Information Visualisation in Games: How Do You Know What You Know?
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White Pearl Game Mechanics Manual & Full Credits Game Manual & Credits © Harry Gill White Pearl Game Mechanics Manual & Full Credits Use This manual will explain all the main mechanics of the game. For the complete official guide, which contains a story and boss walkthrough (including much more, such as the inclusion of the game’s entire database); please install the Chronicle Edition DLC. Important Terminology Action Button – Refers to the button used to interact with objects and NPCs, as well as confirm selections. Used by pressing Enter/X/Square. Cancel Button – Refers to the button used to cancel selections and sometimes access menus. Used by pressing ESC/B/Circle © Harry Gill White Pearl Game Mechanics Manual & Full Credits Developer Comments It’s been a long time since White Pearl’s launch, after which I have been working tirelessly to update the game, bug fix it, add additional content, while developing my second game Fabrication – which is set to release at the end of 2020. White Pearl is my first ever game project, and admittedly over-ambitious, wouldn’t you agree? While I think the reviews do a good enough job of explains the positives and negatives of the game, sometimes I look back on the game and think “I wish I did this!”. But game development is very difficult. You must work in a certain amount of time and restrictions to get anything done, which is why this game exists in the first place. If I kept asking myself questions and trying to change things here and there, this game would have never been released. -
Game Manual Introduction
GAME MANUAL INTRODUCTION CREATE YOUR CHARACTER ATTRIBUTES SKILLS TRAITS PERSONALITY, HEREDITARY POINTS AND BACKGROUND OPTIONAL MODES LEVEL UP DECK OF DOOM EXPLORING THE WORLD MOVEMENTS MENU AND COMMANDS SAVE AND LOAD YOUR GAME COLLECT FOOD, WATER AND REST WHEN YOU CAN RESOURCES WEAPONS AND ARMOURS SPECIAL ITEMS MIX AND CRAFT CAMPING AND RESTING HUNTING PITS, TRAPS AND SECRETS THE SHELTER EVENTS AND SPECIAL OBJECTS ENEMIES COMBAT COMMANDS AND INTERFACE IN BATTLE STAMINA, EQUIPMENT AND ROUND ORDER CARNAGE ENEMIES SPECIAL ATTACKS MAGIC HOW TO CAST A SPELL EMPOWER A SPELL MAGIC MAP 2 RUNES SUMMON A CREATURE BASIC SPELLBOOK HINTS AND TIPS CREDITS 3 INTRODUCTION In the last few centuries the world population has rapidly fallen. No one knows how many human beings currently live on Earth, but it is assumed that they are less than 100,000. The end of the human race isn't coming because of nuclear wars, pandemics or natural disasters… ...but because Hell has come to Earth. At the end of the 20th century, thousands of demons began to invade our world. The Earth quickly became their hunting ground and the human civilization is now almost completely erased. Few humans survived. You are one of them. 4 CREATE YOUR CHARACTER You can freely create your character choosing how to distribute Stat Points and Skill Points, selecting his Personality and his Background. If you prefer, you can choose an Archetype to automatically set Attributes and Skills; or, you can randomly generate a character and obtain +3 Stat Points. ATTRIBUTES Attributes are the basic stats of your character: ● STRENGTH +5% Melee DMG, +50 Max STAMINA, +35 Max Carry per point. -
1 Fully Optimized: the (Post)Human Art of Speedrunning Like Their Cognate Forms of New Media, the Everyday Ubiquity of Video
Fully Optimized: The (Post)human Art of Speedrunning Item Type Article Authors Hay, Jonathan Citation Hay, J. (2020). Fully Optimized: The (Post)human Art of Speedrunning. Journal of Posthuman Studies: Philosophy, Technology, Media, 4(1), 5 - 24. Publisher Penn State University Press Journal Journal of Posthuman Studies Download date 01/10/2021 15:57:06 Item License https://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://hdl.handle.net/10034/623585 Fully Optimized: The (post)human art of speedrunning Like their cognate forms of new media, the everyday ubiquity of video games in contemporary Western cultures is symptomatic of the always-already “(post)human” (Hayles 1999, 246) character of the mundane lifeworlds of those members of our species who live in such technologically saturated societies. This article therefore takes as its theoretical basis N. Katherine Hayles’ proposal that our species presently inhabits an intermediary stage between being human and posthuman; that we are currently (post)human, engaged in a process of constantly becoming posthuman. In the space of an entirely unremarkable hour, we might very conceivably interface with our mobile phone in order to access and interpret GPS data, stream a newly released album of music, phone a family member who is physically separated from us by many miles, pass time playing a clicker game, and then absentmindedly catch up on breaking news from across the globe. In this context, video games are merely one cultural practice through which we regularly interface with technology, and hence, are merely one constituent aspect of the consummate inundation of technologies into the everyday lives of (post)humans. -
