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Activision Signs Multi-Year Agreement with Legendary Game Designer Peter Molyneux
Activision Signs Multi-Year Agreement with Legendary Game Designer Peter Molyneux Santa Monica, CA - March 4, 2003 - Activision, Inc. (Nasdaq: ATVI) announced today that the company has signed an agreement with legendary U.K.- based game designer Peter Molyneux. Under the terms of the agreement, the company has secured the exclusive worldwide rights to Molyneux's new project tentatively titled The Movies for the PC and all video game console platforms. The agreement also grants Activision the option to publish sequels and add-on products to the title. The Movies currently is being developed by Molyneux's Lionhead Studios, whose last title, Black and White, sold almost 2 million units worldwide. Black and White topped PC sell-through charts around the globe and was a #1 best-selling game in the United Kingdom and Germany. Slated for release in 2004, The Movies gives gamers the opportunity to run their own Hollywood movie studio from the silent days of the 1920s, through the advent of new technologies into the present and beyond. The game puts players in charge of a Hollywood dream factory where they decide which movies to make and the stars to make them. The player selects the scripts, directors, sets and movie stars before shooting the action and watching their finished movie on opening night. Players can manage the money, egos, tears & tantrums on their way to living the Hollywood dream. "Peter is undoubtedly one of the most talented video game designers in the world, and Lionhead is one of the very few development studios with the knowledge and resources to develop a game that will allow players to fulfill the fantasy of building a movie empire," states Larry Goldberg, executive vice president of Activision Worldwide Studios. -
Call of Duty 1 Instruction Manual
call of duty 1 instruction manual File Name: call of duty 1 instruction manual.pdf Size: 1734 KB Type: PDF, ePub, eBook Category: Book Uploaded: 15 May 2019, 14:26 PM Rating: 4.6/5 from 830 votes. Status: AVAILABLE Last checked: 12 Minutes ago! In order to read or download call of duty 1 instruction manual ebook, you need to create a FREE account. Download Now! eBook includes PDF, ePub and Kindle version ✔ Register a free 1 month Trial Account. ✔ Download as many books as you like (Personal use) ✔ Cancel the membership at any time if not satisfied. ✔ Join Over 80000 Happy Readers Book Descriptions: We have made it easy for you to find a PDF Ebooks without any digging. And by having access to our ebooks online or by storing it on your computer, you have convenient answers with call of duty 1 instruction manual . To get started finding call of duty 1 instruction manual , you are right to find our website which has a comprehensive collection of manuals listed. Our library is the biggest of these that have literally hundreds of thousands of different products represented. Home | Contact | DMCA Book Descriptions: call of duty 1 instruction manual It is requested that this article, or a section of this article, needs to be expanded. Add to the discussion on what needs to be improved, or start your own discussion on the talk page. If you know of a command, but do not see it on the list, feel free to add it in the Commands section, but all coding must be verifiable.Click if you need to know anything about styling a page.Check it out! Check them out! The administrators are the arbitrators, mediators, janitors, and leaders of our wiki, having greater knowledge of wikitext, our policies, and are chosen for neutrality and maturity as well as contributions. -
COMPARATIVE VIDEOGAME CRITICISM by Trung Nguyen
COMPARATIVE VIDEOGAME CRITICISM by Trung Nguyen Citation Bogost, Ian. Unit Operations: An Approach to Videogame Criticism. Cambridge, MA: MIT, 2006. Keywords: Mythical and scientific modes of thought (bricoleur vs. engineer), bricolage, cyber texts, ergodic literature, Unit operations. Games: Zork I. Argument & Perspective Ian Bogost’s “unit operations” that he mentions in the title is a method of analyzing and explaining not only video games, but work of any medium where works should be seen “as a configurative system, an arrangement of discrete, interlocking units of expressive meaning.” (Bogost x) Similarly, in this chapter, he more specifically argues that as opposed to seeing video games as hard pieces of technology to be poked and prodded within criticism, they should be seen in a more abstract manner. He states that “instead of focusing on how games work, I suggest that we turn to what they do— how they inform, change, or otherwise participate in human activity…” (Bogost 53) This comparative video game criticism is not about invalidating more concrete observances of video games, such as how they work, but weaving them into a more intuitive discussion that explores the true nature of video games. II. Ideas Unit Operations: Like I mentioned in the first section, this is a different way of approaching mediums such as poetry, literature, or videogames where works are a system of many parts rather than an overarching, singular, structured piece. Engineer vs. Bricoleur metaphor: Bogost uses this metaphor to compare the fundamentalist view of video game critique to his proposed view, saying that the “bricoleur is a skillful handy-man, a jack-of-all-trades who uses convenient implements and ad hoc strategies to achieve his ends.” Whereas the engineer is a “scientific thinker who strives to construct holistic, totalizing systems from the top down…” (Bogost 49) One being more abstract and the other set and defined. -
