DOCSLIB.ORG

Analyse Du Rapport Émotionnel Au Système Dans Le Jeu Vidéo De Gestion

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Analyse Du Rapport Émotionnel Au Système Dans Le Jeu Vidéo De Gestion Université de Montréal Jouer le Gouverneur : Analyse du rapport émotionnel au système dans le jeu vidéo de gestion par Jérémie Bernard Département d’histoire de l’art et d’études cinématographiques Faculté des arts et des sciences Mémoire présenté en vue de l’obtention du grade de M.A. en Études cinématographiques option Études du jeu vidéo Décembre 2017 © Jérémie Bernard, 2017 Résumé Ce mémoire de maîtrise traite du rapport émotionnel au système dans le jeu vidéo de gestion. Il met en lumière la nature du jeu de gestion à l’intérieur du vaste paysage générique qu’est l’industrie du jeu vidéo. L’avènement historique du genre est alors mis en parallèle avec son manque de visibilité dans les études vidéoludiques. L’objectif est de comprendre comment l’immersion s’articule vers la construction d’un rapport émotionnel au système. Ce dernier est au centre de l’expérience du jeu de gestion et permet au joueur d’endosser son rôle de gouverneur. C’est ce rôle qui met en place un rapport émotionnel avec la gestion d’une communauté virtuelle. Ce mémoire analyse ce rapport et le compare à l’aide de divers exemples de jeu. Les jeux analysés proposent un rapport émotionnel au système différent, mais toujours sous le sigle de la gestion. Mots Clés : Émotion, cognition, gestion, stratégie, genre, immersion, préoccupation, système, gouvernance. i Abstract This master thesis focuses on the emotional connection with the system in management video games. First, an understanding of what is a management game within the multiple genres that constitute the video game industry is conducted. The historical creation of the genre will then be studied by highlighting the lack of research for that specific kind of games. The goal is to understand how immersion works to create an emotional connection with the system. The system is the center of our player’s experience and makes possible playing the role of the governor in the simulation. This role is the link between the system and the community that has to be managed. Finally, game examples with different emotional connections are studied to show that management stays central to the experience of the genre even if the player doesn’t have the same emotional connection with one game and the other. Keywords : Emotion, cognition, management, strategy, immersion, concern, system, governance. ii Table des Matières Résumé ................................................................................................................................... i Abstract.................................................................................................................................. ii Table des Matières ................................................................................................................ iii Liste des figures ...................................................................................................................... v Remerciements .......................................................................................................................vi Introduction............................................................................................................................. 1 1. Le jeu de gestion : hybride oublié ou entité incomprise ? ..................................................... 5 1.1 Gestion, simulation et stratégie : démêler les termes et les notions ................................. 5 1.2 L’avènement de la gestion vidéoludique ........................................................................ 7 1.3 Le jeu de gestion embrasse le potentiel de complexité du PC ....................................... 10 1.4 La représentation d’une interface vidéoludique ............................................................ 13 1.5 Le système visible à travers l’interface ........................................................................ 17 1.6 Propositions ludiques différentes du jeu de stratégie en temps réel ............................... 19 1.7 De la proposition ludique à la jouabilité comme marqueur de genre ............................. 25 1.8 La malléabilité du genre : l’exemple de Total War : Warhammer ................................. 27 1.9 Des objectifs choisis ou imposés ? Exploration du bac à sable. .................................... 29 2. L’immersion créée par le rapport émotionnel au système ................................................... 32 2.1 Quelques définitions théoriques ................................................................................... 33 2.1.1 Immersion :........................................................................................................... 33 2.1.2 Émotion : .............................................................................................................. 37 2.2 Représentation de la gestion menant à l’immersion ...................................................... 38 2.3 Le design d’une expérience immersive de la gestion .................................................... 48 2.4 Immersion par l’agentivité ........................................................................................... 50 2.5 Les agents comme acteurs anthropomorphisés du système ........................................... 52 2.6 L’empathie pour les agents .......................................................................................... 53 2.7 De la prise de décision au passage à l’action ................................................................ 56 3. Mise en jeu de la préoccupation au centre du rapport émotionnel au système ..................... 