WWF Safari Adventures Windows Manual

Total Page:16

File Type:pdf, Size:1020Kb

WWF Safari Adventures Windows Manual TM CONTENTS ABOUT WORLD WILDLIFE FUND 1. About World Wildlife Fund..........................................................................3 Known worldwide by its panda logo, World Wildlife Fund (WWF) leads interna- 2. Installing and launching the game ............................................................4 tional efforts to conserve the diversity of life on Earth. From working to save the 2.1 Installation......................................................................................4 giant panda, tiger, and rhino to establishing and helping manage parks and 2.2 Launching the game........................................................................4 reserves, WWF has been a conservation leader for more than 40 years, in over 3. How the game works ................................................................................6 100 countries around the globe. With nearly 1.2 million members in the U.S. and 3.1 What's the story ..............................................................................6 another 4 million worldwide, WWF is the world's largest privately financed con- 3.2 First part ........................................................................................6 servation organization. 3.3 Resume a game ..............................................................................8 3.4 Automatic save................................................................................8 WWF directs its conservation efforts toward three global goals: 3.5 Your photo album............................................................................8 · saving endangered species 3.6 Controls ..........................................................................................9 · protecting endangered habitats 3.7 Game interface ..............................................................................9 · addressing global threats 4. Technical Support ....................................................................................12 5. Credits ....................................................................................................13 Want to help? Visit www.worldwildlife.org. You can start making a difference 6. Companies ..............................................................................................14 today! 2 3 INSTALLING AND LAUNCHING THE GAME. Launch window: 2.1 Installation Installing from a CD-ROM is easy to do. The instructions below will enable you to install the game in no time. Insert the CD-ROM in the player. The launch window should appear. Click on Install, then follow the on-screen instructions. If no window appears, double click on Desktop, then double click on your CD-ROM player and finally double click on launcher.exe. Click on Install and fol- low the on-screen instructions. Click on the Close button as soon as Installation is complete. ONCE FINISHED, THE INSTALLATION PROGRAM MAY TELL YOU TO REBOOT YOUR COMPUTER. This window is shaded out if the game is not installed. If the IF THIS IS THE CASE, YOU WILL NOT BE ABLE TO PLAY THE GAME UNLESS YOU REBOOT button is white, you can launch the game. YOUR COMPUTER. Install / Uninstall the game. Watch out! When you uninstall the game, you lose your saved games. 2.2 Launching the game Game manual you are now reading* Place the game CD-ROM in the drive and the launch window will appear. Click on Play and get ready for the big adventure. Access to the WWF Safari Adventure - Africa website** Exit game If no window appears, in the Windows Task Bar, click on the Start button then on the Safari Adventures button in the Programs / Elektrogames / Safari Adventures - Africa / Safari Adventures - Africa folder (or the corresponding folder if you Access to the WWF Safari Adventure - Africa website** renamed the installation location). Or double click on the Panda short-cut icon *Requires the Acrobat Reader software. If it is not installed on your computer, the game will ask on your desktop. you to install it. Follow the on-screen instructions and at the end of installation, you will be able to read the manual. **Requires Internet connection and navigator not supplied with the game. 4 5 3. HOW THE GAME WORKS Select from the two heroes: 3.1 What's the story? Emma