Start coding your own Flappy Bird game in Greenfoot now and have fun! You can use the knowledge and skills you have acquired to create your own games and explore more advanced game development concepts. You can further enhance the game by adding more features such as scoring, sound effects, and different levels of difficulty.īy following this tutorial, you have gained valuable experience in game development and Java programming. You have implemented pipes that are added to the screen and move across it. In this tutorial, you have learned how to create a Flappy Bird game in Java using the Greenfoot framework. We will also call the updateGameState method to check for collision with the bird and end the game if necessary. In the act method of the FlappyBirdGame class, we will call the spawnPipes method to spawn pipes at regular intervals.
'iAm' is an online short-film editing engine that generates pseudo-infinite instances of a same story.Public class FlappyBirdGame extends World This artistic artefact can be considered a working prototype that serves as a proof of a concept. Its artistic aim is to point out the relationship between humans and machines by letting the software make decisions during the editing process. The technical implementation becomes an experiment to test the importance of narrative patterns and structures of specific ways to formalise a story, while at the same time it questions the idea of final cut, authorship and finished work.
It is a multidisciplinary project that involves UX design, software development and film shooting. The artefact becomes a formalization of several ideas. A critical approach to video editing interfaces. Standards are important to set up bridges of communication. Standardised protocols such as language or other means of codes, common ways of interaction and a global infrastructure, are needed for the creation of a global society. In the 1930s, Otto Neurath pioneered with the isotype the progressive development and use of icons in our culture. The aim was to create a standard visual language that would be international and easy to understand for anyone. In the field of technology, the popularization of icons was done by Xerox and Apple in the early 1980s. Since then, Graphical User Interface (GUI) and the field of User Experience (UX), have been growing constantly. It is well known that metaphors used in the first personal computers helped to reduce the gap between analog and computational environments. This historical moment was important for the adoption of technologies by a large audience that was mostly familiar with analog processes instead of using computation. GUI allows visual exploration of possibilities and characteristics of the applications. Most of those interfaces are visually appealing and the use metaphors that relate to the cultural, economic and political systems from where they belong (Lakoff 2003) and are conceived to address a specific audience.
Since the turn of the 21 st century, online video has been popularized due to an increasingly higher bandwidth, better compression codecs and the popularization of technologies like Macromedia Flash and, more recently, HTML5. Platforms like Vimeo (2004) and YouTube (2005) have fostered the presence of audiovisual documents in the net. Today's media content is mostly produced, distributed and viewed in a digital environment and uses standardized metaphors and icons that we all recognize. Analogous standards had an influence on the terminology used in software and were translated into the new environment (Echeverria 1999). The logics used in analog cinema and video editing worked perfectly in this new environment, but they are not exhaustive. Mainstream software such as AVID, Adobe Premiere or Apple FinalCut allow to easily understand the principles of editing in real life analog mechanics. However, expert computer users lack the possibilities of using coding in those interfaces, and native computer users find that most of the icons they use have no references to real life elements. A new logic to the computational context is needed to fully take advantage of this environment. Presented through contextualisation of the portfolio works are developments of a practice in which the acts of programming and composition are intrinsically connected.