61 3.1 Les représentations procédurales et statistiques au service d’une rhétorique ? .............. 61 3.2 Se complaire dans l’incertitude .................................................................................... 63 3.2.1 L’émergence, cousine de l’incertitude ................................................................... 65 iii 3.3 Jouer à avoir du pouvoir : mise en jeu de la gouvernance, proposition ludique globale de la gestion. .......................................................................................................................... 68 3.3.1 Contexte et agentivité ........................................................................................... 72 3.4 La préoccupation pour l’autre : Analyse de Banished ................................................... 77 3.5 La préoccupation pour soi : Evil Genius ...................................................................... 89 3.6 Préoccupation hybride : La série Tropico ..................................................................... 96 3.7 Se contrôler soi-même : Immersion et préoccupation chamboulée.............................. 101 3.8 Vue d’ensemble des deux pôles de la préoccupation .................................................. 103 Conclusion .......................................................................................................................... 108 Bibliographie .......................................................................................................................... i Ludographie ........................................................................................................................ viii iv Liste des figures Figure 1. Le niveau de vie et de munitions du joueur est intégré à même la diégèse pour ne pas alourdir l’interface, créant un effet plus cinématographique. .................................................. 20 Figure 2. Il est possible d’accélérer ou d’arrêter le temps à notre guise dans Restaurant Empire. ................................................................................................................................. 23 Figure 3. Possibilité de déterminer automatique l’issu d’un combat dans Total War : Warhammer, même si le système encourage le fait de prendre soi-même les commandes de notre armée. .......................................................................................................................... 28 Figure 4. Il existe un mode « bac à sable » distinct et mentionné comme tel dans Restaurant Empire. ................................................................................................................................. 30 Figure 5. Négociation du salaire d’une nouvelle recrue dans Epic Manager. .......................... 40 Figure 6. Exemple de représentation statistique du système dans Roller Coaster Tycoon. ...... 42 Figure 7. Menu principal de Tropico 2 : Pirate Cove représentant le bureau du joueur surplombant sur son repaire de pirates. .................................................................................. 45 Figure 8. Bureau du président (figure du joueur-gouverneur) dans le prochain Tropico 6....... 45 Figure 9. Bureau du gouverneur à même le système dans Airline Tycoon. ............................. 46 Figure 10. Exemple de développement urbain et routier dans Cities : Skylines. ..................... 59 Figure 11. Simplification du système par l’apparition de pastilles au-dessus de la tête des personnages lors du développement d’un nouveau jeu dans Game Dev Tycoon. .................... 63 Figure 12. Instructions de base pour le gouverneur dans Unholy Heights. .............................. 67 Figure 13. Documentation à la portée du gouverneur dans Viva Piñata .................................. 71 Figure 18. Rendu audiovisuel léger et humoristique dans Theme Hospital. ............................ 74 Figure 14. Les paramètres disponibles avant de commencer une nouvelle partie dans Banished. .............................................................................................................................................
Load more

Recommended publications
  • Digital Bros, 505Games Announces That Memories of Mars Is Available
    FIGHT TO SURVIVE AND EXPLORE GALACTIC WASTELANDS OF THE RED PLANET IN ‘MEMORIES OF MARS,’ AN OPEN WORLD ONLINE SURVIVAL SANDBOX GAME Prepare for Mission Launch in 2018 CALABASAS, Calif. – Jan. 18, 2018 – 505 Games and Limbic Entertainment will bring the hostile and desolate frontier of the Red Planet to life in 2018 with Memories of Mars, an all-new open world online survival sandbox game from the hit developers behind Ubisoft’s Might & Magic® franchise and Kalypso’s Tropico 6. Coming soon to Steam Early Access for PC, Memories of Mars will thrust players into the barren wastelands of the Red Planet where they must explore the unforgiving landscape, build a habitable homestead and fight to survive against a variety of dangers including harsh environmental elements, strange enemy NPC’s and perhaps the most dangerous of all, other human survivors. “Memories of Mars will take players on an epic adventure of survival and exploration as they fight to overcome the mysterious dangers of the Red Planet in infinite ways,” said Stephan Winter, CEO of Limbic Entertainment. “We have created an immersive open world environment with seemingly endless possibilities in player progress and exploration all set against the strange and curious backdrop of the distant planet Mars.” Announcement Trailer: https://youtu.be/5fdFe8ic2sQ Memories of Mars Steam Page: http://store.steampowered.com/app/644290/MEMORIES_OF_MARS “Our partners at Limbic Entertainment continue to impress us with creative and bold ideas that strive to push the limits of the online multiplayer survival genre,” said Tim Woodley, senior vice president of global brand and marketing at 505 Games.
