Contents Gameplay

Total Page:16

File Type:pdf, Size:1020Kb

Contents Gameplay Max Payne is a third-person shooter video game developed by Remedy Entertainment and published by Gathering of Developers on July 2001 for Microsoft Windows. Ports created later in the year for the PlayStation 2, Xbox and the Game Boy Advance were published by Rockstar Games. A Mac OS port was published on July 16, 2002 by MacSoft in North America and Feral Interactive in the rest of the world.[2] There were plans for a Dreamcast version of Max Payne, but they were canceled due to the discontinuation of the console.[5] The game was re-released on April 27, 2009 as a downloadable game in the Xbox Originals program for the Xbox 360.[6] The game was also re-released in the spring of 2012 as a downloadable game in the PlayStation Store for the PlayStation 3 under the PS2 classics banner, iOS and on Android. The game centers on the NYPD Detective Max Payne, who attempts to avenge the murder of his family. It features a gritty neo-noir style and uses graphic novel panels (with voice-overs) in place of animated cutscenes to narrate the game, as it draws inspiration from hard-boiled detective novels by authors like Mickey Spillane. The game contains many allusions to Norse mythology, particularly the myth of Ragnarök, and several of the names used in the game are those of the Norse gods and mythos. The gameplay is heavily influenced by the Hong Kong action cinema genre, particularly the work of director John Woo,[7][8][9] and it was one the first games to feature the bullet time effect popularized by The Matrix. Max Payne received very positive reviews and was praised for its exciting gunplay and use of noir storytelling devices. The game won a large number of accolades,[10] including the BAFTA Award.[11] As of 2011, the Max Payne game franchise has sold over 7.5 million copies.[12] It also inspired a feature film under the same title. Contents 1 Gameplay 2 Plot o 2.1 Themes 3 Development o 3.1 Game Boy Advance version o 3.2 Max Payne Mobile 4 Reception and awards 5 Sequel and film 6 See also 7 References 8 External links Gameplay Max Payne is a third-person shooter in which the player assumes the role of its titular character, Max Payne. Almost all the gameplay involves bullet time-based gun-fights and levels are generally straightforward, occasionally incorporating platforming and puzzle-solving elements. The game's storyline is advanced by the player following Max's internal monologue as the character determines what his next steps should be. Several of the game's levels involve surrealistic nightmares and drug-related hallucinations of Payne. Initially, the player's only weapon is a semi-automatic pistol. As the player progresses, access to other firearms is given, including melee and hand-thrown weapons. Some of the game's weapons can be dual wielded. Max regains health by taking painkillers, which the player collects. The game's AI is heavily dependent on pre-scripted commands: most of the apparently intelligent behavior exhibited by enemies (such as taking cover, retreating from the player, or throwing grenades) actually is pre-scripted.[13] The gameplay of Max Payne revolves around bullet time, a form of slow motion — when triggered, the passage of time is slowed down to such extent that the movements of bullets can be seen by the naked eye and enables Max to perform special moves. Although Payne's movement is also slowed, the player is still able to position the aiming reticle and react in real time, providing an advantage over enemies. Occasionally, when the last character of an enemy group is killed, the viewpoint switches to a third-person view circling a falling body. Likewise, the camera may follow the path of a bullet fired from a sniper rifle. The "Dead on Arrival" game mode limits the player to only seven saves per chapter, and the "New York Minute" mode forces the player to complete each chapter before the allotted time — replenished by killing enemies — is exhausted. Upon completing the game on "Dead on Arrival", the player unlocks "The Last Challenge" ("End Combat" or "Final Battle" in the different versions), featuring a fight in perpetual bullet time against the "Killer Suit" hitmen. Plot See also: Max Payne (series) § Characters Graphic novel panels are used in place of cutscenes as narration, an element common to neo-noir In December 2001, as New York City is enduring the tail end of the worst blizzard in the history of the city, Max Payne, a renegade DEA agent and former NYPD detective, is standing at the top of a skyscraper with a sniper rifle in his hands, smiling, as police units arrive on the scene to arrest him. He then