or Alex Welcome to Africa and all its magic - the lion, Sahara desert, and the jungle. Guided by the little WWF Panda you will be able to walk around the plains, - Alex - Emma mountains and forests of Africa to help the endangered species. Select your char- acter - either Alex or Emma - then let the adventure commence. Throughout your journey around Africa, you will meet a whole host of animals - Close who will become your friends. Unfortunately you will also meet meanies like Mr Mank or selfish oafs like Mr Rashburn. Then click on Next : Fortunately the ranger is there to help you understand Africa and take your first steps around the huge continent. This screen enables you to select a Now, you are ready. Take your camera and set out to save the animals. place to save your adventure. You can save up to five different adventures. 3.2 First part - Open This screen enables you to access the - Quit different game levels. To begin with you will only be able to access the first level - Play 6 7 3.3 Resume a game 3.6 Controls To continue a game you have already started, launch the game and in the selec- The game uses the mouse for all actions. The shape of the mouse cursor will tion screen, choose the color of token you selected in the game. Footprints automatically change to show what actions you can perform. behind the token will indicate the level you have reached. Talk Take Careful : If you stop the game before you complete a mission, you will have to restart the mission. Move Jump Drop Climb onto an animal - Erase Use the left mouse button to activate, move or pick up an object. Use the right button to cancel the action you have selected. 3.4 Automatic save 3.7 Game interface When you exit a game level, your progress through the game is automatically saved. But be careful, if you exit the game in mid-mission, your progress will not a) Game screen be saved. You will have to start the mission again. Don't worry! It won't take you long. The position of your token in the start interface is also saved when you exit the game. Don't forget, you can always go back to the places you have already visited. - Talk to the animals - View the environmental information sheets - View the animal information sheets 3.5 Your photo album As your journey through Africa progresses, you may collect the photos of the animals you help throughout your adventure. When you help the animals you will be able to take photos of them. 8 9 Info sheets: The WWF info sheets on the animals you meet and the Mouse Icon (contextual action) nature areas you visit with the Panda. These sheets inform you of the environmental issues concerning each area and the way its wildlife lives. b) Dialogue Character selection Dialogues are displayed in a special window which displays both what your own character and other characters say. Select character: Click on a character to display the missions he or she has asked you to complete. Exit game Other objectives and current objective: Each tab is a mission for you to fulfill. Access to the scrapbook: which contains photos of all your friends. Name of narrator Inventory View of narrator Name of object selected Reply display Number of objects or talk to animal in your pocket 10 11 c) The combination padlock 5. CREDITS GAME DESIGN & DIALOGS: Olivier Croset You will have to solve the padlock puzzle several times in the game. This is how Take 2 Software TECHNICAL DIRECTOR: Frédéric Zimmer it works : PROGRAMING TEAM: Stéphane Mutel, PRODUCER: Stephen B. Thomas Patrice Belmonte, Paolo Baerlocher, GENERAL MANGER: Chris Mate Sébastien Lagarde, Gildas Vinson, ART DIRECTOR: Pete Muench Change the combination Martial Reynes GRAPHIC DESIGNER: Chrissy Bates ART DIRECTOR: Sotheara Khem MARKETING MANAGER: Anne Marie Sims ARTISTS: Jocelyne Craveri, Carine QA SUPERVISOR: Joe Covello Combination Hinder, Marie N'Guyent, Florent TESTERS: Matt Baros, Josh Noll, Josh Leibovici, Géraud Deshayes, Vadda Rose; Rich Koeckert Mey, Tsoa Rakotoarisoa, Rémi Bialais SPECIAL THANKS: Sandy Wilson, Linda Wratchford, Peg Zoltan, Di Ranere, Lisa Nawrot, Adam Egender, Brian SG Diffusion McGinn, Tim Beggs, Ben Hamel, Mark MANAGEMENT: Christian Brecheteau, Moon, Wanda Mitchell Pierre Ortolan, Nadine Beringuer 4. TECHNICAL SUPPORT MARKETING TEAM: Eric Boccara, Look for 24-hour online technical support at our support website: