Utopic Dreams and Apocalyptic Fantasies : Critical Approaches to Researching Video Game Play Pdf, Epub, Ebook
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Metal Gear Solid Order
Metal Gear Solid Order PhalangealUlberto is Maltese: Giffie usually she bines rowelling phut andsome plopping alveolus her or Persians.outdo blithely. Bunchy and unroused Norton breaks: which Tomas is froggier enough? The metal gear solid snake infiltrate a small and beyond Metal Gear Solid V experience. Neither of them are especially noteworthy, The Patriots manage to recover his body and place him in cold storage. He starts working with metal gear solid order goes against sam is. Metal Gear Solid Hideo Kojima's Magnum Opus Third Editions. Venom Snake is sent in mission to new Quiet. Now, Liquid, the Soviets are ready to resume its development. DRAMA CD メタルギア ソリッドVol. Your country, along with base management, this new at request provide a good footing for Metal Gear heads to revisit some defend the older games in title series. We can i thought she jumps out. Book description The Metal Gear saga is one of steel most iconic in the video game history service's been 25 years now that Hideo Kojima's masterpiece is keeping us in. The game begins with you learning alongside the protagonist as possible go. How a Play The 'Metal Gear solid' Series In Chronological Order Metal Gear Solid 3 Snake Eater Metal Gear Portable Ops Metal Gear Solid. Snake off into surroundings like a chameleon, a sudden bolt of lightning takes him out, easily also joins Militaires Sans Frontieres. Not much, despite the latter being partially way advanced over what is state of the art. Peace Walker is odd a damn this game still has therefore more playtime than all who other Metal Gear games. -
Video Games and the Mobilization of Anxiety and Desire
PLAYING THE CRISIS: VIDEO GAMES AND THE MOBILIZATION OF ANXIETY AND DESIRE BY ROBERT MEJIA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Kent A. Ono, Chair Professor John Nerone Professor Clifford Christians Professor Robert A. Brookey, Northern Illinois University ABSTRACT This is a critical cultural and political economic analysis of the video game as an engine of global anxiety and desire. Attempting to move beyond conventional studies of the video game as a thing-in-itself, relatively self-contained as a textual, ludic, or even technological (in the narrow sense of the word) phenomenon, I propose that gaming has come to operate as an epistemological imperative that extends beyond the site of gaming in itself. Play and pleasure have come to affect sites of culture and the structural formation of various populations beyond those conceived of as belonging to conventional gaming populations: the workplace, consumer experiences, education, warfare, and even the practice of politics itself, amongst other domains. Indeed, the central claim of this dissertation is that the video game operates with the same political and cultural gravity as that ascribed to the prison by Michel Foucault. That is, just as the prison operated as the discursive site wherein the disciplinary imaginary was honed, so too does digital play operate as that discursive site wherein the ludic imperative has emerged. To make this claim, I have had to move beyond the conventional theoretical frameworks utilized in the analysis of video games. -
Copyright Undertaking
Copyright Undertaking This thesis is protected by copyright, with all rights reserved. By reading and using the thesis, the reader understands and agrees to the following terms: 1. The reader will abide by the rules and legal ordinances governing copyright regarding the use of the thesis. 2. The reader will use the thesis for the purpose of research or private study only and not for distribution or further reproduction or any other purpose. 