Everyman, All at Once Formatted 4.10.18
Ben Phelan Brigham Young University, United States Everyman, All at Once Baptism and the Liberal Subject in BioShock Infinite Even as liberalism has penetrated nearly every nation on earth, its vision of human liberty seems increasingly to be a taunt rather than a promise. —Patrick J. Deneen, Why Liberalism Failed Abstract The 2013 video game BioShock Infinite stages baptism as a way to place the player within a liminal space where he or she is ostensibly a free subject, able to choose from an array of political options, but who will inevitably choose liberalism. In order to get the player to the point where they make—or rather confirm—their choice, the game must also force the player to arrive there. This conundrum mirrors the paradox of liberalism, following theorists like Patrick J. Deneen: that we supposedly choose among a realm of infinite possibly and yet those possibilities are forced upon us. This paradox is also the mode within which BioShock Infinite operates. The game uses self-referential and metatextual techniques to call attention to its gameness, and yet, it still asks the player to accept its liberal ideology. Althusser argues that the role of “Ideological State Apparatuses” (or ISAs) is to convince us that we are subjects who freely choose the dominant ideology, as opposed to any other system. ISAs do this through confirming us as subjects through rituals of ideological recognition enacted through, among other things, theatre, film, and video games. BioShock Infinite places the player in a position where they confirm that they are, indeed, a liberal subject, and then asks that liberal subject to choose the very order from which their (mis)recognition occurs. -
Sparking a Steam Revolution: Examining the Evolution and Impact of Digital Distribution in Gaming
Sparking a Steam Revolution: Examining the Evolution and Impact of Digital Distribution in Gaming by Robert C. Hoile At this moment there’s a Renaissance taking place in games, in the breadth of genres and the range of emotional territory they cover. I’d hate to see this wither on the vine because the cultural conversation never caught up to what was going on. We need to be able to talk about art games and ‘indie’ games the ways we do about art and indie film. (Isbister xvii) The thought of a videogame Renaissance, as suggested by Katherine Isbister, is both appealing and reasonable, yet she uses the term Renaissance rather casually in her introduction to How Games Move Us (2016). She is right to assert that there is diversity in the genres being covered and invented and to point out the effectiveness of games to reach substantive emotional levels in players. As a revival of something in the past, a Renaissance signifies change based on revision, revitalization, and rediscovery. For this term to apply to games then, there would need to be a radical change based not necessarily on rediscovery of, but inspired/incited by something perceived to be from a better time. In this regard the videogame industry shows signs of being in a Renaissance. Videogame developers have been attempting to innovate and push the industry forward for years, yet people still widely regard classics, like Nintendo’s Legend of Zelda: Ocarina of Time (1998), as the best games of all time. As with the infatuation with sequels in contemporary Hollywood cinema, game companies are often perceived as producing content only for the money while neglecting quality. -
The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism
The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism by Sarah E. Thorne A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2018, Sarah E. Thorne Abstract The past decade has seen an increase in the availability of user-friendly game development software, the result of which has been the emergence of a genre of reflexive and experimental games. Pippin Barr, La Molleindustria’s Paolo Pedercini, and Davey Wreden are exemplary in their thoughtful engagement with an ever-expanding list of subjects, including analyses and critiques of game development, popular culture, and capitalism. These works demonstrate the power of games as a site for critical media theory. This potential, however, is hindered by the player-centric trends in the game industry that limit the creative freedom of developers whose work is their livelihood. In the era of communicative capitalism, Jodi Dean argues that the commodification of communication has suspended narrative in favour of the circulation of fragmented and digestible opinions, which not only facilitates the distribution and consumption of communication, but also safeguards communicative capitalism against critique. Ultimately, the very same impulse that drives communicative capitalism is responsible for the player-centric trends that some developers view as an obstacle to their art. Critical game studies has traditionally fallen into two categories: those that emphasize the player as the locus of critique, such as McKenzie Wark’s trifler or Mary Flanagan’s critical play, and those that emphasize design, as in Alexander Galloway’s countergaming, Ian Bogost’s procedural rhetoric, and Gonzalo Frasca’s theory of simulation. -