Elektrogames Emmanuel Melero, Benjamin Goacolou COMMUNICATION TEAM: Anne-Karine www.take2games.com/support MANAGEMENT: Ivan Lebeau Denoble, Sherina Khaldi BUSINESS DEVELOPMENT: Abrial DaCosta COMMERCIAL TEAM Nadege Belz, You can also contact us via e-mail at the following address: PRODUCTION: Norbert Cellier Cynthia Lehnhard, Sophie Michaud, [email protected] FINANCE: Fabrice Aurousseau Daiki Goto LEGAL: Claude Amardiel PRODUCTION ASSISTANT: Alexandre Chivot WWF France SCIENTIFIC COMMITEE: Christine Sourd Neko Entertainement CONSERVATION DIRECTOR: Bernard Cressens PROJECT MANAGEMENT: Laurent PARTNERSHIP DIRECTOR: Dominique Lichnewsky Royet VISUAL DESIGN: José Afonso MEDIA PARTNERSHIP: Carole Balducci 12 13 PROJECT MANAGER: Céline Lemmel Other About Neko Entertainment (http://www.e-neko.com) MUSIC COMPOSER: Jean-Pascal Vielfaure In 1999, three specialists of the video games industry, Frédéric Zimmer, Laurent WWF United States DIALOG REWRITER: Stephane Riberio Lichnewsky
Recommended publications
  • Pegi Annual Report
    PEGI ANNUAL REPORT ANNUAL REPORT INTRODUCTION 2 CHAPTER 1 The PEGI system and how it functions 4 AGE CATEGORIES 5 CONTENT DESCRIPTORS 6 THE PEGI OK LABEL 7 PARENTAL CONTROL SYSTEMS IN GAMING CONSOLES 7 STEPS OF THE RATING PROCESS 9 ARCHIVE LIBRARY 9 CHAPTER 2 The PEGI Organisation 12 THE PEGI STRUCTURE 12 PEGI S.A. 12 BOARDS AND COMMITTEES 12 THE PEGI CONGRESS 12 PEGI MANAGEMENT BOARD 12 PEGI COUNCIL 12 PEGI EXPERTS GROUP 13 COMPLAINTS BOARD 13 COMPLAINTS PROCEDURE 14 THE FOUNDER: ISFE 17 THE PEGI ADMINISTRATOR: NICAM 18 THE PEGI ADMINISTRATOR: VSC 20 PEGI IN THE UK - A CASE STUDY? 21 PEGI CODERS 22 CHAPTER 3 The PEGI Online system 24 CHAPTER 4 PEGI Communication tools and activities 28 Introduction 28 Website 28 Promotional materials 29 Activities per country 29 ANNEX 1 PEGI Code of Conduct 34 ANNEX 2 PEGI Online Safety Code (POSC) 38 ANNEX 3 The PEGI Signatories 44 ANNEX 4 PEGI Assessment Form 50 ANNEX 5 PEGI Complaints 58 1 INTRODUCTION Dear reader, We all know how quickly technology moves on. Yesterday’s marvel is tomorrow’s museum piece. The same applies to games, although it is not just the core game technology that continues to develop at breakneck speed. The human machine interfaces we use to interact with games are becoming more sophisticated and at the same time, easier to use. The Wii Balance Board™ and the MotionPlus™, Microsoft’s Project Natal and Sony’s PlayStation® Eye are all reinventing how we interact with games, and in turn this is playing part in a greater shift.
    [Show full text]
  • Bullet Physics and the Blender Game Engine
    92801c06.qxd 5/14/08 1:54 PM Page 271 Bullet Physics and the Blender Game Engine Blender is a unique 3D animation suite in that it contains a full-featured game engine for the creation of games and other free-standing inter- active content. Nevertheless, in spite of its core of devoted fans, the game engine is an all-too- often overlooked feature of Blender. 271 I B In this chapter, you’ll learn the basics of work- ULLET ing with BGE and Bullet Physics to the point P HYSICSANDTHE that you can easily create dynamic rigid body animations, which can then be used in the Blender animation environment you’re accus- B LENDER tomed to. If you are new to BGE, you will be G surprised by how much amazing functionality it AME will open up for you. If not, this chapter should E NGINE provide some interesting ideas for how to inte- grate real-time generated physics simulations with rendered animations. Chapter Contents 6 The Blender Game Engine Rigid body simulation and Ipos Constraints,ragdolls,and robots 92801c06.qxd 5/14/08 1:54 PM Page 272 The Blender Game Engine It goes without saying that for people who are mainly interested in creating games, the game engine is one of Blender’s major attractions. The BGE is widely used by hobbyist game creators, and lately its appeal has begun to broaden to larger game projects. Luma Studios used BGE to create their prototype racing game ClubSilo, shown in Figure 6.1. The Blender Institute, the creative production extension of the Blender Foundation, is currently planning “Project Apricot,” which will use BGE in conjunction with the Crystal Space game development kit and other open source tools in producing an open game of professional quality to be released under the Creative Commons license.
