Dragon-Age-Inquisition-Manuals
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Flemeth of Dragon Age
JOURNAL OF COMPARATIVE RESEARCH IN ANTHROPOLOGY AND SOCIOLOGY Copyright © The Author, 2015 Volume 6, Number 2, Winter 2015 ISSN 2068 – 0317 http://compaso.eu Powerful elderly characters in video games: Flemeth of Dragon Age Elisabeta Toma1 Abstract As games are becoming an increasingly popular medium in various demographic and professional strata, scholars are discussing their content and how they shape society. However, despite an increase in gender analysis of video games, little has been written about orienting games towards an elderly audience, or game representations of aging and older persons. Games specifically designed for older persons are focused on improving cognitive functions, starting from the assumption that the elderly are in need of special games in order to repair age-related deficits. This repair-focused design philosophy comes at the expense of pursuing a broader understanding of quality of life and non-programmatic entertainment. Games-for-fun that also explicitly target the elderly as an audience are almost invisible. In this article we turn our attention to a powerful elderly feminine character in an AAA game designed for entertainment without a serious mission, namely Flemeth from Dragon Age. We discuss how the game depicts and models older characters: What repertoire of portraits has Flemeth as an old woman, in the Dragon Age games? How does Flemeth contribute to an enlarged repertoire of portrayals of old women in video games? We conclude that Flemeth’s gender and age displays in Dragon Age do not impoverish her portrayal but, on the contrary, turn her into a powerful and complex character, thus offering a model for game design to represent and invite older players. -
Ada: a Journal of Gender, New Media, and Technology Issue No. 1 Confronting Toxic Gamer Culture: a Challenge for Feminist Game Studies Scholars
Confronting toxic gamer culture: A challenge for feminist game studies scholars Author(s): Mia Consalvo DOI: 10.7264/N33X84KH URL: http://adanewmedia.org/2012/11/issue1-consalvo Published: 15 November 2012 Copyright © 2012. This work is licensed under a Creative Commons Attribution- NonCommercial-NoDerivs 3.0 Unported License. Ada: A Journal of Gender, New Media, and Technology ISSN 2325-0496 Ada: A Journal of Gender, New Media, and Technology Issue no. 1 Confronting toxic gamer culture: A challenge for feminist game studies scholars Mia Consalvo Concordia University With increasing frequency the ugliness of gamer culture is being put on display for the wider world to see. While I was writing this piece, for example, a Canadian blogger created a game where one can punch and bruise the face of Anita Sarkeesian, creator of the popular website Feminist Frequency: Conversations with Pop Culture (Spurr, 2012). The game was in response to news of her Kickstarter campaign, where she proposed investigating portrayals of women in videogames over the past few decades. The game was only the latest in a string of attacks on Sarkeesian for her proposed project: she also received death threats, had her Wikipedia page defaced with pornographic imagery, and was repeatedly harassed on the Kickstarter page and elsewhere. About a month prior to that, in June 2012 a controversy erupted about Lara Croft’s alleged past in the latest Tomb Raider game, where sexual assault had helped form her character according to one of the game’s developers (Schreier, 2012). In May, the annual videogame expo E3 became the topic of controversy when multiple sources declared it a space hostile to women and juvenile in its approach to games (Alexander, 2012; Williams, 2012). -
Rewriting the Story: Videogames Within the Post-Gamergate Society