    [Show full text]
  • GAMING GLOBAL a Report for British Council Nick Webber and Paul Long with Assistance from Oliver Williams and Jerome Turner
    GAMING GLOBAL A report for British Council Nick Webber and Paul Long with assistance from Oliver Williams and Jerome Turner I Executive Summary The Gaming Global report explores the games environment in: five EU countries, • Finland • France • Germany • Poland • UK three non-EU countries, • Brazil • Russia • Republic of Korea and one non-European region. • East Asia It takes a culturally-focused approach, offers examples of innovative work, and makes the case for British Council’s engagement with the games sector, both as an entertainment and leisure sector, and as a culturally-productive contributor to the arts. What does the international landscape for gaming look like? In economic terms, the international video games market was worth approximately $75.5 billion in 2013, and will grow to almost $103 billion by 2017. In the UK video games are the most valuable purchased entertainment market, outstripping cinema, recorded music and DVDs. UK developers make a significant contribution in many formats and spaces, as do developers across the EU. Beyond the EU, there are established industries in a number of countries (notably Japan, Korea, Australia, New Zealand) who access international markets, with new entrants such as China and Brazil moving in that direction. Video games are almost always categorised as part of the creative economy, situating them within the scope of investment and promotion by a number of governments. Many countries draw on UK models of policy, although different countries take games either more or less seriously in terms of their cultural significance. The games industry tends to receive innovation funding, with money available through focused programmes.
    [Show full text]
  • Playing with People's Lives 1 Playing with People's Lives How City-Builder Games Portray the Public and Their Role in the D
    Playing With People’s Lives 1 Playing With People’s Lives How city-builder games portray the public and their role in the decision-making process Senior Honors Thesis, City & Regional Planning Presented in Partial Fulfillment of the Requirements for graduation with honors research distinction in City and Regional Planning in the Knowlton School of Architecture at the Ohio State University By William Plumley The Ohio State University May 2018 Faculty Research Mentor: Professor Tijs van Maasakkers, City and Regional Planning Playing With People’s Lives 2 Abstract – City-builder computer games are an integral part of the city planning profession. Educators structure lessons around playtime to introduce planning concepts, professionals use the games as tools of visualization and public outreach, and the software of planners and decision-makers often takes inspiration from the genre. For the public, city-builders are a source of insight into what planners do, and the digital city’s residents show players what role they play in the urban decision-making process. However, criticisms persist through decades of literature from professionals and educators alike but are rarely explored in depth. Published research also ignores the genre’s diverse offerings in favor of focusing on the bestseller of the moment. This project explores how the public is presented in city-builder games, as individuals and as groups, the role the city plays in their lives, and their ability to express their opinions and participate in the process of planning and governance. To more-broadly evaluate the genre as it exists today, two industry-leading titles receiving the greatest attention by planners, SimCity and Cities: Skylines, were matched up with two less-conventional games with their own unique takes on the genre, Tropico 5 and Urban Empire.