Rui Torres & Sandy Baldwin
CONFERENCE, FESTIVAL, EXHIBITS BOOK OF ABSTRACTS AND CATALOGS EDITORS: RUI TORRES & SANDY BALDWIN Conference Book of Abstracts edited by Rui Torres and Sandy Baldwin Festival Catalog edited by Rui Torres and Sandy Baldwin Exhibits Catalog edited by Rui Torres with texts by the Curators: • Affiliations - Remix and Intervene: Computing Sound and Visual Poetry: Álvaro Seiça and Daniela Côrtes Maduro • Communities - Signs, Actions, Codes: Bruno Ministro and Sandra Guerreiro Dias • Translations - Translating, Transducing, Transcoding: Ana Marques da Silva and Diogo Marques • E-lit for Kids: Mark Marino, Astrid Ensslin, María Goicoechea, and Lucas Ramada Prieto. EDIÇÕES UNIVERSIDADE FERNANDO PESSOA PORTO . 2017 CONTENts INTRODUCTION ................................................. 7 CONFERENCE .................................................... 15 FESTIVAL ............................................................ 475 EXHIBITS ............................................................. 591 INTRODUCTION The ELO (Electronic Literature Organization) organized its 2017 Conference, Festi- val and Exhibits, from July 18-22, at University Fernando Pessoa, Porto, as well as several other venues located in the center of the historic city of Porto, Portugal. Titled Electronic Literature: Affiliations, Communities, Translations, ELO’17 pro- poses a reflection about dialogues and untold histories of electronic literature, providing a space for discussion about what exchanges, negotiations, and move- ments we can track in the field of electronic literature. -
Call of Duty : Les Coulisses D’Une Usine À Succès Deuxième Édition
Call of Duty : les Coulisses d’une usine à succès Deuxième édition Design graphique et maquette : Katell Chabin Cet ouvrage a été composé en Minion Pro, Lato et Bebas Neue. © Sébastien Delahaye, 2019 Cette œuvre est mise à disposition sous licence Attribution - Partage dans les Mêmes Conditions 4.0 International. Pour voir une copie de cette licence, visitez http://creativecommons.org/licenses/by-sa/4.0/ ou écrivez à Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. Tous droits réservés. Marques déposées Tous les noms de marques ou de produits cités dans cet ouvrage sont des marques déposées ou des appellations commerciales de leurs propriétaires respectifs. Call of Duty : les Coulisses d’une usine à succès remastered (ça veut dire « 2e édition ») SÉBASTIEN DELAHAYE 4 TABLE DES MATIÈRES Avant-propos � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 5 Prologue : Medal of Honor, l’origine du drame � � � � � � � � � � � � � � � � � � � � 8 Épisode 1. Il faut flinguer le soldat Ryan � � � � � � � � � � � � � � � � � � � � � � � � 13 Épisode 2. Un succès venu du PC � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � 17 Épisode 3. Activision s’inquiète et Robert muscle son jeu � � � � � � � � � 21 Épisode 4. Quand Activision enchaîne les galères sur consoles � � � � � 26 Épisode 5. L’Avènement d’Infinity Ward � � � � � � � � � � � � � � � � � � � � � � � � 30 Épisode 6. Du triomphe à la rupture � � � � � � � � � � � � � � � � � � � � � � � � � � � 34 Épisode 7. Gros Sous, traîtrise -
The Stanley Parable W Perspektywie Narratologicznej
2015 / Homo Ludens 2(8) Strategia interakcji w The Stanley Parable w perspektywie narratologicznej MACIEJ NAWROCKI Uniwersytet Jagielloński, Kraków Abstract Strategy of interaction in The Stanley Parable – a narratological perspective The article is an analysis of selected narrative strategies in The Stanley Parable video game. It focuses mainly on the tropes which shape the specific relation between the game (and its author) and the player. The theoretical contexts for this analysis are not limited to game studies – the primary interpretative perspective is narratology, which is associated with the exposition of the game’s “textual” aspect. KEYWORDS: The Stanley Parable, narration, narratology, theory of literary communica- tion, immersion, player 1. Wprowadzenie Przedmiotem mojego artykułu jest refleksja na temat wybranych zabiegów narracyjnych gry wideo The Stanley Parable (Galactic Cafe, 2013), mających na celu zbudowanie specyficznej relacji z graczem. Swojej analizy zamierzam Homo Ludens 2(8) / 2015 © Polskie Towarzystwo Badania Gier 2015 124 Maciej Nawrocki dokonać zarówno z perspektywy game studies, jak i teorii literatury, wyko- rzystując płynność gatunku. Wskażę także na wyjątkowe cechy omawianej gry, pozwalające interpretować ją zarówno w kontekście innych tekstów kul- tury tego rodzaju jak i konkretnych myśli teoretycznoliterackich. The Stanley Parable to niezależna gra z 2011 roku autorstwa Daveya Wredena. Początkowo wydana jako skromna modyfikacja Half-Life 2 (Valve Corporation, 2004), dwa lata później, w wyniku współpracy Wredena z Williamem Pughem, została poprawiona i opublikowana w nowej, znacznie bardziej obszernej wer- sji. Trudno sklasyfikować ją genologicznie – na oficjalnej stronie programu można znaleźć taką charakterystykę (<http://www.stanleyparable.com>): The Stanley Parable to odkrywanie opowieści, gier i wyborów. Tyle że opowieść nie ma znaczenia, całość może nawet nie być grą, a jeśli kiedykolwiek będziesz mógł w niej podjąć prawdziwy wybór – cóż, daj mi znać, jak to zrobiłeś. -