Jones 1 Abigail Jones English 4995 Joanna Hearne Rewriting the Story: Videogames within the Post-Gamergate Society “Begin like this: If photographs are images, and films are moving images, then video games are actions.” - Gaming: Essays on Algorithmic Culture, Alexander Galloway Staring through the scope in Call of Duty Modern Warfare (2007), as you navigate through the boggy swamps of some exotic jungle, there is never any doubt that you are in control. The operator’s thumbs roll over the toggles of the controller signaling to the consul how the character on screen must move. By enacting actions within the real world, players affect the actions of the avatar within the game world. To any well-versed videogame player, this is common knowledge; when one plays a videogame it is to be engaged within the world of the game and to ultimately achieve the programmed goal of the game. Up until the creation of the videogame, mediums of entertainment were largely spectator based. While reading a book you may turn the page, but you do not affect the ending of the book. When viewing a movie you may be actively watching, but you are not able to change the ending of the movie. But when playing a videogame the decisions made within the game determine whether the goal is reached, or if it is not: game over. In Alexander Galloway’s essay, “Gaming: Essays on Algorithmic Culture,” he defines videogames as a medium based upon action; “There has emerged in recent years a whole new medium, computers and in particular videogames, whose foundation is not in looking and reading but in the instigation of material change through action.” It is this Jones 2 action that appeals to players--the level of interactivity and agency. -
Dragon-Age-Inquisition-Manuals
CONTENTS GETTING STARTED ............ 2 MASTERING COMBAT ........ 7 INTRODUCTION ................ 3 YOUR INQUISITOR’S STARTING YOUR JOURNEY .......................... 11 ADVENTURE ..................... 3 MULTIPLAYER ................... 15 CONTROLS ....................... 6 NEED HELP? ..................... 16 See important health and safety warnings in the system Settings menu. GETTING STARTED PLAYSTATION®4 system Starting a game: Before use, carefully read the instructions supplied with the PS4™ computer entertainment system. The documentation contains information on setting up and using your system as well as important safety information. Touch the (power) button of the PS4™ system to turn the system on. The power indicator blinks in blue, and then lights up in white. Insert the Dragon Age™: Inquisition disc with the label facing up into the disc slot. The game appears in the content area of the home screen. Select the software title in the PS4™ system’s home screen, and then press the S button. Refer to this manual for information on using the software. Quitting a game: Press and hold the p button, and then select [Close Application] on the screen that is displayed. Returning to the home screen from a game: To return to the home screen without quitting a game, press the p button. To resume playing the game select it from the content area. Removing a disc: Touch the (eject) button after quitting the game. Trophies: Earn, compare and share trophies that you earn by making specific in-game accomplishments. Trophies access requires a Sony Entertainment Network account. 2 INTRODUCTION Chaos threatens the land of Thedas. Nations clash, dragons conquer the skies, and a civil war is brewing between mages and the templars who have appointed themselves the mages’ watchers. -
Conference Booklet
30th Oct - 1st Nov CONFERENCE BOOKLET 1 2 3 INTRO REBOOT DEVELOP RED | 2019 y Always Outnumbered, Never Outgunned Warmest welcome to first ever Reboot Develop it! And we are here to stay. Our ambition through Red conference. Welcome to breathtaking Banff the next few years is to turn Reboot Develop National Park and welcome to iconic Fairmont Red not just in one the best and biggest annual Banff Springs. It all feels a bit like history repeating games industry and game developers conferences to me. When we were starting our European older in Canada and North America, but in the world! sister, Reboot Develop Blue conference, everybody We are committed to stay at this beautiful venue was full of doubts on why somebody would ever and in this incredible nature and astonishing choose a beautiful yet a bit remote place to host surroundings for the next few forthcoming years one of the biggest worldwide gatherings of the and make it THE annual key gathering spot of the international games industry. In the end, it turned international games industry. We will need all of into one of the biggest and highest-rated games your help and support on the way! industry conferences in the world. And here we are yet again at the beginning, in one of the most Thank you from the bottom of the heart for all beautiful and serene places on Earth, at one of the the support shown so far, and even more for the most unique and luxurious venues as well, and in forthcoming one! the company of some of the greatest minds that the games industry has to offer! _Damir Durovic -