experiences flashbacks from three years ago and the last two days he experienced. Three years earlier, on August 22, 1998, Max was working as a regular NYPD detective, having just finished his day's work. His longtime friend and DEA agent, Alex Balder, invites him to transfer into the DEA, but Max declines the offer, wanting to focus on his full-time life with his wife, Michelle, and their newborn daughter, Rose. As he returns to his house in New Jersey, he finds that a trio of junkies had broken into his house, all addicted on a brand new designer drug, Valkyr. Max receives a call from a mysterious woman who seems pleased at the trouble in the house and refuses to call for help. Max rushes to aid his family and kill the junkies, but is too late as he finds his wife shot dead, and his daughter slaughtered. After his family's funeral, Payne accepts Alex's offer, and transfers to the DEA at his own request to stop the spread of the drug. In the present day, Max is now an undercover operative inside the Punchinello Mafia crime family, under the ruthless Don Angelo Punchinello, who is responsible for the trafficking of Valkyr. B.B. Hensley, Max's DEA colleague and one of only two contacts besides Alex who is aware of his position undercover, gives Max a message asking him to meet Alex at the Roscoe Street Subway station. Max arrives at the station only to find mobsters working for Jack Lupino, a Mafia underboss in the Punchinello crime family and Punchinello's subordinate, attempting a bank robbery by breaking through from the station, where, amongst much of the valuables, Max finds corporate bonds for the Aesir Corporation, a mysterious conglomerate corporation and New York's wealthiest company. As he searches the vault for answers, he answers the phone call of Deputy Chief Jim Bravura, who wants the criminals to surrender. Realizing that he is now placed at the scene of a bank robbery and with no choice, Max makes his way back to Roscoe Street Station to escape, encountering Alex, who tells him that there is a mole in the Punchinello family and that he has been exposed. Before Alex can inform Max of anything further, he is killed by an unknown assassin. Realizes that having been placed at the bank robbery, he will becomes the prime suspect in the murder because he is still undercover (and as he had killed everyone else in the bank, there would be no other suspect for the police to question), Max leaves before the police arrive. Left with no choices on what to do, he goes to a Lupino-owned motel, where he meets with the Finito Brothers, subordinates of Vinnie Gognitti, a high-ranked Capo and Jack Lupino's right- hand man, where they confirm that they have been informed that he is a cop, and as such, he is forced to kill them after he is attacked. Making his way out of the motel, which is in secret a pimp club, he finds the diary of a prostitute named Candy Dawn, which details how she is sending video tapes of her having sex with a man she calls "one-eyed Alfred" to an anonymous buyer, intended for blackmail. In the hotel bar, he also finds Rico Muerte, a ruthless professional hitman from Chicago, who is now working for Punchinello, and also Candy Dawn. Both attempt to kill him but are killed instead. In the bar, Max learns where Gognitti is hiding, as he is one of the few people to know where Lupino is hiding, and leaves to find him. Before leaving the hotel, Max receives a phone call from a man called Alfred Woden, informing him that the police know he is there and that he needs to get out quick. While searching for Gognitti in a block of tenements, Max discovers that Vladimir Lem, a Russian mobster, is currently engaged in a fierce turf war against Punchinello's men, blowing up Lupino's apartment and leaving the scene. Finding Gognitti in his own apartment, Max injures Gognitti and is set upon by his henchmen. After killing them, Max chases Gognitti through the city and the subway, before eventually learning about the location of Lupino's hideout, a nightclub named Ragna Rock. Arriving at Ragna Rock, he finds out that Lupino has gone insane from the Valkyr and now believes he is the Antichrist who calls the Devils from different mythologies to worship him as a "messenger of Hell", and has been sacrificing his victims to create a "message" to the Devil. After gunning him and his men down he encounters Mona Sax, a mysterious female contract killer and twin sister of Lisa Punchinello, the Don's wife, who pours him a drink when they agree to work together, only to find out that it was laced with a sedative, which knocks him out, with Mona telling him that although they both want to kill the Don, she cannot let him harm her sister.