Warhammer: Diskwars Rules
INTRODUCTION WHAT IS DISKWARS? Welcome to the Old World. It is a place riven by war and the lure Warhammer: Diskwars is an exciting, fast-paced battle game which is of power. The forces of Destruction seek to overthrow all civilised easy to learn but difficult to master. Players command armies of heroes nations in fire and blood. At their forefront are the insidious servants and units from the Warhammer world that are represented by disks. of Chaos, howling out of the far North, and the brutish Orc hordes During the game, players activate disks to move and attack, wreaking that lurk in the fringes of every kingdom, pillaging at their whim. The destruction across the battlefield. forces of Order make a tenuous common cause to defend the works of In Warhammer: Diskwars, players do not use a ruler to measure unit civilisation. They are championed by the extensive armies and powerful and hero movement. Instead, players move disks by flipping them end artillery of the Empire, and the fading realms of the High Elves, who over end. If a disk flips in such a way that it covers up another disk, the wield ancient magics. In every corner of the Old World armies march disk on top pins the disk below it. Pinning is a key part of the game: relentlessly toward battle, led by powerful heroes who fight for the disks that overlap each other fight at the end of each round. A player preservation of their homelands, for the glory of dark gods, or simply achieves victory by destroying all opposing armies or by fulfilling his for the sake of spreading strife. -
Cruising Game Space
CRUISING GAME SPACE Game Level Design, Gay Cruising and the Queer Gothic in The Rawlings By Tommy Ting A thesis exhibition presented to OCAD University in partial fulfillment of the requirements for the degree of Master of Fine Arts in Digital Futures Toronto Media Arts Centre 32 Lisgar Street., April 12, 13, 14 Toronto, Ontario, Canada April 2019 Tommy Ting 2019 This work is licensed under the Creative Commons Attribution-Non Commercial-ShareAlike 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc- sa/4.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. Copyright Notice Author’s Declaration This work is licensed under the Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/4.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. You are free to: Share – copy and redistribute the material in any medium or format Adapt – remix, transform, and build upon the material The licensor cannot revoke these freedoms as long as you follow the license terms. Under the follower terms: Attribution – You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. NonCommericial – You may not use the material for commercial purposes. ShareAlike – If you remix, transform, or build upon the material, you must distribute you contributions under the same license as the original. -
Ocarina of Time World Record
Ocarina Of Time World Record Unforsaken and unsectarian Pip total her attribution niches sortes and faces heedfully. Manish niggardized his Ernyguillemot unhumanising catnapped cheerily irresolutely, and valvedbut quadratic his sacramental Roberto never swift anddoubts starchily. so abloom. Phantasmagorial and sunray Since OOT is a famous game you can find a speedrun of OOT on SDA or on the youtube channel that uses the same glitches. After breaking through the spider web and reaching the lower floor of the Great Deku Tree, turn back and look at the vines leading up. Please stop for the regret of God. Get bill of Hollywood. Celeste speedrunning career so far off. Over the years, speedrunners have discovered multiple glitches that shave time off the Ocarina of Time world record, and now, that world record has fallen below ten minutes! Remove pump inner leader and padding in Firefox. Attack benefit from behind! Pero antes de morir nos pidió que fueramos al castillo de Hyrule. Our situation has made easy would use online tool can convert row data. Not knowing the technical details of what just happened, it looks like he just dicked around for ten minutes and then Ganondorf gave up. Link getting packages available now find more about is usually they must have taken on page in our ocarinas. Iron boots on ocarina time he runs. With a time of ocarina of quality that is what does not necessary. Castle: Theoretically, one could warp from the starting dungeon all the way past Ganondorf, to fight Ganon and beat the game. We chatted with one of the top Ocarina of Time speedrunners in the world. -
Cutscene List – Prague