Enabling the Localization of Large Role-Playing Games Four Recorded Languages: French, Italian, Ger- Is to Put Together As Complete a Localization Man and Polish)
In order to achieve total immersion in the game world, TRANS · núm. 15 · 2011 DOSSIER · 39-51 increasing therefore player’ satisfaction, localization should ideally aim at creating complete suspension of disbelief. However, time constraints and constant design and script changes mean that localisation is sometimes forced to trade quality in favor of speed, because missing release dates can mean multimillion losses. This article explains the strategies BioWare has developed internally to counteract the problems provoked by long-established game development practices with the ultimate goal of supporting quality localization from the start, and so guaranteeing players’ suspension of disbelief whatever the language version they play. key words: multiplayer, localization, role-playing, video game, online, MMO, RPG Enabling the Localization of Large Role-Playing Games Facilitando la localización de videojuegos de rol masivos Con el objeto de lograr la inmersión absoluta en el mundo virtual del videojuego, aumentando así la satisfacción del jugador, la localización debe conseguir el ideal de la total suspensión de la incredulidad. Sin embargo, los cortos pla- zos así como cambios constantes de diseño y guión a veces obligan a que la localización tenga que cambiar calidad por velocidad, porque el cambio de las fechas de lanzamiento suele provocar pérdidas multimillonarias. Este artículo explica las estrategias que BioWare ha desarrollado inter- hris hristou C C namente para contrarrestar los problemas provocados por Lead Localization Tools Programmer, BioWare las prácticas tradicionales en la industria del videojuego. Jenny MCKearney El objetivo es facilitar un proceso de localización de alta Localization Producer, BioWare calidad desde el principio del desarrollo, de modo que se ryan warden garantice la suspensión de la incredulidad de los jugadores independientemente de la lengua en la que estén jugando. -
It Is in the Area Properties That You Can Customize an Area
THE BUILDERS PROJECT’S GUIDE TO BUILDING *** THE AURORA TOOLSET MANUAL VERSION 1.06 TABLE OF CONTENTS CHAPTER 1 USING THE TOOLSET.......................................................................................................................11 1.1 THE TOOLSET WINDOWS ....................................................................................................................... 11 1.1.1 The Module Structure Window.............................................................................................................. 11 1.1.2 The Main View Window ........................................................................................................................ 12 1.1.3 The Palette............................................................................................................................................. 13 CHAPTER 2 MODULES .............................................................................................................................................16 2.1 CREATING A NEW MODULE ................................................................................................................... 16 2.2 THE PROPERTIES OF A MODULE............................................................................................................. 20 2.2.1 The Basic Properties of a Module......................................................................................................... 20 2.2.2 The Events Properties of a Module...................................................................................................... -
Dragon-Age-Origins-Manuals
