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Now We Are All Sons of Bitches
Now We Are All Sons of Bitches MICHAEL BONTATIBUS “Wake up, Mr. Freeman. Wake up and smell the ashes,” the enigmat- ic G-Man murmurs as he leers into the camera, finishing an eerie opening monologue—and so begins Half-Life 2, Valve Corporation’s flagship game. The last time we saw Gordon Freeman, the protagonist, the same rigid and mysterious (though more poorly animated, since the prequel was released six years earlier) G-Man was handing him a job offer after witnessing the former scientist transform into a warrior, bent on escaping from the besieged Black Mesa Research Facility alive. Now, suddenly, Freeman finds himself on a train. No context.1 Is it a prison train? The three other individuals on it wear uniforms like those the inmates wore in Cool Hand Luke. The train soon stops at its destination, and we realize that it is a prison train, in a way—Freeman has arrived at the Orwellian “City 17,” where the ironically named Civil Protection abuses and oppresses, where antagonist Dr. Breen preaches poet- ic propaganda from large monitors hung high above the town. In the years since scientists at the facility accidentally opened a gateway between dimen- sions and allowed a bevy of grotesque creatures to spill into our universe, Earth has been taken over by the Combine, an alien multiplanetary empire. Breen is merely Earth’s administrator—and we realize that the ashes the G- Man spoke of were the ashes of the prelapsarian world. It’s classic dystopia, complete with a Resistance, of which Freeman soon finds himself the “mes- sianic” leader (HL2). -
Take-Two Interactive Software, Inc. Equity Analyst Report
Merrimack College Merrimack ScholarWorks Honors Senior Capstone Projects Honors Program Spring 2016 Take-Two Interactive Software, Inc. Equity Analyst Report Brian Nelson Goncalves Merrimack College, [email protected] Follow this and additional works at: https://scholarworks.merrimack.edu/honors_capstones Part of the Finance and Financial Management Commons Recommended Citation Goncalves, Brian Nelson, "Take-Two Interactive Software, Inc. Equity Analyst Report" (2016). Honors Senior Capstone Projects. 7. https://scholarworks.merrimack.edu/honors_capstones/7 This Capstone - Open Access is brought to you for free and open access by the Honors Program at Merrimack ScholarWorks. It has been accepted for inclusion in Honors Senior Capstone Projects by an authorized administrator of Merrimack ScholarWorks. For more information, please contact [email protected]. Running Head: TAKE-TWO INTERACTIVE SOFTWARE, INC. EQUITY ANALYST REPORT 1 Take-Two Interactive Software, Inc. Equity Analyst Report Brian Nelson Goncalves Merrimack College Honors Department May 5, 2016 Author Notes Brian Nelson Goncalves, Finance Department and Honors Program, at Merrimack Collegei. Brian Nelson Goncalves is a Senior Honors student at Merrimack College. This report was created with the intent to educate investors while also serving as the students Senior Honors Capstone. Full disclosure, Brian is a long time share holder of Take-Two Interactive Software, Inc. 1 Running Head: TAKE-TWO INTERACTIVE SOFTWARE, INC. EQUITY ANALYST REPORT 2 Table of Contents -
2K and Turtle Rock Studios Announce Evolve™ Now Available February
2K and Turtle Rock Studios Announce Evolve™ Now Available February 10, 2015 8:00 AM ET Hunt together or kill alone online and offline in adrenaline-pumping 4v1 action Join the conversation on Twitter using the hashtag #4v1 NEW YORK--(BUSINESS WIRE)--Feb. 10, 2015-- 2K and Turtle Rock Studios announced today that Evolve™, the 4v1 shooter in which four Hunters cooperatively fight to take down a single-player controlled Monster, is now available worldwide for Xbox One, the all-in-one games and entertainment system from Microsoft, PlayStation®4 computer entertainment system, and Windows PC. Evolve is a cooperative and competitive experience enjoyed online, as well as offline solo. “2K and Turtle Rock Studios did a remarkable job delivering such a creative and ambitious game,” said Christoph Hartmann, president of 2K. “Evolve is an innovative and highly replayable experience that will define this console generation for years to come.” Evolve features a wealth of content playable both online and offline, with three playable Monsters, 12 playable Hunters across four unique classes, four game modes, and 16 maps. Evolve also includes Evacuation, a unique experience that combines the full array of maps, modes, Hunters, and Monsters into a single dynamic campaign offering near-limitless variety. In Evacuation, players choose a side – Monster or Hunter – and play through a series of five matches, where the outcome of each match directly impacts the next, totaling over 800,000 possible gameplay combinations for ultimate replayability. “Our philosophy is to build incredibly fun game experiences that we can’t find anywhere else, and we’ve achieved that with Evolve,” said Chris Ashton, co-founder and design director at Turtle Rock Studios. -