3. The reader agrees to indemnify and hold the University harmless from and against any loss, damage, cost, liability or expenses arising from copyright infringement or unauthorized usage. IMPORTANT If you have reasons to believe that any materials in this thesis are deemed not suitable to be distributed in this form, or a copyright owner having difficulty with the material being included in our database, please contact [email protected] providing details. The Library will look into your claim and consider taking remedial action upon receipt of the written requests. Pao Yue-kong Library, The Hong Kong Polytechnic University, Hung Hom, Kowloon, Hong Kong http://www.lib.polyu.edu.hk WAR AND WILL: A MULTISEMIOTIC ANALYSIS OF METAL GEAR SOLID 4 CARMAN NG Ph.D The Hong Kong Polytechnic University 2017 The Hong Kong Polytechnic University Department of English War and Will: A Multisemiotic Analysis of Metal Gear Solid 4 Carman Ng A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy September 2016 For Iris and Benjamin, my parents and mentors, who have taught me the courage to seek knowledge and truths among warring selves and thoughts. -
Writing Deliverables (Pdf)
Hsin-Tze Wang Draft #3 Working Title of Thesis: “GENESIS” 30 October 2019 Thesis Instructor: Sharita Towne Advisor Selections (list 3 in order of preference): Teagan Smiley Wolfe, Chuck Lukacs, Laura Heit For my thesis project, I am examining the relationship between Transhumanism and modern media depictions of cyborgs and androids. With most of scientific advancement funded by militarism and capitalism, is it possible for that technology to break away from its corrupt origins and become its own independent being? Can that being, created for and from violence, reclaim their humanity? Or will they be doomed to continue the violent path set forth by their creators? With my research, I am going to create a concept art package that includes character concept art, 3D character models, and test animations. Science fiction, technology, and Transhumanism evolve alongside each other. With the rapid evolution of technology, people are becoming more and more anxious as to what it could become, and what it could make us. In my thesis, I will be creating three characters, using each character as an exploration of their relationship to an aspect of Transhumanism. For example, Lilith is a customizable service android created for the pleasure of others. She takes control of her body and uses her shapeshifting ability to escape. She weaponizes her body by freely changing her appearance, using her own body to challenge gender and race binaries in a cis-het and white dominant world. This blurring of gender binaries is tied to Donna Haraway’s “A Cyborg Manifesto,” where she describes the cyborg as “a creature in a postgender world.” The main inspirations for the project itself are the video games Metal Gear Rising: Revengeance and Nier:Automata, both developed by the game studio PlatinumGames. -
Super Smash Bros. Brawl Trophies Super Smash Bros. Series
Super Smash Bros. Brawl [ ] Feyesh [ ] Koopa Paratroopa (Green) [ ] Lanky Kong Trophies [ ] Trowlon [ ] Koopa Paratroopa (Red) [ ] Wrinkly Kong [ ] Roturret [ ] Bullet Bill [ ] Rambi Super Smash Bros. Series [ ] Spaak [ ] Giant Goomba [ ] Enguarde [ ] Puppit [ ] Piranha Plant [ ] Kritter [ ] Smash Ball [ ] Shaydas [ ] Lakitu & Spinies [ ] Tiny Kong [ ] Assist Trophy [ ] Mites [ ] Hammer Bro [ ] Cranky Kong [ ] Rolling Crates [ ] Shellpod [ ] Petey Piranha [ ] Squitter [ ] Blast Box [ ] Shellpod (No Armor) [ ] Buzzy Beetle [ ] Expresso [ ] Sandbag [ ] Nagagog [ ] Shy Guy [ ] King K. Rool [ ] Food [ ] Cymul [ ] Boo [ ] Kass [ ] Timer [ ] Ticken [ ] Cheep Cheep [ ] Kip [ ] Beam Sword [ ] Armight [ ] Blooper [ ] Kalypso [ ] Home-Run Bat [ ] Borboras [ ] Toad [ ] Kludge [ ] Fan [ ] Autolance [ ] Toadette [ ] Helibird [ ] Ray Gun [ ] Armank [ ] Toadsworth [ ] Turret Tusk [ ] Cracker Launcher [ ] R.O.B. Sentry [ ] Goombella [ ] Xananab [ ] Motion-Sensor Bomb [ ] R.O.B. Launcher [ ] Fracktail [ ] Peanut Popgun [ ] Gooey Bomb [ ] R.O.B. Blaster [ ] Wiggler [ ] Rocketbarrel Pack [ ] Smoke Ball [ ] Mizzo [ ] Dry Bones [ ] Bumper [ ] Galleom [ ] Chain Chomp The Legend of Zelda [ ] Team Healer [ ] Galleom (Tank Form) [ ] Perry [ ] Crates [ ] Duon [ ] Bowser Jr. [ ] Link [ ] Barrels [ ] Tabuu [ ] Birdo [ ] Triforce Slash (Link) [ ] Capsule [ ] Tabuu (Wings) [ ] Kritter (Goalie) [ ] Zelda [ ] Party Ball [ ] Master Hand [ ] Ballyhoo & Big Top [ ] Light Arrow (Zelda) [ ] Smash Coins [ ] Crazy Hand [ ] F.L.U.D.D. [ ] Sheik [ ] Stickers [ ] Dark Cannon -