WARNING Before playing this game, read the Xbox 360® Instruction Manual CONTENTS and any peripheral manuals for important safety and health information. Keep all manuals for future reference. For replacement manuals, see www.xbox.com/support INTRODUCTION . 5 or call Xbox Customer Support. COMPLETE CONTROLS . 5 CHARACTER CONTROL . 5 TARGETS AND DEFAULT ACTIONS . 5 Important Health Warning About Playing Video Games RADIAL MENU . 5 Photosensitive seizures BATTLE MENU . 5 A very small percentage of people may experience a seizure when exposed to certain SPECIAL ABILITIES . 6 visual images, including fl ashing lights or patterns that may appear in video games. MAIN MENU . 6 Even people who have no history of seizures or epilepsy may have an undiagnosed LOG IN . 6 condition that can cause these “photosensitive epileptic seizures” while watching video games. DOWNLOADABLE CONTENT . 6 These seizures may have a variety of symptoms, including lightheadedness, altered CHARACTER GENERATION . 6 vision, eye or face twitching, jerking or shaking of arms or legs, disorientation, GENDER . 6 confusion, or momentary loss of awareness. Seizures may also cause loss of RACE . 6 consciousness or convulsions that can lead to injury from falling down or striking HUMAN . 6 nearby objects. ELF . 7 Immediately stop playing and consult a doctor if you experience any of these DWARF . 7 symptoms. Parents should watch for or ask their children about the above symptoms— children and teenagers are more likely than adults to experience these seizures. The risk RACIAL BENEFITS . 7 of photosensitive epileptic seizures may be reduced by taking the following precautions: CLASS . 7 Sit farther from the screen; use a smaller screen; play in a well-lit room; do not play WARRIOR . -
Dragon Age Legends Brings Bioware's Award
Dragon Age Legends Brings BioWare’s Award-Winning Dark Fantasy RPG Franchise to Facebook New EA Game Includes Exclusive Unlockable Items for the Action RPG Dragon Age II REDWOOD CITY, Calif.--(BUSINESS WIRE)-- BioWare™, a division ofElectronic Arts Inc. (NASDAQ:ERTS) today announced Dragon Age™ Legends, a new Play4Free Facebook® game that expands on the critically acclaimed RPG franchise Dragon Age. The new game is inspired by the award-winning BioWare franchise but custom-designed for the casual and social play style for Facebook users of all ages. Dragon Age Legends blends accessible and engaging tactical combat with compelling co- operative gameplay perfectly suited for social networks, making for a unique offering on the platform. Launching in February 2011, Dragon Age Legends will also give gamers the chance to earn exclusive unlocks* for Dragon Age II, one of the most highly anticipated video games of 2011. “We are privileged to be working with BioWare to bring the Dragon Age universe to the hundreds of millions of gamers on Facebook,”said Mark Spenner, General Manager of EA 2D. “Our goal is to change the perception of social network games and attract new players to the Facebook platform by raising the quality bar. Dragon Age Legends will deliver a deep, sophisticated experience, and we will continue to delight gamers by adding new features and content far into the future.” Dragon Age Legends will give players their first taste of the Free Marches, the primary setting of Dragon Age II. Alongside their Facebook friends, players will take on challenging quests within an engaging storyline, earning loot, sharing rewards and growing their kingdom. -
Dragon Age RPG Quickstart Guide Is Copyright © 2011 Quickstart Guide Design: Walt Ciechanowski Green Ronin Publishing, LLC
Quickstart Guide DaRk Fantasy Roleplaying Dragon Age RPG Quickstart Guide is copyright © 2011 QUICKSTART GUIDE DESIGN: WALT CIECHANOWSKI Green Ronin Publishing, LLC. All rights reserved. Reference to other copyrighted material DEVELOPMENT: JEFF TIDBALL in no way constitutes a challenge to the EDITING: EVAN SASS respective copyright holders of that material. ART DIRECTION AND GRAPHIC DESIGN: HAL MANGOLD © 2011 Electronic Arts Inc. EA and EA logo are trademarks of Electronic Arts Inc. BioWare, BioWare logo, and Dragon COVER ART: ALAN LATHWELL Age are trademarks of EA International (Studio and Publishing) Ltd. All other trademarks are the property of CARTOGRAPHY: TYLER LEE AND SEAN MACDONALD their respective owners. INTERIOR ART: ANDREW BOSLEY, JASON CHEN, DAVID KEgg, SUNG KIM, Green Ronin, Adventure Game MATT RHODES, MIKE SASS, AND FRANCISCO TORRES Engine, and their associated PUBLISHER, DRAGON AGE RPG DESIGN: CHRIS PRAMAS logos are trademarks of Green Ronin Publishing. GREEN RONIN STAFF: BILL BODDEN, STEVE KENSON, JON LEITHEUSSER, NICOLE LINDROOS, HAL MANGOLD, CHRIS PRAMAS, EVAN SASS, Printed in the USA. MARC SCHMALZ, AND JEFF TIDBALL PLAYTESTERS: ALEXANDER BELDAN, JEB BOYT, JASON DURALL, CHARLES FRANK, GREEN RONIN PUBLISHING JOHNATHAN GREENE, EUGENE GUALTIERI, DAVE HANLON, ALEXIS KRISTAN HEINZ, 3815 S. Othello St. Suite 100, #304 JOHN ILLINgwORTH, DAN ILUT, ROBERT W.B. LLWYD, ADAM LUDWIG, MICHAEL Seattle, WA 98118 MURPHY, NICK NUBER, MARK PHILLIppI, TROY PICHELMAN, THOMAS M. REID, Email: [email protected] BOB ROEH, MATT RYAN, GREG SCHWEIGER, JESSE SCOBLE, JASON M. STROIK, Web Site: greenronin.com DEANNA TOUSIGNANT, MAURICE TOUSIGNANT, AND NATALIE WALLACE Introduction You hold in your hands a gateway to the tabletop, pen- Welcome to and-paper Dragon Age Roleplaying Game. -