Massively Multiplayer Online Games Industry: a Review and Comparison
Massively Multiplayer Online Games Industry: A Review and Comparison From Middleware to Publishing By Almuntaser Alhindawi Javed Rafiq Sim Boon Seong 2007 A Management project presented in part consideration for the degree of "General and Financial MBA". CONFIDENTIALITY STATEMENT This project has been agreed as confidential between the students, university and sponsoring organisation. This agreement runs for five years from September, 14 th , 2007. ii Acknowledgements We would like to acknowledge Monumental Games management for giving us this opportunity to gain an insight of this interesting industry. Special thanks for Sarah Davis, Thomas Chesney and the University of Nottingham Business School MBA office personnel (Elaine, Kathleen and Christinne) for their assistance and support throughout this project. We would also like to thank our families for their constant support and patience; - Abdula Alhindawi - Fatima Alhindawi - Shatha Bilbeisi - Michelle Law Seow Cha - Sim Hock Soon - Yow Lee Yong - Mohamed Rafiq - Salma Rafiq - Shama Hamid Last but not least, our project supervisor Duncan Shaw for his support and guidance throughout the duration of this management project. i Contents Executive Summary iv Terms and Definition vi 1.0 Introduction 1 1.1 Methodology 1 1.1.1 Primary Data Capture 1 1.1.2 Secondary Data Capture 2 1.2 Literature Review 4 1.2.1 Introduction 4 1.2.2 Competitive Advantage 15 1.2.3 Business Model 22 1.2.4 Strategic Market Planning Process 27 1.2.5 Value Net 32 2.0 Middleware Industry 42 2.1 Industry Overview 42 2.2 -
Aesthetic Illusion in Digital Games
Aesthetic Illusion in Digital Games Diplomarbeit zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Karl‐Franzens‐Universität Graz vorgelegt von Andreas SCHUCH am Institut für Anglistik Begutachter: O.Univ.‐Prof. Mag.art. Dr.phil. Werner Wolf Graz, 2016 0 Contents 1 Introduction ................................................................................................................ 2 2 The Transmedial Nature of Aesthetic Illusion ......................................................... 3 3 Types of Absorption in Digital Games .................................................................... 10 3.1 An Overview of Existing Research on Immersion and Related Terms in the Field of Game Studies ........................................................................................... 12 3.2 Type 1: Ludic Absorption ..................................................................................... 20 3.3 Type 2: Social Absorption .................................................................................... 24 3.4 Type 3: Perceptual Delusion ................................................................................ 26 3.5 Type 4: Aesthetic Illusion .................................................................................... 29 3.6 Comparing and Contrasting Existing Models of Absorption ........................... 30 4 Aesthetic Illusion in Digital Games ......................................................................... 34 4.1 Prerequisites and Characteristics of Aesthetic Illusion -
Activision, Inc. — 2004 Annual Report
25th Anniversary 2004 Annual Report Financial Highlights In thousands of dollars, except per share data 2004 2003 2002 Net revenues $947,656 $864,116 $786,434 Operating income 109,817 94,847 80,574 Net earnings 77,715 66,180 52,238 Diluted earnings per share 0.54 0.43 0.39 Net Revenues Net Earnings Diluted Earnings in millions of dollars in millions of dollars per common share $948 $78 $0.54 $864 $786 $66 $0.43 $0.39 $52 ‘02 ‘03 ‘04 ‘02 ‘03 ‘04 ‘02 ‘03 ‘04 Activision, Inc. — 2004 Annual Report Robert A. Kotick Brian G. Kelly Ronald Doornink To our shareholders: Two thousand and four marks a milestone in Activision’s history—25 years of delivering quality interactive entertainment experiences to consumers worldwide. Few companies have created a business model that laid the foundation for a multi-billion dollar industry. Activision can rightfully make this claim and we are proud to be at the helm of such a tradition-rich enterprise. Throughout Activision’s evolution, our goal has been to create a company that is well integrated and capable of delivering long-term value to our shareholders. We have worked diligently to build a company that has the flexibility to seize opportunities, yet maintains the foresight to anticipate challenges and plan for its future. In fiscal 2004, our vision translated into the most successful year in our history. We delivered our 12th consecutive year of revenue growth, posted record earnings and increased our operating margin. Our results represent a five-year compound annual revenue growth rate of 17% and compound annual earnings growth rate of 39%.