    [Show full text]
  • A Game Engine for the Blind
    Bachelor in Computer Science and Engineering 2016/2017 Bachelor Thesis Designing User Experiences: a Game Engine for the Blind Álvaro Cáceres Muñoz Tutor/s: Teresa Onorati Thesis defense date: July 3rd, 2017 This work is subject to the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International Public License. Abstract Video games experience an ever-increasing interest by society since their incep- tion on the 70’s. This form of computer entertainment may let the player have a great time with family and friends, or it may as well provide immersion into a story full of details and emotional content. Prior to the end user playing a video game, a huge effort is performed in lots of disciplines: screenwriting, scenery design, graphical design, programming, opti- mization or marketing are but a few examples. This work is done by game studios, where teams of professionals from different backgrounds join forces in the inception of the video game. From the perspective of Human-Computer Interaction, which studies how people interact with computers to complete tasks [9], a game developer can be regarded as a user whose task is to create the logic of a video game using a computer. One of the main foundations of HCI1. is that an in-depth understanding of the user’s needs and preferences is vital for creating a usable piece of technology. This point is important as a single piece of technology (in this case, the set of tools used by a game developer) may – and should have been designed to – be used on the same team by users with different knowledge, abilities and capabilities.
    [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]
  • Creating Video Games for the Visually Impaired Anthony Russo, Neal
    Creating Video Games for the Visually Impaired Anthony Russo, Neal Sacks, & Steven Vandal WPI IQP MBJ 0007 Professor Brian Moriarty April 12, 2012 Introduction The video game industry has expanded rapidly in recent years, growing from a 9.5 billion dollar industry in 2007 to a 25.1 billion dollar industry in 2010. This growth is due to the common interest that almost all Americans now hold in games, as a seventy-two percent of all americans play video games on a regular basis (ESA). However, because games rely heavily on impressive graphics and are primarily an immersive visual experience, very few games are made with the blind or the visually impaired in mind. In the 1970s when video games first emerged, it was virtually impossible to create a game that did not involve some sort of visuals. This is mainly due to a lack of technology, as almost all computers, games, and electronic speakers and displays could only output crude, pixilated visuals and rough, synthesized sound. However, technology has steadily improved to the point where games that do not need visuals are a possibility. Games for the visually impaired are an untapped industry, especially with the technology that exists today. By conducting interviews with the visually impaired we discovered what types of games the visual impaired prefer, what they would enjoy to play, and what ideas they have for developing these games. The History of Video Games for the Visually Impaired There are many games that can be played by the visually impaired. Interactive fiction and other text-based games have been popular for a long time, though to a lesser extent in recent years.