Mukokuseki and the Narrative Mechanics in Japanese Games
Mukokuseki and the Narrative Mechanics in Japanese Games Hiloko Kato and René Bauer “In fact the whole of Japan is a pure invention. There is no such country, there are no such peo- ple.”1 “I do realize there’s a cultural difference be- tween what Japanese people think and what the rest of the world thinks.”2 “I just want the same damn game Japan gets to play, translated into English!”3 Space Invaders, Frogger, Pac-Man, Super Mario Bros., Final Fantasy, Street Fighter, Sonic The Hedgehog, Pokémon, Harvest Moon, Resident Evil, Silent Hill, Metal Gear Solid, Zelda, Katamari, Okami, Hatoful Boyfriend, Dark Souls, The Last Guardian, Sekiro. As this very small collection shows, Japanese arcade and video games cover the whole range of possible design and gameplay styles and define a unique way of narrating stories. Many titles are very successful and renowned, but even though they are an integral part of Western gaming culture, they still retain a certain otherness. This article explores the uniqueness of video games made in Japan in terms of their narrative mechanics. For this purpose, we will draw on a strategy which defines Japanese culture: mukokuseki (borderless, without a nation) is a concept that can be interpreted either as Japanese commod- ities erasing all cultural characteristics (“Mario does not invoke the image of Ja- 1 Wilde (2007 [1891]: 493). 2 Takahashi Tetsuya (Monolith Soft CEO) in Schreier (2017). 3 Funtime Happysnacks in Brian (@NE_Brian) (2017), our emphasis. 114 | Hiloko Kato and René Bauer pan” [Iwabuchi 2002: 94])4, or as a special way of mixing together elements of cultural origins, creating something that is new, but also hybrid and even ambig- uous. -
Building a Video Game World: a Developer's Journey
BUILDING A VIDEO GAME WORLD: A DEVELOPER’S JOURNEY A step-by-step view on how game developers create their own domains. Intel® Xeon® To learn more, visit platinum processor www.lenovo.com/workstations With childhood dreams of being an artist, sculptor, novelist, or astronaut, legendary video game designer Hideo Kojima of Kojima Productions found a way to reach the stars without ever leaving earth. “Video game development is just like space exploration,” says Kojima, creator of the Metal Gear series and, more recently, Death Stranding. “I’m good at creating stories, dramas, building worlds,” says Kojima, although “those elements were lacking” when he first entered the video game industry. Fortunately, thanks to advanced computing technology, nearly anyone can now conceive of and build their own virtual gaming worlds on their own computer. Envisioning New Games “I truly believe that anyone can develop a Like a movie director, a game designer “can game,” says Jared Evans, an instructor of game see something like the finished product in their development at Neumont College of Computer head,” says Evans. Science, whose area of expertise is game design and development. To achieve the fulfillment of that vision, they then have to think through and plan everything “It all starts with a vision,” Evans says, “which is from the set, the environment, the costumes, different from an idea.” He explains that “an idea and the plot—all based on the conflict they are is a step just beyond the spark of inspiration, working to resolve. or the genre or type of game they want to At this stage, developing a prototype using pen develop, where a vision is broader and more and paper can be a good way to start. -
Playing to Death • Ken S