25-Jun-21 Cutscene-FULL-LIST-PRAGUE-v11 CUTSCENE LIST – PRAGUE SCENE 8 THE CRIME SCENE AT VASILEY’S. POINT 8.1: HIGH PRIORITY IG-ANIM - Lara pulls into a backtstreet in the borrowed vehicle, she gets out ….says “Great, another cold, dark city.” Cut to ingame. POINT 8.3: IG CONV - Luddick, a news reporter is staking out Vasiley’s shop. He sits in the warmth of his car that is parked across the square. Lara can talk to him but he will only give info if she has money to barter with. He lets her get into the car when she waves some cash at him. He tells Lara that he’s been following Vasiley for months and is convinced Vasiley was connected to the Mafia in some way. Now he’s been murdered it all points to a Mafia killing. All evidence has been cleared away. Lara has to keep prompting him with cash. He shows her some files on the main ‘Mafia’ members and others including Bouchard. He might be able to get her a passcode into the Strahov, their centre of operations. The outcome later will vary depending on whether Lara is predominantly FRIENDLY or UNFRIENDLY. Lara leaves and heads for Vasiley’s premises – the crimescene. SEE DIALOGUE TOM-LUDDICK-CAR. They have the conversation outside the car. No anims required. POINT 8.11: HIGH PRIORITY - MODIFIED IG_ANIM - Lara comes across Bouchard inside Vasiley’s premises. She sneaks up behind him and holds a gun to his head. He turns round and she hits him with the butt of the gun…black. -
Cutscenes, Agency and Innovation Ben Browning a Thesis In
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Concordia University Research Repository Should I Skip This?: Cutscenes, Agency and Innovation Ben Browning A Thesis in The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montreal, Quebec, Canada April 2016 © Ben Browning CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Ben Browning Entitled: Should I Skip This?: Cutscenes, Agency and Innovation and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Darren Wershler External Examiner Peter Rist Examiner Marc Steinberg Supervisor Approved by Haidee Wasson Graduate Program Director Catherine Wild Dean of the Faculty of Fine Arts Date ___________________________________ iii ABSTRACT Should I Skip This?: Cutscenes, Agency and Innovation Ben Browning The cutscene is a frequently overlooked and understudied device in video game scholarship, despite its prominence in a vast number of games. Most gaming literature and criticism concludes that cutscenes are predetermined narrative devices and nothing more. Interrogating this general critical dismissal of the cutscene, this thesis argues that it is a significant device that can be used to re-examine a number of important topics and debates in video game studies. Through an analysis of cutscenes deriving from the Metal Gear Solid (Konami, 1998) and Resident Evil (Capcom, 1996) franchises, I demonstrate the cutscene’s importance within (1) studies of video game agency and (2) video game promotion. -
Intellectual Property and Gender Implications in Online Games
ARTICLES PRETENDING WITHOUT A LICENSE: INTELLECTUAL PROPERTY AND GENDER IMPLICATIONS IN ONLINE GAMES CASEY FIESLER+ I.Introduction............................. .................. 1 II.Pretending and Storytelling in Borrowed Worlds ....... .......... 4 A. Role Playing in the Sand............................ 7 B. Women in the Sandbox ..................... 10 C. Building Virtual Sandcastles............... .......... 13 III.Pretending Without a License ....................... 19 A. Fanwork and Copyright ............ .. ............. 19 B. The Problem with Play........................... 25 C. Paper Doll Princesses and Virtual Castles.................... 26 IV.The Future of Pretending ................................ 31 A. Virtual Paper Dolls .................................... 31 B. Virtual Sandboxes .......................... 32 V.Conclusion .............................................. 33 "It beats playing with regular Barbies."' I. INTRODUCTION According to media accounts, it is only in the past decade or so that video-game designers begun to appreciate the growing female gamer demographic.2 Though the common strategy for targeting these consumers I PhD Candidate, Human-Centered Computing, Georgia Institute of Technology. JD, Vanderbilt University Law School, 2009. An early draft of this article was presented at the 2009 IP/Gender Symposium at American Law School; the author wishes to thank the participants for their valuable input, as well as Professor Steven Hetcher of Vanderbilt Law School. ' A statement by 9-year-old Presleigh, who would rather play with dolls on a website called Cartoon Doll Emporium. Matt Richtel & Brad Stone, Logging On, Playing Dolls, N.Y. TIMES, June 6, 2007, at Cl. 2 E.g., Tina Arons, Gamer Girls: More females flocking to video games, DAILY I 2 BUFFALO INTELLECTUAL PROPERTY LAWJOURNAL Vol. IX seems to be to make pink consoles and games about fashion design,' there is a growing recognition of trends that indicate gender differences in gaming style. -
Machinima As Digital Agency and Growing Commercial Incorporation