Recommended publications
  • Balance Sheet Also Improves the Company’S Already Strong Position When Negotiating Publishing Contracts
    Remedy Entertainment Extensive report 4/2021 Atte Riikola +358 44 593 4500 [email protected] Inderes Corporate customer This report is a summary translation of the report “Kasvupelissä on vielä monta tasoa pelattavana” published on 04/08/2021 at 07:42 Remedy Extensive report 04/08/2021 at 07:40 Recommendation Several playable levels in the growth game R isk Accumulate Buy We reiterate our Accumulate recommendation and EUR 50.0 target price for Remedy. In 2019-2020, Remedy’s (previous Accumulate) strategy moved to a growth stage thanks to a successful ramp-up of a multi-project model and the Control game Accumulate launch, and in the new 2021-2025 strategy period the company plans to accelerate. Thanks to a multi-project model EUR 50.00 Reduce that has been built with controlled risks and is well-managed, as well as a strong financial position, Remedy’s (previous EUR 50.00) Sell preconditions for developing successful games are good. In addition, favorable market trends help the company grow Share price: Recommendation into a clearly larger game studio than currently over this decade. Due to the strongly progressing growth story we play 43.75 the long game when it comes to share valuation. High Low Video game company for a long-term portfolio Today, Remedy is a purebred profitable growth company. In 2017-2018, the company built the basis for its strategy and the successful ramp-up of the multi-project model has been visible in numbers since 2019 as strong earnings growth. In Key indicators 2020, Remedy’s revenue grew by 30% to EUR 41.1 million and the EBIT margin was 32%.
    [Show full text]
  • Evaluating Dynamic Difficulty Adaptivity in Shoot'em up Games
    SBC - Proceedings of SBGames 2013 Computing Track – Full Papers Evaluating dynamic difficulty adaptivity in shoot’em up games Bruno Baere` Pederassi Lomba de Araujo and Bruno Feijo´ VisionLab/ICAD Dept. of Informatics, PUC-Rio Rio de Janeiro, RJ, Brazil [email protected], [email protected] Abstract—In shoot’em up games, the player engages in a up game called Zanac [12], [13]2. More recent games that solitary assault against a large number of enemies, which calls implement some kind of difficulty adaptivity are Mario Kart for a very fast adaptation of the player to a continuous evolution 64 [40], Max Payne [20], the Left 4 Dead series [53], [54], of the enemies attack patterns. This genre of video game is and the GundeadliGne series [2]. quite appropriate for studying and evaluating dynamic difficulty adaptivity in games that can adapt themselves to the player’s skill Charles et al. [9], [10] proposed a framework for creating level while keeping him/her constantly motivated. In this paper, dynamic adaptive systems for video games including the use of we evaluate the use of dynamic adaptivity for casual and hardcore player modeling for the assessment of the system’s response. players, from the perspectives of the flow theory and the model Hunicke et al. [27], [28] proposed and tested an adaptive of core elements of the game experience. Also we present an system for FPS games where the deployment of resources, adaptive model for shoot’em up games based on player modeling and online learning, which is both simple and effective.
    [Show full text]
  • Redeye-Gaming-Guide-2020.Pdf
    REDEYE GAMING GUIDE 2020 GAMING GUIDE 2020 Senior REDEYE Redeye is the next generation equity research and investment banking company, specialized in life science and technology. We are the leading providers of corporate broking and corporate finance in these sectors. Our clients are innovative growth companies in the nordics and we use a unique rating model built on a value based investment philosophy. Redeye was founded 1999 in Stockholm and is regulated by the swedish financial authority (finansinspektionen). THE GAMING TEAM Johan Ekström Tomas Otterbeck Kristoffer Lindström Jonas Amnesten Head of Digital Senior Analyst Senior Analyst Analyst Entertainment Johan has a MSc in finance Tomas Otterbeck gained a Kristoffer Lindström has both Jonas Amnesten is an equity from Stockholm School of Master’s degree in Business a BSc and an MSc in Finance. analyst within Redeye’s tech- Economic and has studied and Economics at Stockholm He has previously worked as a nology team, with focus on e-commerce and marketing University. He also studied financial advisor, stockbroker the online gambling industry. at MBA Haas School of Busi- Computing and Systems and equity analyst at Swed- He holds a Master’s degree ness, University of California, Science at the KTH Royal bank. Kristoffer started to in Finance from Stockholm Berkeley. Johan has worked Institute of Technology. work for Redeye in early 2014, University, School of Business. as analyst and portfolio Tomas was previously respon- and today works as an equity He has more than 6 years’ manager at Swedbank Robur, sible for Redeye’s website for analyst covering companies experience from the online equity PM at Alfa Bank and six years, during which time in the tech sector with a focus gambling industry, working Gazprombank in Moscow he developed its blog and on the Gaming and Gambling in both Sweden and Malta as and as hedge fund PM at community and was editor industry.
