaming field.
The new generation of game consoles and the era of online games
In 2000, Sony released the PlayStation 2, which directly dominated the entire game console market. In 2001, Microsoft also launched the XBOX console. For a while, game consoles were almost monopolized by Sony and Microsoft. However, Sony was not satisfied with the console market. In 2004, it launched another classic game handheld console-PSP. In the same year, Nintendo also launched an equally excellent handheld console – NDS, and later launched 3DS and Switch. The sales of these game consoles have reached tens of millions.
Around 2000, the rapid development of computer hardware led to a significant increase in Internet speed. Against this background, the era of online games arrived. Starting from the open beta of “Legend”, various online games began to explode. Major domestic manufacturers gradually switched from agent online games to self-developed online games. After a period of time, “Fantasy Westward Journey”, “Audition”, “Zhu Xian” were born one after another. “, “Dragon”, “DNF”, “Zhengtu”, “Bubble Hall”, “Kart Racing”, “League of Legends” and a large number of classic PC games. In addition to these “heavyweight” online games, there are also countless online casual chess and card games. Due to their wide coverage, the number of players is not inferior in comparison.

Draft for abstract and introduction

Abstract

It is controversial when it comes to the topic of whether video games can be art. One of the reasons may be that because the initial focus of a video game has always been its interactivity, the visual art in video games is overlooked. However, the art in video games is phenomenal and influential, which indicates perhaps the art aspect shouldn’t be ignored. Through analysis of the application of stylized art design in video games, this research suggests that stylized art contributes enormously to the aesthetic value and interactive experience of players. 

Key Words: stylization, game 3d graphic production, video games, art direction, traditional art.

Thesis structure

Nick gave an example of the structure of the thesis which I will follow in my thesis

• Title page

Possible title:

The Aesthetic and Functional Benefits of Stylized Art in Contemporary Digital Games

Stylized art in modern game

The application of stylized art in video game

• Abstract

A short overview on the definition of stylized art and why I chose it as my research project.

• Acknowledgements (Optional)

You may wish to acknowledge any significant contributions to the research from others

• Contents page(s)

1.Introduction- Why exploring the application of stylized art design in Video Games

2.A brief history of game graphic evolution

3.The foundation of traditional art in video games

4.The application of stylized art graphics in video games

5.Effects of stylized art design on video game narratives

6.Most influential factors defining the overall artstyle

7.Conclusion

• Introduction

As the development in the field of 3D graphics for video games moves forward with no intention to stop, one-day realistic rendering will become indistinguishable from the eye of a human. This research proposed that stylized art design should be more of a focus for an artist to grow individuality. The foundation of stylized game aesthetic design is closely related to traditional art, which transmits emotional complexity and explores more possibilities in visual storytelling. Thus, this research on the topic of stylized art in game design is necessary.

• Literature review

review list:

Antonelli, P., 2012. Video games: 14 in the collection, for starters. Inside/Out, 29. Available at: https://www.moma.org/explore/inside_out/2012/11/29/video-games-14-in-the-collection-for-starters/ (Accessed: November 27, 2022).

Collingwood, R.G., 1958. The principles of art (Vol. 11). Oxford University Press.

El-Nasr, M.S. and Yan, S., 2006, June. Visual attention in 3D video games. In Proceedings of the 2006 ACM SIGCHI international conference on Advances in computer entertainment technology (pp. 22-es).Available at: https://dl.acm.org/doi/abs/10.1145/1178823.1178849 (Accessed: November 27, 2022).

Final Fantasy XIV (2010). PC [Game]. Square Enix, Tokyo

Friedman, A., 2015. The role of visual design in game design. Games and Culture, 10(3), pp.291-305. Available at: https://dl.acm.org/doi/abs/10.1145/1178823.1178849 (Accessed: November 27, 2022).

Gombrich, E.H., 1995. The story of art (Vol. 12, pp. 155-159). London: Phaidon.

Mohr, A. and Gleicher, M., 2001, March. Non-invasive, interactive, stylized rendering. In Proceedings of the 2001 symposium on Interactive 3D graphics (pp. 175-178). Available at: https://dl.acm.org/doi/pdf/10.1145/364338.364392 (Accessed: November 27, 2022).

Saito, T. and Takahashi, T., 1990, September. Comprehensible rendering of 3-D shapes. In Proceedings of the 17th annual conference on Computer graphics and interactive techniques (pp. 197-206). Available at: https://dl.acm.org/doi/abs/10.1145/97879.97901 (Accessed: November 26, 2022).

Smuts, A., 2005. Are video games art?. Contemporary Aesthetics (Journal Archive), 3(1), p.6. Available at: https://digitalcommons.risd.edu/liberalarts_contempaesthetics/vol3/iss1/6/ (Accessed: November 26, 2022).

Tavinor, G., 2009. The art of videogames. John Wiley & Sons.

The Legend of Zelda (1986). NES [Game]. Nintendo, Kyoto

Touhou Project (1997). PC [Game]. Team Shanghai Alice, Tokyo.

Wu, Y., 2012. The style of video games graphics: analyzing the functions of Visual styles in storytelling and gameplay in video games (Doctoral dissertation, Communication, Art & Technology: School of Interactive Arts and Technology). Available at: https://summit.sfu.ca/item/12529 (Accessed: November 26, 2022).

Zell, E., Aliaga, C., Jarabo, A., Zibrek, K., Gutierrez, D., McDonnell, R. and Botsch, M., 2015. To stylize or not to stylize? The effect of shape and material stylization on the perception of computer-generated faces. ACM Transactions on Graphics (TOG), 34(6), pp.1-12. Available at: https://dl.acm.org/doi/abs/10.1145/2816795.2818126 (Accessed: November 26, 2022). 

• Methodology

• Themed topic chapters

• Results/or Findings

• Conclusions

• Reference list

• Bibliography

• Image list

  

• Appendices