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Penser La Formation Et Les Évolutions Du Jeu Sur Support Numérique Sébastien Genvo
Penser la formation et les évolutions du jeu sur support numérique Sébastien Genvo To cite this version: Sébastien Genvo. Penser la formation et les évolutions du jeu sur support numérique. Sciences de l’information et de la communication. Université de Lorraine, 2013. tel-02169832 HAL Id: tel-02169832 https://hal.univ-lorraine.fr/tel-02169832 Submitted on 1 Jul 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITÉ DE LORRAINE Centre de recherche sur les médiations (ÉA 3476) Mémoire pour l’habilitation à diriger des recherches en sciences de l’information et de la communication TOME 1 PENSER LA FORMATION ET LES ÉVOLUTIONS DU JEU SUR SUPPORT NUMÉRIQUE Présenté et soutenu publiquement le cinq décembre 2013 par Sébastien Genvo Garant : M. Jacques Walter, Professeur à l’université de Lorraine Jury M. Jean-Jacques Boutaud, Professeur à l’université de Bourgogne M. Gilles Brougère, Professeur à l’université Paris Nord Mme Sylvie Leleu-Merviel, Professeure à l’université de Valenciennes et du Hainaut-Cambrésis M. Bernard Perron, Professeur titulaire à l’université de Montréal Mme Brigitte Simonnot, Professeure à l’université de Lorraine Sommaire Introduction .......................................................................................... -
[Japan] SALA GIOCHI ARCADE 1000 Miglia
SCHEDA NEW PLATINUM PI4 EDITION La seguente lista elenca la maggior parte dei titoli emulati dalla scheda NEW PLATINUM Pi4 (20.000). - I giochi per computer (Amiga, Commodore, Pc, etc) richiedono una tastiera per computer e talvolta un mouse USB da collegare alla console (in quanto tali sistemi funzionavano con mouse e tastiera). - I giochi che richiedono spinner (es. Arkanoid), volanti (giochi di corse), pistole (es. Duck Hunt) potrebbero non essere controllabili con joystick, ma richiedono periferiche ad hoc, al momento non configurabili. - I giochi che richiedono controller analogici (Playstation, Nintendo 64, etc etc) potrebbero non essere controllabili con plance a levetta singola, ma richiedono, appunto, un joypad con analogici (venduto separatamente). - Questo elenco è relativo alla scheda NEW PLATINUM EDITION basata su Raspberry Pi4. - Gli emulatori di sistemi 3D (Playstation, Nintendo64, Dreamcast) e PC (Amiga, Commodore) sono presenti SOLO nella NEW PLATINUM Pi4 e non sulle versioni Pi3 Plus e Gold. - Gli emulatori Atomiswave, Sega Naomi (Virtua Tennis, Virtua Striker, etc.) sono presenti SOLO nelle schede Pi4. - La versione PLUS Pi3B+ emula solo 550 titoli ARCADE, generati casualmente al momento dell'acquisto e non modificabile. Ultimo aggiornamento 2 Settembre 2020 NOME GIOCO EMULATORE 005 SALA GIOCHI ARCADE 1 On 1 Government [Japan] SALA GIOCHI ARCADE 1000 Miglia: Great 1000 Miles Rally SALA GIOCHI ARCADE 10-Yard Fight SALA GIOCHI ARCADE 18 Holes Pro Golf SALA GIOCHI ARCADE 1941: Counter Attack SALA GIOCHI ARCADE 1942 SALA GIOCHI ARCADE 1943 Kai: Midway Kaisen SALA GIOCHI ARCADE 1943: The Battle of Midway [Europe] SALA GIOCHI ARCADE 1944 : The Loop Master [USA] SALA GIOCHI ARCADE 1945k III SALA GIOCHI ARCADE 19XX : The War Against Destiny [USA] SALA GIOCHI ARCADE 2 On 2 Open Ice Challenge SALA GIOCHI ARCADE 4-D Warriors SALA GIOCHI ARCADE 64th. -
Nícolas Souza De Frias E Vasconcellos.Pdf
Pontifícia Universidade Católica de São Paulo NÍCOLAS SOUZA DE FRIAS E VASCONCELLOS O POINT-AND-CLICK ADVENTURE RESSURGE: UMA DISCUSSÃO ANALÍTICA SOBRE UM GÊNERO ADORMECIDO São Paulo 2020 Pontifícia Universidade Católica de São Paulo Nícolas Souza de Frias e Vasconcellos O POINT-AND-CLICK ADVENTURE RESSURGE: UMA DISCUSSÃO ANALÍTICA SOBRE UM GÊNERO ADORMECIDO Dissertação apresentada à Banca Examina- dora da Pontifícia Universidade Católica de São Paulo, como exigência para obtenção do título de MESTRE em Desenvolvimento de Jogos Digitais, área de concentração Engenharia de Software, redigida sob a orientação do Professor Doutor Hermes Renato Hildebrand. São Paulo 2020 Autorizo exclusivamente para fins acadêmicos e científicos, a reprodução parcial desta Tese de Mestrado por processos de fotocopiadoras ou eletrônicos. Assinatura _____________________________________ Data__________________________________________ E-mail_________________________________________ FICHA CATALOGRÁFICA Vasconcellos, Nícolas Souza de Frias e O POINT-AND-CLICK ADVENTURE RESSURGE: UMA DISCUSSÃO ANALÍTICA SOBRE UM GÊNERO ADORMECIDO. Registro: 2020 Orientador: Hermes Renato Hildebrand. Dissertação de Conclusão de Mestrado – Pontifícia Universidade Católica de São Paulo VASCONCELLOS, Nícolas Souza de Frias e. O POINT- AND-CLICK ADVENTURE RESSURGE: UMA DISCUSSÃO ANALÍTICA SOBRE O RETORNO DE UM GÊNERO ADORMECIDO. Dissertação. Pontifícia Universidade Católica de São Paulo. Mestrado em Desenvolvimento de Jogos Digitais, área de concentração Engenharia de Software, redigida -