    [Show full text]
  • Lighting the Way
    Remedy Entertainment Lighting the way. www.remedygames.com Autodesk® 3ds Max® Remedy Entertainment uses Autodesk® Autodesk® MotionBuilder® Autodesk® Mudbox™ software and workflow to help guide Alan Wake from darkness to light. We needed a faster way to process all our animations, so we built a one-click solution using MAXScript. It’s just so easy to write our own utilities in 3ds Max with MAXScript. You can more easily do things you simply cannot do in other software packages. —Henrik Enqvist Animation Programmer Remedy Entertainment Alan Wake. Image courtesy of Remedy Entertainment Ltd. Summary We made our lead character an everyday writer, and The poet John Milton once wrote that “long is the way, we tried to tap into basic human psychology about and hard, that out of darkness leads up to light.” Centuries darkness and light.” later, that sentiment seems equally appropriate when referring to Alan Wake, the latest video-game offering Overcoming Challenges from Finland-based Remedy Entertainment and “The biggest challenge we faced was creating a published by Microsoft Game Studios. Building on its compelling and believable story,” says Kai Auvinen, successful creation of both Max Payne and Max Payne 2: art team manager at Remedy. “Creating a fully realistic, The Fall of Max Payne, the Remedy team upped their dynamic environment was crucial to establishing the Autodesk ante on Alan Wake, using a combination of right mood, tone, and overall feel. While a typical Autodesk® 3ds Max®, Autodesk® MotionBuilder®, feature film might have a single story arc running and Autodesk® Mudbox™ software. through its couple of hours, a video game like Alan Wake needs to establish multiple storylines and Billed as a “psychological action thriller,” Alan Wake dramatic outcomes over what amounts to about 20 is definitely not your typical video game.
    [Show full text]
  • TESIS: Grand Theft Auto IV. Impacto Y Contexto En Los Videojuegos Como
    UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO FACULTAD DE ESTUDIOS SUPERIORES ACATLÁN Grand Theft Auto IV. Impacto y contexto en los videojuegos como parte de la cultura de masas Tesis para obtener el título de: Licenciado en Comunicación PRESENTA David Mendieta Velázquez ASESOR DE TESIS Mtro. José C. Botello Hernández UNAM – Dirección General de Bibliotecas Tesis Digitales Restricciones de uso DERECHOS RESERVADOS © PROHIBIDA SU REPRODUCCIÓN TOTAL O PARCIAL Todo el material contenido en esta tesis esta protegido por la Ley Federal del Derecho de Autor (LFDA) de los Estados Unidos Mexicanos (México). El uso de imágenes, fragmentos de videos, y demás material que sea objeto de protección de los derechos de autor, será exclusivamente para fines educativos e informativos y deberá citar la fuente donde la obtuvo mencionando el autor o autores. Cualquier uso distinto como el lucro, reproducción, edición o modificación, será perseguido y sancionado por el respectivo titular de los Derechos de Autor. Grand Theft Auto IV Impacto y contexto en los videojuegos como parte de la cultura de masas Agradecimientos A mis padres. Gracias, papá, por enseñarme valores y por tratar de enseñarme todo lo que sabías para que llegara a ser alguien importante. Sé que desde el cielo estás orgulloso de tu familia. Mamá, gracias por todo el apoyo en todos estos años; sé que tu esfuerzo es enorme y en este trabajo se refleja solo un poco de tus desvelos y preocupaciones. Gracias por todo tu apoyo para la terminación de este trabajo. A Ariadna Pruneda Alcántara. Gracias, mi amor, por toda tu ayuda y comprensión. Tu orientación, opiniones e interés que me has dado para la realización de cualquier proyecto que me he propuesto, así como por ser la motivación para seguir adelante siempre.