Chell Game: Representation, Identification, and Racial Ambiguity in PORTAL and PORTAL 2 2015
Repositorium für die Medienwissenschaft Jennifer deWinter; Carly A. Kocurek Chell Game: Representation, Identification, and Racial Ambiguity in PORTAL and PORTAL 2 2015 https://doi.org/10.25969/mediarep/14996 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: deWinter, Jennifer; Kocurek, Carly A.: Chell Game: Representation, Identification, and Racial Ambiguity in PORTAL and PORTAL 2. In: Thomas Hensel, Britta Neitzel, Rolf F. Nohr (Hg.): »The cake is a lie!« Polyperspektivische Betrachtungen des Computerspiels am Beispiel von PORTAL. Münster: LIT 2015, S. 31– 48. DOI: https://doi.org/10.25969/mediarep/14996. Erstmalig hier erschienen / Initial publication here: http://nuetzliche-bilder.de/bilder/wp-content/uploads/2020/10/Hensel_Neitzel_Nohr_Portal_Onlienausgabe.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Weitergabe unter Attribution - Non Commercial - Share Alike 3.0/ License. For more gleichen Bedingungen 3.0/ Lizenz zur Verfügung gestellt. Nähere information see: Auskünfte zu dieser Lizenz finden Sie hier: http://creativecommons.org/licenses/by-nc-sa/3.0/ http://creativecommons.org/licenses/by-nc-sa/3.0/ Jennifer deWinter / Carly A. Kocurek Chell Game: Representation, Identification, and Racial Ambiguity in ›Portal‹ and ›Portal 2‹ Chell stands in a corner facing a portal, then takes aim at the adjacent wall with the Aperture Science Handheld Portal Device. Between the two portals, one ringed in blue, one ringed in orange, Chell is revealed, reflected in both. And, so, we, the player, see Chell. She is a young woman with a ponytail, wearing an orange jumpsuit pulled down to her waist and an Aperture Science-branded white tank top. -
Navigating the Videogame
From above, from below: navigating the videogame A thesis presented by Daniel Golding 228306 to The School of Culture and Communication in partial fulfilment of the requirements for the degree of Bachelor of Arts (Honours) in the field of Cultural Studies in the School of Culture and Communication The University of Melbourne Supervisor: Dr. Fran Martin October 2008 ABSTRACT The study of videogames is still evolving. While many theorists have accurately described aspects of the medium, this thesis seeks to move the study of videogames away from previously formal approaches and towards a holistic method of engagement with the experience of playing videogames. Therefore, I propose that videogames are best conceptualised as navigable, spatial texts. This approach, based on Michel de Certeau’s concept of strategies and tactics, illuminates both the textual structure of videogames and the immediate experience of playing them. I also regard videogame space as paramount. My close analysis of Portal (Valve Corporation, 2007) demonstrates that a designer can choose to communicate rules and fiction, and attempt to influence the behaviour of players through strategies of space. Therefore, I aim to plot the relationship between designer and player through the power structures of the videogame, as conceived through this new lens. ii TABLE OF CONTENTS ABSTRACT ii ACKNOWLEDGEMENTS iv CHAPTER ONE: Introduction 1 AN EVOLVING FIELD 2 LUDOLOGY AND NARRATOLOGY 3 DEFINITIONS, AND THE NAVIGABLE TEXT 6 PLAYER EXPERIENCE AND VIDEOGAME SPACE 11 MARGINS OF DISCUSSION 13 CHAPTER TWO: The videogame from above: the designer as strategist 18 PSYCHOGEOGRAPHY 18 PORTAL AND THE STRATEGIES OF DESIGN 20 STRUCTURES OF POWER 27 RAILS 29 CHAPTER THREE: The videogame from below: the player as tactician 34 THE PLAYER AS NAVIGATOR 36 THE PLAYER AS SUBJECT 38 THE PLAYER AS BRICOLEUR 40 THE PLAYER AS GUERRILLA 43 CHAPTER FOUR: Conclusion 48 BIBLIOGRAPHY 50 iii ACKNOWLEDGEMENTS I would like to thank my supervisor, Dr. -
Inside the Video Game Industry