    [Show full text]
  • Menschen Märkte Medien Management
    Menschen Märkte Medien Management Berichte aus Forschung und Lehre 03/2007 Aspects of Digital Game Culture The Cases of Eastern Europe and China Sven Jöckel (Hrsg.) MMMM – 03/2007 Gaming Culture 2/111 Table of Content Foreword ...........................................................................................................................................3 Study 1 ...............................................................................................................................................5 Eastern European Gaming Cultures..........................................................................................6 1. Introduction..................................................................................................................................6 2. Digital games market in Eastern Europe..............................................................................7 3. Method of research ..................................................................................................................12 4. Results.........................................................................................................................................13 5. Conclusions ...............................................................................................................................26 6. Sources .......................................................................................................................................27 Study 2 .............................................................................................................................................28
    [Show full text]
  • Pcgzine Issue 54
    FREE! NAVIGATE |01 Issue 54 | June 2011 deus Ex: human PCGZine rEvOlution Free Magazine For PC Gamers. Read it, Print it, Send it to your mates… SwOrD Of the starS 2 ExclusivE! Star War S: Brink the old republic wEd! Exclusive playtest and reviE pIrates Of BlAck cOvE previEwEd! interview inside! red fAction: Armageddon HUNTED One of the first reviews of TErA BONUS MAGAZINE this destruct-’em-up! the fIrst templAr An MMO but not as we know it! CONTROL NAVIGATE |02 Don’t miss! This month’s highlights… PCGZine We’ve gone a little MMO crazy this month with not only a mammoth preview of Star Wars: The The First Templar Old Republic but also our latest impressions TERA Much more than an of TERA. Both premium titles are looking to Can this MMO from Korea compete? Assassin’s Creed clone revolutionise online gaming in their own way and are worthy of every PC gamer’s attention, MORE FREE mAGAZINEs! LAtEST ISSUEs! regardless of genre preference. No matter how much we fight it, some of the Star Wars: industry’s most talented developers are turning their hands to crafting online-only experiences, The Old Republic and if it’s any consolation, most new projects BioWare’s bravest endeavour yet! look far and beyond what we’ve seen before. What an exciting time, and READER the E3 show is only just FEEDBACK! around the corner… Click here to tell us what Don’t miss ISSUE 55 subscribe FoR free! you think of Andy Griffiths, Editor Red Faction: Armageddon the magazine! [email protected] Epic adventure or glorified explodathon? WARNING! MULTIMEDIA DISABLED! If you are reading this, then you didn’t choose “Play” MEET THE TEAM QUICK FINDER when Adobe Reader asked you about multimedia when Probably the best games writers on the planet Every game’s just a click away! you opened the magazine.
    [Show full text]
  • 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
    [Show full text]
  • A Record Year. an Exciting Future
    FRONTIER DEVELOPMENTS PLC DEVELOPMENTS FRONTIER A RECORD YEAR. AN EXCITING FUTURE. EXCITING AN YEAR. RECORD A ANNUAL REPORT AND ACCOUNTS 2019 ACCOUNTS AND REPORT ANNUAL A RECORD YEAR. AN EXCITING FUTURE. FRONTIER DEVELOPMENTS PLC ANNUAL REPORT AND ACCOUNTS 2019 HIGHLIGHTS A RECORD YEAR. AN EXCITING FUTURE. Frontier is a world-class videogame developer and publisher, with a proven track record of launching multiple successful franchises with a strong post-launch nurturing strategy which delivers multi-year revenues. Each new release provides strong launch sales, while a combination of regular free and chargeable updates, together with active community support, ensures longevity of sales performance. Frontier is currently the UK’s largest independent studio and continues to grow. In the 12 months to 31 May 2019 Frontier recruited more than 120 people, growing headcount to over 460 staff in its Cambridge headquarters. In financial year 2019 Frontier grew revenue simulation, featuring authentic living animals, Frontier continues to grow its franchise portfolio by more than 160% and operating profit by rich management and limitless creativity, and is and its headcount in order to deliver long-term nearly 600% representing record financial coming exclusively on PC on 5 November 2019. revenue and earnings growth, and support the performance. This was delivered through ambition to be the most respected and highest In addition to Frontier’s core model of developing the success of Jurassic World Evolution quality entertainment company in the world. and publishing its own games, the Company is (June 2018) and the ongoing performance of partnering with other high-quality developers Frontier’s first two self-published titles, Elite to bring more games to market through the Dangerous (2014) and Planet Coaster (2016).