    [Show full text]
  • Rockstar Games Announces Max Payne 3 Release Date
    Rockstar Games Announces Max Payne 3 Release Date January 17, 2012 8:30 AM ET NEW YORK--(BUSINESS WIRE)--Jan. 17, 2012-- Rockstar Games, a publishing label of Take-Two Interactive Software, Inc. (NASDAQ: TTWO), is proud to announce that Max Payne 3 is expected to launch on the Xbox 360® video game and entertainment system from Microsoft and PlayStation®3 computer entertainment system on May 15, 2012 in North America and May 18, 2012 internationally; and for the PC on May 29, 2012 in North America and June 1, 2012 internationally. “Max Payne 3 brings powerful storytelling back to the action-shooter genre,” said Sam Houser, Founder of Rockstar Games. “Rockstar Studios are delivering a game that’s both incredibly cinematic and very, very intense to play.” Based on incredibly precise and fluid gunplay and maintaining the series’ famed dark and cinematic approach, Max Payne 3 follows the famed former New York detective onto the streets of São Paulo, Brazil. Max Payne now works in executive protection for the wealthy Rodrigo Branco in the hopes of escaping the memories of his troubled past. When a street gang kidnaps Rodrigo’s wife, Max is pulled into a conspiracy of shadowy, warring factions threading every aspect of São Paulo society in a deadly web that threatens to engulf everyone and everything around him. In another first for the series, Max Payne 3’s multiplayer offering brings the game’s cinematic feel, fluid gunplay and kinetic sense of movement into the realm of online multiplayer. Building on the fiction and signature gameplay elements of the Max Payne universe, Max Payne 3 features a wide range of new and traditional multiplayer modes that play on the themes of paranoia, betrayal and heroism, all delivered with the same epic visual style of the single-player game.
    [Show full text]
  • 3.2 Bullet Time and the Mediation of Post-Cinematic Temporality
    3.2 Bullet Time and the Mediation of Post-Cinematic Temporality BY ANDREAS SUDMANN I’ve watched you, Neo. You do not use a computer like a tool. You use it like it was part of yourself. —Morpheus in The Matrix Digital computers, these universal machines, are everywhere; virtually ubiquitous, they surround us, and they do so all the time. They are even inside our bodies. They have become so familiar and so deeply connected to us that we no longer seem to be aware of their presence (apart from moments of interruption, dysfunction—or, in short, events). Without a doubt, computers have become crucial actants in determining our situation. But even when we pay conscious attention to them, we necessarily overlook the procedural (and temporal) operations most central to computation, as these take place at speeds we cannot cognitively capture. How, then, can we describe the affective and temporal experience of digital media, whose algorithmic processes elude conscious thought and yet form the (im)material conditions of much of our life today? In order to address this question, this chapter examines several examples of digital media works (films, games) that can serve as central mediators of the shift to a properly post-cinematic regime, focusing particularly on the aesthetic dimensions of the popular and transmedial “bullet time” effect. Looking primarily at the first Matrix film | 1 3.2 Bullet Time and the Mediation of Post-Cinematic Temporality (1999), as well as digital games like the Max Payne series (2001; 2003; 2012), I seek to explore how the use of bullet time serves to highlight the medial transformation of temporality and affect that takes place with the advent of the digital—how it establishes an alternative configuration of perception and agency, perhaps unprecedented in the cinematic age that was dominated by what Deleuze has called the “movement-image.”[1] 1.