Inside the Video Game Industry GameDevelopersTalkAbout theBusinessofPlay Judd Ethan Ruggill, Ken S. McAllister, Randy Nichols, and Ryan Kaufman Downloaded by [Pennsylvania State University] at 11:09 14 September 2017 First published by Routledge Th ird Avenue, New York, NY and by Routledge Park Square, Milton Park, Abingdon, Oxon OX RN Routledge is an imprint of the Taylor & Francis Group, an Informa business © Taylor & Francis Th e right of Judd Ethan Ruggill, Ken S. McAllister, Randy Nichols, and Ryan Kaufman to be identifi ed as authors of this work has been asserted by them in accordance with sections and of the Copyright, Designs and Patents Act . All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice : Product or corporate names may be trademarks or registered trademarks, and are used only for identifi cation and explanation without intent to infringe. Library of Congress Cataloging in Publication Data Names: Ruggill, Judd Ethan, editor. | McAllister, Ken S., – editor. | Nichols, Randall K., editor. | Kaufman, Ryan, editor. Title: Inside the video game industry : game developers talk about the business of play / edited by Judd Ethan Ruggill, Ken S. McAllister, Randy Nichols, and Ryan Kaufman. Description: New York : Routledge is an imprint of the Taylor & Francis Group, an Informa Business, [] | Includes index. Identifi ers: LCCN | ISBN (hardback) | ISBN (pbk.) | ISBN (ebk) Subjects: LCSH: Video games industry. -
Sony Computer Entertainment Inc. Introduces Playstation®4 (Ps4™)
FOR IMMEDIATE RELEASE SONY COMPUTER ENTERTAINMENT INC. INTRODUCES PLAYSTATION®4 (PS4™) PS4’s Powerful System Architecture, Social Integration and Intelligent Personalization, Combined with PlayStation Network with Cloud Technology, Delivers Breakthrough Gaming Experiences and Completely New Ways to Play New York City, New York, February 20, 2013 –Sony Computer Entertainment Inc. (SCEI) today introduced PlayStation®4 (PS4™), its next generation computer entertainment system that redefines rich and immersive gameplay with powerful graphics and speed, intelligent personalization, deeply integrated social capabilities, and innovative second-screen features. Combined with PlayStation®Network with cloud technology, PS4 offers an expansive gaming ecosystem that is centered on gamers, enabling them to play when, where and how they want. PS4 will be available this holiday season. Gamer Focused, Developer Inspired PS4 was designed from the ground up to ensure that the very best games and the most immersive experiences reach PlayStation gamers. PS4 accomplishes this by enabling the greatest game developers in the world to unlock their creativity and push the boundaries of play through a system that is tuned specifically to their needs. PS4 also fluidly connects players to the larger world of experiences offered by PlayStation, across the console and mobile spaces, and PlayStation® Network (PSN). The PS4 system architecture is distinguished by its high performance and ease of development. PS4 is centered around a powerful custom chip that contains eight x86-64 cores and a state of the art graphics processor. The Graphics Processing Unit (GPU) has been enhanced in a number of ways, principally to allow for easier use of the GPU for general purpose computing (GPGPU) such as physics simulation. -
Virtual Reality
Independent publication by raconteur.net raconteur.net # 0356 17 / 12 / 2015 VIRTUAL REALITY 2016: the year Bringing Virtually Feel like 2016 05 shopping 06 no limit 11 playing 03 of virtual reality to life to VR away? Analysts are tipping 2016 as a breakthrough Retailers are poised to use virtual reality Ten top areas where virtual reality is Virtual reality is adding an extra dimension year for virtual reality technology to transform the shopping experience making an impact and revolutionising life to gaming and interactive cinema FB BANNER - HEXAWARE creating immersive, interactive worlds for VR stinkdigital.com raconteur.net RACONTEUR | 17 / 12 / 2015 raconteur.net VIRTUAL REALITY | 03 Getty ImagesGetty 2016: the year of virtual reality Analysts are tipping 2016 as a breakthrough year for virtual reality with major product launches on the horizon Visitors test virtual reality headsets at the Solutions COP21 exhibition OVERVIEW This is not just the stuff of science fic- ly surpassed anything VR could conjure It is not just the technology companies Investment in VR is reaching fever NIC FILDES tion anymore. Citi, the investment bank, up. Those companies that survived did getting excited about VR. The movie pitch from Kickstarter campaigns to estimates that the market for hardware, so moving away from entertainment industry is clearly excited about the put cameras on the International Space here is often a sense of déjà vu networks, software and content will and towards business applications, prospects of immersive cinema with Station to spice up science teaching in when it comes to technolog- reach a staggering $200 billion by 2020. -
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 -
The Future Past: Intertextuality in Contemporary Dystopian Video Games