Entre Nixon E SCUMM: Uma Análise Do Game Maniac Mansion1
Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação XXXII Congresso Brasileiro de Ciências da Comunicação – Curitiba, PR – 4 a 7 de setembro de 2009 Entre Nixon e SCUMM: Uma análise do game Maniac Mansion1 Eduardo Fernando MÜLLER2 Pontifícia Universidade Católica do Rio Grande do Sul, Porto Alegre, RS Resumo A proposta deste trabalho é realizar uma análise do game Maniac Mansion, seguindo um modelo de comunicação proposto por Raymond Nixon, e adaptando-o à realidade de um produto inserido no mercado dos jogos digitais. Consideram-se, nesta adaptação, as etapas do processo de comunicação, que envolvem o emissor e suas intenções; a plataforma de funcionamento do game, ou engine; seu sistema de regras; a narrativa; a interface e sua relação com o receptor/jogador; e os efeitos causados. Palavras-chave Comunicação Digital; Vídeo-Games; Jogos Digitais. O estudo dos games tem se mostrado bastante expressivo na última década, principalmente onde autores demonstram apontamentos dos jogos digitais como um produto de comunicação. Ainda é um campo incerto, cheio de dúvidas e opiniões contrárias de seus autores, incluindo questões referentes a que tipo de modelo comunicativo ideal deve ser proposto para analisar o objeto game. Ao longo deste trabalho, estudaremos o game Maniac Mansion como uma proposta de produto de comunicação, seguindo modelo proposto por Raymond Nixon, e adaptando-o ao mercado dos jogos digitais. O Modelo Comunicativo de Raymond Nixon. 1 Trabalho apresentado no GP Conteúdos Digitais e Convergências Tecnológicas do IX Encontro dos Grupos/Núcleos de Pesquisa em Comunicação, evento componente do XXXII Congresso Brasileiro de Ciências da Comunicação. 2 Mestrando do Curso de Comunicação Social da PUCRS, email: [email protected]. -
You've Seen the Movie, Now Play The
“YOU’VE SEEN THE MOVIE, NOW PLAY THE VIDEO GAME”: RECODING THE CINEMATIC IN DIGITAL MEDIA AND VIRTUAL CULTURE Stefan Hall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2011 Committee: Ronald Shields, Advisor Margaret M. Yacobucci Graduate Faculty Representative Donald Callen Lisa Alexander © 2011 Stefan Hall All Rights Reserved iii ABSTRACT Ronald Shields, Advisor Although seen as an emergent area of study, the history of video games shows that the medium has had a longevity that speaks to its status as a major cultural force, not only within American society but also globally. Much of video game production has been influenced by cinema, and perhaps nowhere is this seen more directly than in the topic of games based on movies. Functioning as franchise expansion, spaces for play, and story development, film-to-game translations have been a significant component of video game titles since the early days of the medium. As the technological possibilities of hardware development continued in both the film and video game industries, issues of media convergence and divergence between film and video games have grown in importance. This dissertation looks at the ways that this connection was established and has changed by looking at the relationship between film and video games in terms of economics, aesthetics, and narrative. Beginning in the 1970s, or roughly at the time of the second generation of home gaming consoles, and continuing to the release of the most recent consoles in 2005, it traces major areas of intersection between films and video games by identifying key titles and companies to consider both how and why the prevalence of video games has happened and continues to grow in power. -
The Casual Revolution Of... 1987 Making Adventure Games Accessible to the Masses