    [Show full text]
  • Sales for the First Half 2005-2006
    Paris, November 3, 2005 Sales for the first half 2005-2006 • Strong revenue growth: +19%, reaching ⁄153m • New gains in key world markets • Record sales expected for the third quarter of 2005-2006 Strong revenue growth: +19% at ⁄153m In line with the Group target, sales for the first half of 2005-2006 totaled 153 million euros 1 (or 155 million euros in accordance with French GAAP), up 19% year-on-year. This strong growth reflects two achievements: - the successful launch of titles for next-generation portable consoles, which accounted for 19% of sales in the first half of 2005-2006, - very positive market response to the titles launched in September 2005, such as Tom Clancy‘s Rainbow Six Lockdown™ for the Microsoft Xbox ® and the Sony PlayStation ®2 computer entertainment system, Far Cry Instincts™ for the Xbox ®, and Brothers in Arms Earned in Blood™ for the Xbox ® and the PC. Overall, including the other titles in the catalogue, sales for the second quarter ending September 30, 2005, were up 64% year-on-year, reaching 110 million euros (or 111 million euros in accordance with French GAAP). New gains in key world markets With the success of titles launched throughout calendar year 2005, the Group continued to gain market share. Indeed, all platforms combined, Ubisoft‘s year-to-date ranking is as follows: nd 2 3 • 2 independent publisher in France and Italy . rd 4 5 • 3 independent publisher in the UK and Spain . th 6 7 • 4 independent publisher in Germany and Canada . 1 Financial statements of Ubisoft Group are prepared in accordance with the international financial reporting standard (IFRS) as of April 1 rst , 2005.
    [Show full text]
  • Nintendo Eshop
    Nintendo eShop Last Updated on October 2, 2021 Title Publisher Qty Box Man Comments #RaceDieRun QubicGames 1-2-Switch Nintendo 10-in-1: Arcade Collection Gamelion Studios 101 DinoPets 3D Selectsoft 2 Fast 4 Gnomz QubicGames 2048 Cosmigo 3D Fantasy Zone Sega 3D Fantasy Zone II Sega 3D Game Collection Joindots 3D MahJongg Joindots 3D Out Run Sega 3D Solitaire Zen Studios 3D Sonic The Hedgehog Sega 3D Sonic The Hedgehog 2 Sega 3D Thunder Blade Sega 80's Overdrive Insane Code A Short Hike Whippoorwill Limited A-Train 3D: City Simulator Natsume Abyss EnjoyUp Games ACA NeoGeo: Alpha Mission II Hamster ACA NeoGeo: Baseball Stars 2 Hamster ACA NeoGeo: Blazing Star Hamster ACA NeoGeo: Cyber-Lip Hamster ACA NeoGeo: Garou - Mark of the Wolves Hamster ACA NeoGeo: Gururin HAMSTER, Co. ACA NeoGeo: King of Fighters '98, The HAMSTER, Co. ACA NeoGeo: Last Resort Hamster ACA NeoGeo: Magical Drop II HAMSTER, Co. ACA NeoGeo: Magical Drop III HAMSTER, Co. ACA NeoGeo: Money Puzzle Exchanger Hamster ACA NeoGeo: Neo Turf Masters Hamster ACA NeoGeo: Ninja Combat Hamster ACA NeoGeo: Ninja Commando Hamster ACA NeoGeo: Prehistoric Isle 2 Hamster ACA NeoGeo: Pulstar Hamster ACA NeoGeo: Puzzle Bobble 2 HAMSTER, Co. ACA NeoGeo: Puzzled HAMSTER, Co. ACA NeoGeo: Sengoku Hamster ACA NeoGeo: Sengoku 2 Hamster ACA NeoGeo: Sengoku 3 Hamster ACA NeoGeo: Shock Troopers Hamster ACA NeoGeo: Top Hunter - Roddy & Cathy Hamster ACA NeoGeo: Twinkle Star Sprites Hamster ACA NeoGeo: Waku Waku 7 Hamster ACA NeoGeo: Zed Blade Hamster ACA NeoGeo: Zupapa! Hamster Advance Wars Nintendo Adventure Bar Story CIRCLE Ent. Adventure Labyrinth Story CIRCLE Entertainment Adventure Time: Hey Ice King! Why'd you steal our garbage?!! D3 Publisher Adventures of Elena Temple, The GrimTalin Adventures of Elena Temple, The: Definitive Edition: Switch Grimtalin Aero Porter Level-5 AeternoBlade Corecell Technology This checklist is generated using RF Generation's Database This checklist is updated daily, and it's completeness is dependent on the completeness of the database.