    [Show full text]
  • REGAIN CONTROL, in the SUPERNATURAL ACTION-ADVENTURE GAME from REMEDY ENTERTAINMENT and 505 GAMES, COMING in 2019 World Premiere
    REGAIN CONTROL, IN THE SUPERNATURAL ACTION-ADVENTURE GAME FROM REMEDY ENTERTAINMENT AND 505 GAMES, COMING IN 2019 World Premiere Trailer for Remedy’s “Most Ambitious Game Yet” Revealed at Sony E3 Conference Showcases Complex Sandbox-Style World CALABASAS, Calif. – June 11, 2018 – Internationally renowned developer Remedy Entertainment, Plc., along with its publishing partner 505 Games, have unveiled their highly anticipated game, previously known only by its codename, “P7.” From the creators of Max Payne and Alan Wake comes Control, a third-person action-adventure game combining Remedy’s trademark gunplay with supernatural abilities. Revealed for the first time at the official Sony PlayStation E3 media briefing in the worldwide exclusive debut of the first trailer, Control is set in a unique and ever-changing world that juxtaposes our familiar reality with the strange and unexplainable. Welcome to the Federal Bureau of Control: https://youtu.be/8ZrV2n9oHb4 After a secretive agency in New York is invaded by an otherworldly threat, players will take on the role of Jesse Faden, the new Director struggling to regain Control. This sandbox-style, gameplay- driven experience built on the proprietary Northlight engine challenges players to master a combination of supernatural abilities, modifiable loadouts and reactive environments while fighting through the deep and mysterious worlds Remedy is known and loved for. “Control represents a new exciting chapter for us, it redefines what a Remedy game is. It shows off our unique ability to build compelling worlds while providing a new player-driven way to experience them,” said Mikael Kasurinen, game director of Control. “A key focus for Remedy has been to provide more agency through gameplay and allow our audience to experience the story of the world at their own pace” “From our first meetings with Remedy we’ve been inspired by the vision and scope of Control, and we are proud to help them bring this game to life and get it into the hands of players,” said Neil Ralley, president of 505 Games.
    [Show full text]
  • Take-Two Interactive Software Annual Report 2020
    Take-Two Interactive Software Annual Report 2020 Form 10-K (NASDAQ:TTWO) Published: May 22nd, 2020 PDF generated by stocklight.com UNITED STATES SECURITIES AND EXCHANGE COMMISSION WASHINGTON, D.C. 20549 FORM 10-K ☒ Annual Report Pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934 For the fiscal year ended March 31, 2020 OR ☐ Transition Report Pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934 For the transition period from to . Commission file number 001-34003 TAKE-TWO INTERACTIVE SOFTWARE, INC. (Exact name of registrant as specified in its charter) Delaware 51-0350842 (State or Other Jurisdiction of (I.R.S. Employer Incorporation or Organization) Identification No.) 110 West 44th Street New York, New York 10036 (Address of principal executive offices) (Zip Code) Registrant's Telephone Number, Including Area Code: (646) 536-2842 Securities registered pursuant to Section 12(b) of the Act: Title of each class Trading symbol Name of each exchange on which registered Common Stock, $.01 par value TTWO NASDAQ Global Select Market Securities registered pursuant to Section 12(g) of the Act: None Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes ý No o Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. Yes o No ý Indicate by check mark whether the Registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days.
    [Show full text]
  • Page 1/3 Smuggler's Run: Smuggler's Run Has Achieved the Honor of Inclusion Into Sony's "Greatest Hits" Lineup of Top Selling Playstation 2 Games
    Take-Two Interactive Software, Inc. "Exposes" Its Electronic Entertainment Expo Lineup; Publisher of Number-One Selling Video Game of 2001 Ups-the-Ante in 2002 May 17, 2002 9:54 AM ET NEW YORK, May 17, 2002 (BUSINESS WIRE) -- Take-Two Interactive Software, Inc. (NASDAQ: TTWO) is pleased to reveal its 2002 lineup at the Electronic Entertainment Expo (E3) in Los Angeles on May 22-24, 2002. Take-Two will display its products in Booth #524 of the South Hall, spanning all next generation consoles including the PC, PlayStation(R)2 computer entertainment system, the Xbox(TM) videogame system from Microsoft, Nintendo Game Boy(R) Advance, Nintendo GameCube(TM) and the PlayStation (R) game console. "Take-Two's titles have taken the world by storm and in the process we have successfully built some of the industry's most successful franchises," said Kelly Sumner, CEO of Take-Two Interactive Software. "We pride ourselves on knowing what our audience wants and we are certain that we have brought to E3 a diverse, exciting and above all, fun lineup." Rockstar Games' Lineup: Grand Theft Auto 3: Grand Theft Auto 3 for the PlayStation 2 was the number-one selling game of 2001 and is now headed for the PC. Featuring a fully three-dimensional, living city, a combination of narrative driven and non-linear gameplay and a completely open environment, the game represents a revolutionary leap forward in interactive entertainment. Players are put at the heart of their very own gangster movie and let loose in a city in which anything can happen and probably will.
