Surveying the Frontier: Subjective Rendering and Occlusion in Open-World Westerns

The last decade has seen open-world design transform the western genre in video games by recentering land as a thematic and mechanical component. As a description of both environment design and gameplay, open worlds offer highly interactable spaces, made coherent by narrative despite limited spatial...

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Bibliographic Details
Main Author: Miner, Joshua (Author)
Format: Electronic Article
Language:English
Check availability: HBZ Gateway
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Published: [publisher not identified] [2020]
In: Gamevironments
Year: 2020, Volume: 12, Pages: 1141-143
Standardized Subjects / Keyword chains:B Open-World-Spiel / Western film (Film) / Video game / Subjectivity / Game / Course of
IxTheo Classification:AD Sociology of religion; religious policy
ZB Sociology
ZG Media studies; Digital media; Communication studies
Further subjects:B Occlusion
B gamevironments
B Open World Video Games
B Subjective Rendering
B Culling, Settler Digitality
B Indigeneity
Online Access: Volltext (kostenfrei)

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520 |a The last decade has seen open-world design transform the western genre in video games by recentering land as a thematic and mechanical component. As a description of both environment design and gameplay, open worlds offer highly interactable spaces, made coherent by narrative despite limited spatial linearity. A subjective camera that constructs the player’s perspective aids in this coherence. This article examines subjective rendering, a modality of image synthesis that focalizes the player’s shared decision-making with rendering algorithms, arguing that this dynamic in open-world westerns configures the player’s view of Indigenous bodies and objects. Subjective rendering techniques, particularly occlusion and simplification methods that remove geometry from view, reorganize gamic vision and limit how developers can complicate the in-built ways of seeing through the renderer. Occlusion then becomes both a principle of open-world design and a technical metaphor for examining how rendering structures exploration and possibility. This raises the stakes for gamic environments in westerns: both game and player determine how a shifting landscape that is so central to the conflict between settler and Indigenous figures materializes. Alternate approaches to these questions introduce interesting claims about the logic of settler digitality, a function of the algorithmic grammar of mainstream video games. Ultimately, renderers are cultural engines, not objective ones 
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