    [Show full text]
  • Reverberations: How Modern Video Game Design
    REVERBERATIONS: HOW MODERN VIDEO GAME DESIGN RELIES ON AUDIO AND HAPTIC COMMUNICATION TO ENFORCE RHETORICS OF PROCEDURE AND PLAY by Saunder Waterman Bachelor of Arts (Honours), University of King’s College, 2018 Supervisor: Dr. John Shiga A Major Research Paper presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Professional Communication In the program of Communications Toronto, Ontario, Canada, 2020 ©Waterman, 2020 Author’s Declaration I hereby declare that I am the sole author of this MRP. This is a true copy of the MRP, including any required final revisions. I authorize Ryerson University to lend this MRP to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this MRP by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my MRP may be made electronically available to the public. ii Abstract Modern video games are increasingly becoming a more mature and respected form of storytelling and art. The way in which games can interact with players provides those players with a control over their product that is unmatched by literature or cinema. Games communicate with players in many direct and indirect ways. This paper explores how audio and haptic modes of communication are employed by different types of video games to support both elements of gameplay and the themes and rhetoric that a game possesses. Specifically, this paper focuses on how Super Smash Bros. Ultimate and Legend of Zelda: Breath of the Wild express different aspects of control and procedural rhetoric through audio and haptic communication.
    [Show full text]
  • Annual Report2011 Web (Pdf)
    ANNUAL REPORT 2 011 INTRODUCTION 3 CHAPTER 1 The PEGI system and how it functions 4 TWO LEVELS OF INFORMATION 5 GEOGRAPHY AND SCOPE 6 HOW A GAME GETS A RATINg 7 PEGI ONLINE 8 PEGI EXPRESS 9 PARENTAL CONTROL SYSTEMS 10 CHAPTER 2 Statistics 12 CHAPTER 3 The PEGI Organisation 18 THE PEGI STRUCTURE 19 PEGI s.a. 19 Boards and Committees 19 PEGI Council 20 PEGI Experts Group 21 THE FOUNDER: ISFE 22 THE PEGI ADMINISTRATORS 23 NICAM 23 VSC 23 PEGI CODERS 23 CHAPTER 4 PEGI communication tools and activities 25 INTRODUCTION 25 SOME EXAMPLES OF 2011 ACTIVITIES 25 PAN-EUROPEAN ACTIVITIES 33 PEGI iPhone/Android app 33 Website 33 ANNEXES 34 ANNEX 1 - PEGI CODE OF CONDUCT 35 ANNEX 2 - PEGI SIGNATORIES 45 ANNEX 3 - PEGI ASSESSMENT FORM 53 ANNEX 4 - PEGI COMPLAINTS 62 INTRODUCTION © Rayman Origins -Ubisoft 3 INTRODUCTION Dear reader, PEGI can look back on another successful year. The good vibes and learning points from the PEGI Congress in November 2010 were taken along into the new year and put to good use. PEGI is well established as the standard system for the “traditional” boxed game market as a trusted source of information for parents and other consumers. We have almost reached the point where PEGI is only unknown to parents if they deliberately choose to ignore video games entirely. A mistake, since practically every child or teenager in Europe enjoys video games. Promoting an active parental involvement in the gaming experiences of their children is a primary objective for PEGI, which situates itself at the heart of that.