    [Show full text]
  • Game Developer Magazinedevelopergame Revisiting Android +++ Postmortem: Hundreds +++ Intro to User Analytics May2013
    GAME GAME DEVELOPER MAGAZINE REVISITING ANDROID +++ POSTMORTEM: HUNDREDS +++ INTRO TO USER ANALYTICS 2013 MAY MAY 2013 VOLUME 20 NUMBER 05 THE LEADING GAME INDUSTRY MAGAZINE VOLUME VOLUME 20 NUMBER 05 THE LEADING GAME INDUSTRY MAGAZINE GAME DESTINATION: BLACKBERRY 10 It’s where your game belongs. Discover how you can create games that keep them coming back for more. BlackBerry® 10 o ers a powerful and easy platform for game development. It’s integrated with major development tools and leading game engines, including Unity, Marmalade and Shiva 3D. Plus, the leading BlackBerry 10 hardware produces a visually stunning and incredibly immersive gaming experience that really lets your masterpiece shine. Get your game where it needs to be. Fast. Users everywhere are hooked on the simplicity, elegance and blazing-fast performance that BlackBerry 10 delivers. They are enthusiastically snapping up amazing entertainment and apps to make their BlackBerry experience that much richer. All of this demand means that there has never been a better time for you to bring your game to BlackBerry. It’s easy to get started By o ering both native development tools and integration with the major development tools on the market, BlackBerry makes it simple for you to choose an option that works best with your individual skills and preferences. So you can develop your game faster and with the greatest fl exibility. POSIX-based Consistent form Development tools Leading game OS, support factor makes it using Microsoft engine and for openGL ES, easy for Visual Studio and middleware OpenAL developers Eclipse EDT support Shadowgun image courtesy of SHADOWGUN, by MADFINGER.
    [Show full text]
  • Masahiro Sakurai, Nintendo of Japan, Nintendo of America, Phil Spencer, Grant Kirkhope, Steve Mayles, Gregg Mayles, Rare Ltd
    To: Masahiro Sakurai, Nintendo of Japan, Nintendo of America, Phil Spencer, Grant Kirkhope, Steve Mayles, Gregg Mayles, Rare Ltd. We, the fans of Banjo & Kazooie, send our deepest and heartfelt thanks to you for making our dreams come true. No words can express how extremely happy, satisfied, and grateful we all are to you for including our beloved bear and bird among the pantheon of video game all-stars on the Super Smash Brothers: Ultimate roster. We thought this day would never come, but our dreams have come true, thanks to you. Over the years, you have selflessly put in your time, energy and hearts to bring to life the beloved characters we grew up with, and your dedication to make the seemingly impossible happen solely for our sake is an inspiration to everyone in the video game industry, and to everyone who dreams of making their own video game someday. Banjo & Kazooie are characters we grew up with. They are the games that have and continue to brighten our lives with their humor, colorful scenery, charming characters and delightful story, games that have touched the lives of millions around the world. Thank you so much to Nintendo, Steve and Gregg Mayles, Grant Kirkhope and everybody at Rare and Playtonic for creating a franchise that has brought so much joy into our lives. No words can express the exultation and elation we feel at the sight of our beloved bear and bird back in action once again. Seeing you guys play ball with Nintendo, even if it’s only for one time, brings a lot of meaning to these dedicated fans.
    [Show full text]
  • Investigation of Complex Strategy Games on Console: Evaluating the Potential Possibilities of One User Interface to Rule Them All
    Investigation of Complex Strategy Games on Console: Evaluating the Potential Possibilities of One User Interface to Rule Them All Aron Nisbel Department of Applied Physics and Electronics Umeå University, Sweden [email protected] In collaboration with Paradox Interactive and Paradox Development Studio Abstract. Building complex games like Grand Strategy Games for both PC and console is a costly endeavour. Normally, two different platforms imply two different User Interface (UI) and User Experience (UX) de- signs, even though it is the same game. If the game’s UI could have similar designs for both platforms, this costly obstacle could be overcome. This study aimed to take the first steps to look at “one UI to rule them all”. Due to the lack of existing research on this topic, this study had to begin from scratch. This led to a focus on existing strategy games on consoles, and an evaluation of the User Experience (UX) of these games. Con- sidering the lack of Grand Strategy Games on consoles, eleven existing strategy games on console similar to Grand Strategy Games were chosen to be investigated further with the aim to find possible best practices and/or the most important aspects of the player’s experience in these games. Through discussion with game industry experts (experienced and senior UX designers), the UI and UX of strategy games on console were broken down and grouped as specific game interactions, with emphasis on the similarity to Grand Strategy Games. By using the defined game interactions, a quantitative survey was carried out to pinpoint the game interactions with the biggest impact on the player’s experience.