The Casual Revolution of... 1987 Making Adventure Games Accessible to the Masses Jonathan Lessard Concordia University, Montréal 1. Talkin’ about a revolution At the turn of the 21st century, the video game industry became increasingly interested in catering to so-called "casual gamers”—that is players interested in easily accessible games requiring limited time, effort and expertise. In his book on the phenomenon, Jesper Juul (2010) has termed “Casual Revolution” the process that became particularly observable with the success of the broadly-reaching yet technically underwhelming Nintendo Wii console. If a revolution is the sudden disruption of an established state of affairs, this casual revolution should presuppose the existence of something like a “hardcore regime”. The book’s focus being on the revolution itself as well as casual game design, very little information is given on the status quo ante; only a general perception that video games used to be mostly designed for (and played by) dedicated young male fans. Juul argues that the casual revolution is in fact a return to video gaming’s arcade roots: “the moment in which the simplicity of early video games is being rediscovered” (2). His reading of the history of video games through the lens of “casualness” suggests an arc that could be schematized this way: _____________________________________________________________ Kinephanos, ISSN 1916-985X History of Games International Conference Proceedings, January 2014, www.kinephanos.ca The Casual Revolution of… 1987 Figure 1: Schematic representation of the "Casual Revolution" This appealing perspective might effectively reflect reality—or not. In order to judge, one would need to compile data concerning the global “casualness” of the video game offered at different points in time, their targeted demographics, and effective players. -
STAR WARS and the History of Transmedia Storytelling
3 TRANSMEDIA Guynes and Hassler-Forest (eds) of Transmedia Storytellingof Transmedia History the and Wars Star Edited by Sean Guynes and Dan Hassler-Forest STAR WARS and the History of Transmedia Storytelling Star Wars and the History of Transmedia Storytelling Transmedia: Participatory Culture and Media Convergence The book series Transmedia: Participatory Culture and Media Convergence provides a platform for cutting-edge research in the field of media studies, with a strong focus on the impact of digitization, globalization, and fan culture. The series is dedicated to publishing the highest-quality monographs (and exceptional edited collections) on the developing social, cultural, and economic practices surrounding media convergence and audience participation. The term ‘media convergence’ relates to the complex ways in which the production, distribution, and consumption of contemporary media are affected by digitization, while ‘participatory culture’ refers to the changing relationship between media producers and their audiences. Interdisciplinary by its very definition, the series will provide a publishing platform for international scholars doing new and critical research in relevant fields. While the main focus will be on contemporary media culture, the series is also open to research that focuses on the historical forebears of digital convergence culture, including histories of fandom, cross- and transmedia franchises, reception studies and audience ethnographies, and critical approaches to the culture industry and commodity culture. -
Adventure En 1977
Université de Montréal HISTOIRE FORMELLE DU JEU D’AVENTURE SUR ORDINATEUR (LE CAS DE L’AMÉRIQUE DU NORD DE 1976-1999) par Jonathan Lessard Département d’histoire de l’art et d’études cinématographiques Faculté des arts et des sciences Thèse présentée à la Faculté des arts et des sciences en vue de l’obtention du grade de Philosophiae Doctor (Ph. D.) en études cinématographiques Juin 2013 © Jonathan Lessard, 2013 Université de Montréal Faculté des études doctorales et postdoctorales Cette thèse intitulée : HISTOIRE FORMELLE DU JEU D’AVENTURE SUR ORDINATEUR (LE CAS DE L’AMÉRIQUE DU NORD DE 1976-1999) présentée par : Jonathan Lessard a été évaluée par un jury composé des personnes suivantes : Carl Therrien président-rapporteur Bernard Perron directeur de recherche Sébastien Roy membre du jury Sébastien Genvo examinateur externe Jean-Claude Guédon représentant du doyen i RÉSUMÉ Cette étude s’intéresse à l’évolution formelle du jeu d’aventure de 1976 à 1999. Elle se propose de mieux comprendre les facteurs historiques contribuant à l’apparition du genre, son institution et ses transformations. La recherche est fondée sur l’analyse du discours de la presse spécialisée en jeux d’ordinateur et d’un corpus étendu d’œuvres. L’une des thèses proposées est que l’identité générique du jeu d’aventure est fondée sur une expérience vidéoludique demeurant relativement constante malgré des variations importantes de formes. Cette expérience est assurée par la reproduction des principaux éléments d’une architecture générale de design de jeu inaugurée par Adventure en 1977. Les variations formelles ponctuelles résultent d’une négociation entre la volonté de s’adapter aux changements de contexte de l’écologie du jeu d’ordinateur et la résistance d’une architecture ludique établie.