A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Megan R. Brown December 2012 © 2012 Megan R. Brown. All Rights Reserved 2 This thesis titled A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation by MEGAN R. BROWN has been approved for the School of Film and the College of Fine Arts by Louis-Georges Schwartz Associate Professor of Film Studies Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT BROWN, MEGAN R., M.A., December 2012, Film Studies A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation (128 pp.) Director of Thesis: Louis-Georges Schwartz. This thesis traces machinima, films created in real-time from videogame engines, from the exterior toward the interior, focusing on the manner in which the medium functions as a tool for marginalized expression in the face of commercial and corporate inclusion. I contextualize machinima in three distinct contexts: first, machinima as historiography, which allows its minority creators to articulate and distribute their interpretation of national and international events without mass media interference. Second, machinima as a form of fan fiction, in which filmmakers blur the line between consumers and producers, a feature which is slowly being warped as videogame studios begin to incorporate machinima into marketing techniques. Finally, the comparison between psychoanalytic film theory, which explains the psychological motivations behind cinema's appeal, applied to videogames and their resulting machinima, which knowingly disregard established theory and create agency through parody. -
Ninja Turtles Adventure Weekend National Toy Hall of Fame
Fall 2017 • Volume 8 • Issue 1 News and Events for Members, Donors, and Friends P L AY Time Ninja Turtles Adventure Weekend 4 Halloween Fun 5 National Toy Hall of Fame Celebration 6 In Another Galaxy 7 School Break Week 7 NEW EXHIBIT Teenage Mutant Ninja Turtle Fun Facts Beloved “heroes in a half-shell,” the Teenage Mutant Ninja Turtles, first appeared more than 30 years ago in a comic book by Kevin Eastman and Peter Laird. Discover how this crime-fighting foursome’s franchise has evolved: • The idea for the Turtles was created in Laird’s living room when Eastman jokingly sketched four turtles, each Opens September 16! holding a weapon and wearing a mask. Laird added the words NEW EXHIBIT ©2017 Viacom “Teenage Mutant” to the “Ninja International Inc. Turtle power! Leap to the rescue in the Underground Lair New York City Streets Turtles” title Eastman drew. first-ever museum exhibit featuring All Rights Reserved. Explore the rest of the Turtle’s lair Put your newfound skills and training Nickelodeon, This original drawing sold for the iconic, pizza-eating “heroes in to see how they live. Grab a seat by to the test in the Big Apple. Team TEENAGE MUTANT $71,700 at auction in 2012. a half shell” when Nickelodeon’s NINJA TURTLES the television to test your knowledge up with Turtle allies—including April Teenage Mutant Ninja TurtlesTM: and all related titles, about the Turtles’ history with an O’Neill and Casey Jones—to battle logos, and characters • The struggling artists were TM stops at Secrets of the Sewer interactive trivia game. -
Mutants & Masterminds Frequently Asked Questions
MUTANTS & MASTERMINDS FREQUENTLY ASKED QUESTIONS Updated December 4, 2006 Since the release of Mutants & Masterminds Second Edition, fans have posed many questions about the game and its rules. This FAQ file address the most frequently asked of these questions to provide clarifications and additional information for M&M players and Gamemasters. New questions are listed in color for ease of reference. GENERAL QUESTIONS Are NPC heroes created like villains (determining their power level based on their traits) or like PC heroes (limited by the campaign’s power level)? The former: all NPCs in a Mutants & Masterminds game have their power level determined by what traits they have. The campaign’s power level limit is to keep the player characters on relatively even footing and to use as a benchmark to measure against the PL of NPCs. Gamemaster-created characters can have whatever power level or power point total the GM wishes (including a point total less than their power level would suggest). What happened to the Costumed Adventurer archetype’s feats? They were accidentally left out of the layout of the first printing of the core rulebook. See the Mutants & Masterminds Errata file for them. Some archetypes have “Impervious Toughness,” where is this power found? See the Protection power on page 96, in particular the description of the Impervious extra. It can specifically be applied to the Toughness save as well, which is the case with those archetypes. Why do some archetypes have attack, defense, damage, or Toughness bonuses greater than power level 10? I thought those things were limited to no more than the power level? As specified under Hero Archetypes (fourth paragraph, second sentence): “Several of the archetypes use the Attack/Defense trade-off rule (page 24) to adjust their maximum attack, defense, damage, and Toughness save bonuses, as determined by their power level.” ABILITIES What happens to your Reflex saving throws when you are flat-footed or stunned? Nothing.