Self-Saving Princess: Feminism and Post-Play Narrative Modding - Ada New Media ISSUE NO
2/18/2021 Self-Saving Princess: Feminism and Post-Play Narrative Modding - Ada New Media ISSUE NO. 2 Self-Saving Princess: Feminism and Post-Play Narrative Modding Alex Layne Samantha Blackmon Since Donkey Kong tossed his first barrel in 1981, princesses in video games have served one purpose: to be saved. Successful completion of Donkey Kong (Nintendo 1981) sees Kong defeated and Jumpman and Lady lovingly reunited. Lady had found her hero and Jumpman had won his prize. Women were cast as damsels in distress and have predominantly been trapped in this role. More than three decades later little has changed. Female protagonists in video games are still almost non-existent. When we do encounter the elusive heroine, she is typically either portrayed as a sexual object to be gazed upon and controlled, or she is simply a female “skinned” version of the male protagonist. Cast into these roles, it is hardly surprising that women and games have long had a troubled relationship, ranging from who is creating the games to who is playing them to who is talking about them. This paper explores and investigates the myriad of ways that video game narratives get modded post-play for feminist purposes (intentionally and unintentionally). We will look at modding through cultural critique of the medium as well as through online discussion surrounding game play and game design that happens without the intent of feminist critique or modding. “Modding” as an activity emerges differently in each context, and we explore examples that show the richness and instability of this concept below. -
Behavior Decision System: Dragon Age Inquisition's Utility Scoring
Copyright Material – Provided by Taylor & Francis 31 Behavior Decision System Dragon Age Inquisition’s Utility Scoring Architecture Sebastian Hanlon and Cody Watts 31.1 Introduction 31.6 Movement and Passive 31.2 The Behavior Decision Behaviors System 31.7 Modularity and 31.3 Enumerating Potential Opportunities for Reuse Actions 31.8 Conclusion 31.4 Evaluating Behaviors Acknowledgments 31.5 Execution Step References 31.1 Introduction The real-time combat sequences of Dragon Age: Inquisition (DA:I) pit the player-controlled Inquisitor in a fight to the death against shambling undead, fearsome demons, and—of course—towering dragons. It is a tough job, but the Inquisitor is not alone; fighting along- side his or her are three AI-controlled allies—fellow members of the Inquisition such as The Iron Bull, a towering, axe-swinging mercenary, Varric Tethras, a smooth-talking dwarf, and Dorian Pavus, a charming and quick-witted mage. In Dragon Age, combat is driven by “abilities.” A typical combatant will have anywhere from 2 to 20 abilities at their disposal, ranging from the simple (“hit your foe with the weapon you are holding”) to the elaborate (“call down a rain of fire upon your enemies”). Each ability has an associated cost expressed in terms of a depletable resource called “mana” or “stamina.” Because mana/stamina is limited, abilities also have an implicit opportu- nity cost—the mana/stamina consumed by one ability will inevitably preclude the use of future abilities. This creates a challenging problem for human players and AI characters 371 Copyright Material – Provided by Taylor & Francis alike: When faced with limited resources, a plurality of choices, and a constantly changing game state, how can a combatant quickly identify the course of action which will yield the greatest possible benefit? For DA:I, we created a utility-based AI system called the Behavior Decision System (BDS) to answer this question and to handle the complex decision-making which combatants must perform.