    [Show full text]
  • Formative Research on an Instructional Design Theory For
    FORMATIVE RESEARCH ON AN INSTRUCTIONAL DESIGN THEORY FOR EDUCATIONAL VIDEO GAMES William R. Watson Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of Instructional Systems Technology of the School of Education Indiana University August 2007 - Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. _______________________________ Charles M. Reigeluth, Ph.D. _______________________________ Robert Appelman, Ph.D. Doctoral Committee _______________________________ Thom Gillespie, Ph.D. July 11, 2007 _______________________________ Howard Rosenbaum, Ph.D. ii - © 2007 William R. Watson ALL RIGHTS RESERVED iii - This dissertation is dedicated to my parents, Don and Heidi Watson, who are and have been the best parents anyone could hope for. It is further dedicated to my brothers: Sean, who helped me play my first video game by controlling the spaceship while I fired the guns, and Ben, who I hope someday will realize that his little brother doesn‟t want to wrestle anymore. Finally, I want to especially dedicate this dissertation to my wife, Sunnie Lee Watson, who is without a doubt the best thing imaginable to come from my decision to return to school, and also her wonderful family, for their warm love and support. iv - Acknowledgements I would like to thank the members of my committee for their support in what has been a hectic dissertation process. Thanks to Howard Rosenbaum for his ever present humor and great teaching, during my Master‟s work. I shamelessly stole some of your techniques for my own classes.
    [Show full text]
  • MOBILE GAMING: a Framework for Evaluating the Industry 2000-2005 JUSSI-PEKKA PARTANEN Copyright (C) 2001 Gaptime Century, Ltd
    MOBILE GAMING: A Framework for Evaluating the Industry 2000-2005 JUSSI-PEKKA PARTANEN Copyright (C) 2001 Gaptime Century, Ltd. MOBILE GAMING: A FRAMEWORK FOR EVALUATING THE INDUSTRY 2000-2005 Abstract (English) Author: Jussi-Pekka Partanen, Gaptime Century Ltd. Report title: Mobile Gaming:A Framework for Evaluating the Industry 2000-2005 Date: 15.06.2001 Pages: 110 A mobile game is a commercial product that is distributed to the customer using mobile operator’s network. The game is an interactive product; many kinds of entertainment services are not covered by this report, such as joke or comics services or the popular ring tone and logo services. What distinguishes mobile games from other kinds of entertainment services is that the interactivity creates so-called stickiness for the service. The games may be addictive and offer something more than “disposable” fun, as operator logos do. The target of this study is to give an introduction to the mobile gaming industry and build a framework for analysing the success of mobile game products and companies. Currently the mobile gaming industry is in the introduction phase. Many start-up companies are developing different games and technologies and believe that they will be the winners when the market moves from introduction to the growth stage. At this point the company must have the critical mass in order to flourish, otherwise the companies with bigger better partnering networks and marketing and sales forces are eating the smaller one. The framework depends on the following methods: the industry and mobile game life cycle model, value distribution in the value delivery network and external company analysis.
    [Show full text]
  • Game Consoles - Are They Secure?
    Game Consoles - Are they secure? Halvar Myrmo Master’s Thesis Master of Science in Information Security 30 ECTS Faculty of Computer Science and Media Technology Gjøvik University College, 2007 Avdeling for informatikk og medieteknikk Høgskolen i Gjøvik Postboks 191 2802 Gjøvik Faculty of Computer Science and Media Technology Gjøvik University College Box 191 N-2802 Gjøvik Norway Game Consoles - Are they secure? Abstract The new game consoles and handheld machines available on the market today are de- signed with Internet and multiplayer connectivity in mind. They are also designed to be used for several years to come, and to be connected to the Internet 24 hours a day. This combination of computational power and connectivity could make the game consoles lucrative targets for viruses, Trojans, botnets, spam and other malware. Users of home computers are slowly learning that they need to protect their comput- ers through the use of firewalls, antivirus and the like. But most of us probably do not consider a game console to be a computer, and therefore does not consider protecting it the same way we protect a normal computer. The goal of this thesis is to find out if new vulnerabilities are introduced into the home when connecting a gaming console to the Internet. We also take a look at children’s use of computer and video games, and what the parents know about it. We try to combine this information into an overview of how secure it is to use a game console and play computer and video games online. iii Game Consoles - Are they secure? Sammendrag De nye spillkonsollene og håndholdte maskinene som finnes på markedet i dag er de- signet med tanke på Internett og flerspiller muligheter.
    [Show full text]