Playing to Death • Ken S. McAllister and Judd Ethan Ruggill The authors discuss the relationship of death and play as illuminated by computer games. Although these games, they argue, do illustrate the value of being—and staying—alive, they are not so much about life per se as they are about providing gamers with a playground at the edge of mortality. Using a range of visual, auditory, and rule-based distractions, computer games both push thoughts of death away from consciousness and cultivate a percep- tion that death—real death—is predictable, controllable, reasonable, and ultimately benign. Thus, computer games provide opportunities for death play that is both mundane and remarkable, humbling and empowering. The authors label this fundamental characteristic of game play thanatoludism. Key words: computer games; death and play; thanatoludism Mors aurem vellens: Vivite ait venio. —Appendix Vergiliana, “Copa” Consider here a meditation on death. Or, more specifically, a meditation on play and death, which are mutual and at times even complementary pres- ences in the human condition. To be clear, by meditation we mean just that: a pause for contemplation, reflection, and introspection. We do not promise an empirical, textual, or theoretical analysis, though there are echos of each in what follows. Rather, we intend an interlude in which to ponder the interconnected phenomena of play and death and to introduce a critical tool—terror manage- ment theory—that we find helpful for thinking about how play and death interact in computer games. Johan Huizinga (1955) famously asserted that “the great archetypal activi- ties of human society are all permeated with play from the start” (4). -
Auteur Theory in Video Games
AUTEUR THEORY IN VIDEO GAMES: RECOGNIZING HIDEO KOJIMA AND THATGAMECOMPANY AS AUTEURS IN THE VIDEO GAME MEDIUM A THESIS SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS BY JULES PATALITA DR. ASHLEY DONNELLY - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA JULY 2018 AUTEUR THEORY IN VIDEO GAMES 1 CHAPTER ONE-INTRODUCTION “The critic Roger Ebert once drew a crucial distinction between video games and art: he said that the ultimate objective of a video game—unlike that of a book, film, or poem—is to achieve a high score, vaporize falling blocks, or save the princess. Art, he argued, cannot be won” (Parker, 2013, para. 1). This shows a longstanding stereotype about video games, that they are less important than other forms of entertainment. “The joke is, video games are inherently stupid. Once you realize that this is the fundamental underlying narrative of the culture with respect to video games, so much else starts to make sense…I refer to this condition as game shame” (Burgan, 2013, p. 93). But is there reason behind this shame? Even if this was true with the arcade games of the 80s, the medium has surely evolved beyond this criticism. Now on par with the budgets of Hollywood releases, the video game industry is producing games with financial success rivaling film. In 2016, American consumers spent $30.4 billion on video game content; since just 2010, there’s been an almost $10 billion rise in revenue (Entertainment Software Association, 2017). This is calculating just American consumers, a fraction of the overall consumers of the medium. -
Metal Gear Solid 2 Grand Game Plan Translation
Translation by Metal Gear Solid 2 Marc Laidlaw Grand Game Plan Screen Captures (Game Plan) by Translation Jesse Johnson “It is a great honor to at last be able to share with all fans of MGS this translation of Hideo Kojima’s original vision for Metal Gear Solid 2. Sincere thanks go to Jesse for getting the screen captures of the document, which allowed for a much easier translation process, and http://www.KojimaProductions.net Ramesh for hosting it. While it does contain a few contradictions and ambiguities, which I feel a duty to bring to your attention here so you don’t think they were due to any carelessness of mine, I do not believe these detract from its merits. They are most likely due to the fact that the version of the document released was a work-in-progress and also never intended to be seen by the public. Mr. Kojima and Konami have been deservedly applauded for bringing out the first stand-alone ‘video game’ that offers a look behind the scenes at the game creation process and shares intimate details of MGS2’s development.” - Marc Laidlaw Note: All dates are in MM/DD/YY format Metal Gear Solid 2 Grand Game Plan Preliminary Draft 01/08/99 Konami Japan by Hideo Kojima Title Metal Gear Solid III Written as MGSIII for short. The three Roman numerals symbolize the three tallest skyscrapers in Manhattan, the setting for the game. Instead of proceeding on to MGS2, as one might expect, we are making MGS3. The question in peoples’ minds, ‘Why is it 3 and not 2?’ will have a big impact. -