    [Show full text]
  • Cloud Gaming
    Cloud Gaming Cristobal Barreto[0000-0002-0005-4880] [email protected] Universidad Cat´olicaNuestra Se~norade la Asunci´on Facultad de Ciencias y Tecnolog´ıa Asunci´on,Paraguay Resumen La nube es un fen´omeno que permite cambiar el modelo de negocios para ofrecer software a los clientes, permitiendo pasar de un modelo en el que se utiliza una licencia para instalar una versi´on"standalone"de alg´un programa o sistema a un modelo que permite ofrecer los mismos como un servicio basado en suscripci´on,a trav´esde alg´uncliente o simplemente el navegador web. A este modelo se le conoce como SaaS (siglas en ingles de Sofware as a Service que significa Software como un Servicio), muchas empresas optan por esta forma de ofrecer software y el mundo del gaming no se queda atr´as.De esta manera surge el GaaS (Gaming as a Servi- ce o Games as a Service que significa Juegos como Servicio), t´erminoque engloba tanto suscripciones o pases para adquirir acceso a librer´ıasde jue- gos, micro-transacciones, juegos en la nube (Cloud Gaming). Este trabajo de investigaci´onse trata de un estado del arte de los juegos en la nube, pasando por los principales modelos que se utilizan para su implementa- ci´ona los problemas que normalmente se presentan al implementarlos y soluciones que se utilizan para estos problemas. Palabras Clave: Cloud Gaming. GaaS. SaaS. Juegos en la nube 1 ´Indice 1. Introducci´on 4 2. Arquitectura 4 2.1. Juegos online . 5 2.2. RR-GaaS . 6 2.2.1.
    [Show full text]
  • Games Aktuell Events
    DAS OFFIZIELLE 25. AUGUST 2017 AUSGABE 3 MESSEMAGAZIN Powered by www.gamesaktuell.de präsentiert von www.gamestv24.de AKTUELL Jetzt spielen! Deep Silver Halle 9 B011 AKTUELL GAMES EVENTS HONOR MEETS GAMING: Honor MITTELERDE – SCHATTEN DES SIGNING AREA: Heute Meet & Greet präsentiert den mobile games park. KRIEGES: Der Herr der Ringe XXL mit YouTube-Star Sarazar MITMACHEN UND GEWINNEN! STAR WARS BATTLEFRONT 2: RETRO-GAMING: Spannende Reise Experten-Quiz und Umfrage Jetzt mit starker Solo-Kampagne in die Spiele-Vergangenheit BÄM! Award 2017: Die TROPICO 6: El OUTDOOR AREA: Unter- Lieblings- Presidente kehrt haltung und Spaß unter spiele der zurück! freiem Himmel Community AKTUELL MIDDLE-EARTH: SHADOW OF WAR © 2017 Warner Bros. Entertainment Inc. Developed by Monolith. © 2017 New Line Productions, Inc. © The Saul Zaentz Company. MIDDLE-EARTH: SHADOW OF WAR, THE LORD OF THE RINGS, and the names of the characters, items, events and places therein are trademarks of The Saul Zaentz Company d/b/a Middle-earth Enterprises under license to Warner Bros. Interactive Entertainment. © 2017 Valve Corporation. Steam and the Steam logo are trademarks and/or registered trademarks of Valve Corporation in the U.S. and/or other countries. “ ” and “PlayStation” are trademarks or registered trademarks of Sony Interactive Entertainment Inc. “ ” is a trademark of the same company. All other trademarks and copyrights are the property of their respective owners. All rights reserved. MONOLITH6 LOGO, WB GAMES LOGO, WB SHIELD: ™ & © Warner Bros. Entertainment Inc.
    [Show full text]