The Future Past: Intertextuality in Contemporary Dystopian Video Games By Matthew Warren CUNY Baccalaureate for Unique and Interdisciplinary Studies Submitted to: Timothy Portlock, Advisor Hunter College Lee Quinby, Director Macaulay Honors College Thesis Colloquium 9 May 2012 Contents I. Introduction: Designing Digital Spaces II. Theoretical Framework a. Intertextuality in the visual design of video games and other media b. Examining the established visual iconography of dystopian setting II. Textual Evidence a. Retrofuturism and the Decay of Civilization in Bioshock and Fallout b. Innocence, Iteration, and Nostalgia in Team Fortress and Limbo III. Conclusion 2 “Games help those in a polarized world take a position and play out the consequences.” The Twelve Propositions from a Critical Play Perspective Mary Flanagan, 2009 3 Designing Digital Spaces In everyday life, physical space serves a primary role in orientation — it is a “container or framework where things exist” (Mark 1991) and as a concept, it can be viewed through the lense of a multitude of disciplines that often overlap, including physics, architecture, geography, and theatre. We see the function of space in visual media — in film, where the concept of physical setting can be highly choreographed and largely an unchanging variable that comprises a final static shot, and in video games, where space can be implemented in a far more complex, less linear manner that underlines participation and system-level response. The artistry behind the fields of production design and visual design, in film and in video games respectively, are exemplified in works that engage the viewer or player in a profound or novel manner. -
The Heroic Journey of a Villain
Háskóli Íslands Hugvísindasvið Enska The Heroic Journey of a Villain The Lost and Found Humanity of an Artificial Intelligence Ritgerð til MA-prófs í Ensku Ásta Karen Ólafsdóttir Kt.: 150390-2499 Leiðbeinandi: Guðrún B. Guðsteinsdóttir Maí 2017 Abstract In this essay, we will look at the villain of the Portal franchise, the artificial intelligence GLaDOS, in context with Maureen Murdock’s theory of the “Heroine’s Journey,” from her book The Heroine’s Journey: Woman’s Quest for Wholeness. The essay argues that although GLaDOS is not a heroine in the conventional sense, she is just as important of a figure in the franchise as its protagonist, Chell. GLaDOS acts both as the first game’s narrator and villain, as she runs the Aperture Science Enrichment Center where the games take place. Unlike Chell, GLaDOS is a speaking character with a complex backstory and goes through real character development as the franchise’s story progresses. The essay is divided into four chapters, a short history of women’s part as characters in video games, an introduction to Murdock’s “The Heroine’s Journey,” and its context to John Campbell’s “The Hero’s Journey,” a chapter on the Portal franchises, and then we go through “The Heroine’s Journey,” in regards to GLaDOS, and each step in its own subchapter. Our main focus will be on the second installment in the series, Portal 2. Since, in that game, GLaDOS goes through most of her heroine’s journey. In the first game, Portal, GLaDOS separates from her femininity and embraces the masculine, causing her fractured psyche, and as the player goes through Portal 2 along with her, she reclaims her femininity, finds her inner masculinity, and regains wholeness. -
POST-APOCALYPTIC DESIRES, SCIENCE DISTRUST, and the DE(CON)STRUCTION of a ZOMBIE STORY By
BRING AN AXE AND YOUR WILDEST DREAMS: POST-APOCALYPTIC DESIRES, SCIENCE DISTRUST, AND THE DE(CON)STRUCTION OF A ZOMBIE STORY by SAMANTHA JO LONG B.A., Illinois State University, 2011 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of English 2014 This thesis entitled: Bring an Axe and Your Wildest Dreams: Post-Apocalyptic Desires, Science Distrust, and the De(con)struction of a Zombie Story written by Samantha Jo Long has been approved for the Department of English Richelle Munkhoff Stephen Graham Jones Date _ The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. iii Long, Samantha Jo (M.A., English) Bring an Axe and Your Wildest Dreams: Post-Apocalyptic Desires, Science Distrust, and the De(con)struction of a Zombie Story Thesis directed by Assistant Professor Richelle Munkhoff Observing the current popularity of the zombie narrative in American culture, this thesis explores the questions “why zombie?” and “why now?” through a combination of research and the creation of an original zombie story. Moving beyond existing criticism which argues that the zombie transforms to fit each generation’s specific fears, I argue that zombie movies, novels, and video games from George A. Romero-onwards continually speak to a distrust of science and scientific progress while additionally romanticizing the post-apocalyptic landscape. Consequently, the zombie’s unprecedented mainstream popularity over the last fifteen years could be read as symptomatic of this distrust intensifying, paralleling an increasing politicization of science and a rise in apocalyptic thinking within the public sphere.