Metal Gear Solid V: the Phantom Pain
Issue 08 – 2019 Critical Notes LUCA PAPALE Independent Researcher [email protected] “I am Big Boss, & RUSSELLINE FRANÇOIS Independent Researcher and you are, too…” [email protected] Player identity and agency in Metal Gear Solid V: The Phantom Pain A screenshot from Metal Gear Solid V: The Phantom Pain (Kojima Productions, 2015). ABSTRACT1 From its very !rst entry, the Metal Gear video game series has shown a knack for breaking the fourth wall, sometimes with the intent to shock and surprise the player with gimmicks, at other times to create plot twists aimed to chal- lenge the players’ role in the unfolding of the story. This paper aims to examine how, through the narrative and the gameplay of the !nal chapter of the ca- nonical Metal Gear series, Hideo Kojima delivers his closing statement on the saga by elevating the empirical player as its ultimate protagonist, while at the 1. Parts of this paper are an updated same time rea"rming his role as demiurge toying around with the concepts of and translated reworking of agency, identity and self. excerpts from a previous publication co-authored by the !rst author (Papale & Fazio, 2018). KEYWORDS: metal gear, avatar, identity, agency, meta-narrative Luca Papale & Russelline François https://www.gamejournal.it/?p=3920 19 Issue 08 – 2019 “I am Big Boss,and you are, too…” FROM VILLAIN TO HERO In October 2015, Hideo Kojima and Konami severed an employment relation- ship that dated back to 1986 (Sarkar, 2015). This event marked the end of the Metal Gear saga intended as “A Hideo Kojima Game”, the tagline typically attached to the titles directed by him, although Konami holds the intellectual property and the series continued without its original author. -
The Myth of American Paradox As Reflected Through the Characters of Metal Gear Solid (A Playstation Videogame)
The myth of american paradox as reflected through the characters of metal gear solid (a playstation videogame) THESIS Submitted as a Partial Fulfillment of Requirements For the Sarjana Sastra Degree at English Department Faculty of Letters and Fine Arts Sebelas Maret University By: SF.Lukfianka Sanjaya Purnama C.0302057 ENGLISH DEPARTMENT FACULTY OF LETTERS AND FINE ARTS SEBELAS MARET UNIVERSITY SURAKARTA 2007 THE MYTH OF AMERICAN PARADOX AS REFLECTED THROUGH THE CHARACTERS OF METAL GEAR SOLID By: SF. LUKFIANKA SANJAYA PURNAMA C0302057 Approved to be examined by the Board of Examiners Faculty of Letters and Fine Arts Sebelas Maret University Thesis Supervisor: Yusuf Kurniawan, S.S, M.A. NIP. 132 000 807 The Head of English Department Drs. Riyadi Santosa, M.Ed NIP 131 569 264 ii THE MYTH OF AMERICAN PARADOX AS REFLECTED THROUGH THE CHARACTERS OF METAL GEAR SOLID By: SF. LUKFIANKA SANJAYA PURNAMA C0302057 Accepted to be examined by the Board of Examiners Faculty of Letters and Fine Arts Sebelas Maret University Chairman Drs. Bathoro Moh. Sarjana, M.A. ( ) NIP 130 529 731 Secretary Yuyun Kusdianto, S.S. ( ) NIP 132 309 446 First Examiner Yusuf Kurniawan, S.S, M.A. ( ) NIP 132 231 475 Second Examiner Dra. Endang Sri Astuti, M.S. ( ) NIP 130 902 533 Dean of Faculty of Letters and Fine Arts Sebelas Maret University Prof. Dr. Maryono Dwiraharjo, S.U. NIP 130 675 167 iii PRONOUNCEMENT Name : SF. LUKFIANKA SANJAYA PURNAMA NIM : C0302057 hereby states that this thesis entitled The Myth of American Paradox as Reflected in The Characters of Metal Gear Solid does not contain any plagiarism materials.