    [Show full text]
  • Bullet Time and the Mediation of Post-Cinematic Temporality 2016
    Repositorium für die Medienwissenschaft Andreas Sudmann Bullet Time and the Mediation of Post-Cinematic Temporality 2016 https://doi.org/10.25969/mediarep/13461 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Sudmann, Andreas: Bullet Time and the Mediation of Post-Cinematic Temporality. In: Shane Denson, Julia Leyda (Hg.): Post-Cinema. Theorizing 21st-Century Film. Falmer: REFRAME Books 2016, S. 297– 326. DOI: https://doi.org/10.25969/mediarep/13461. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ 3.2 Bullet Time and the Mediation of Post-Cinematic Temporality BY ANDREAS SUDMANN I’ve watched you, Neo. You do not use a computer like a tool. You use it like it was part of yourself. —Morpheus in The Matrix Digital computers, these universal machines, are everywhere; virtually ubiquitous, they surround us, and they do so all the time. They are even inside our bodies. They have become so familiar and so deeply connected to us that we no longer seem to be aware of their presence (apart from moments of interruption, dysfunction—or, in short, events). Without a doubt, computers have become crucial actants in determining our situation. But even when we pay conscious attention to them, we necessarily overlook the procedural (and temporal) operations most central to computation, as these take place at speeds we cannot cognitively capture.
    [Show full text]
  • Special Issue Nation(Alism), ,Dentity and Video Gaming Edited by Lisa Kienzl and Kathrin Trattner
    8QWLWOHG3HWH/LQIRUWK3L[DED\ 6SHFLDO,VVXH 1DWLRQ DOLVP ,GHQWLW\DQG9LGHR*DPLQJ HGLWHGE\ /LVD.LHQ]ODQG.DWKULQ7UDWWQHU ,VVXH ,QWURGXFWLRQ7KRXJKWVRQWKH(QWDQJOHPHQWRIWKH&RQFHSWVDQG1RWLRQVRID 1DWLRQ1DWLRQDOLVPDQG,GHQWLW\LQ5HODWLRQWR9LGHR*DPHVDQG*DPLQJ&XOWXUH E\/LVD.LHQ]ODQG.DWKULQ7UDWWQHU DUWLFOH *ORU\WR7UXPSODQG&ULWLFDOO\3OD\LQJ%RUGHU*DPHV E\0HOLVVD.DJHQ UHSRUWV 5RXQG7DEOH'LVFXVVLRQRQNation(alism), Identity and Video GamingZLWK0HJDQ &RQGLV0DULMDP'LGæJDOY\WŐ*HRUJ+REPHLHUDQG6RXYLN0XNKHUMHH E\.DWKULQ7UDWWQHUDQG/LVD.LHQ]O 3OD\LQJ$PHULFD$Q,QWURGXFWLRQWR$PHULFDQ&XOWXUHWKURXJK9LGHR*DPHV E\0LFKDHO)XFKVDQG6WHIDQ5DELWVFK 5HVHDUFK5HSRUWRQ&XUVHWKH)LHQGV7KHLU&KLOGUHQ7RR&XOWXUDO+HULWDJHDQG 6XEYHUVLRQRI)LFWLRQDO7URSHVLQBloodborne E\6DUDK=DLGDQ5LFKDUG3LOEHDPDQG(OLQ&DUVWHQVGRWWLU LQWHUYLHZV ,QWHUYLHZZLWK0LUD:DUGKDQLQJVLKIURP6WRU\7DOH6WXGLRVRQWKH,QGRQHVLDQ+RUURU *DPHPamali E\.DWKULQ7UDWWQHU ,QWHUYLHZZLWK'p\IRXODK6DQL%DK7UDRUHRQWKH7RJROHVH*DPHOrigin – the Rise of Dzitri E\/LVD.LHQ]O UHYLHZV We. The Revolution, a Review. 9LYHOD5pYROXWLRQRU'HDWKDQG$OO+LV)ULHQGV E\.HYLQ5HFKHU Kingdom Come: Deliverance.$%RKHPLDQ)RUHVW6LPXODWRU E\(XJHQ3ILVWHU Playing America. An Introduction to American Culture through Video Games Michael Fuchs and Stefan Rabitsch Abstract This research report sketches one of our current projects – a textbook which approaches America (an imaginative construct more so than a geographic location) through video games. Thus, the intended outcome of this project is a ready-to-use primer to the
    [Show full text]