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World of Warcraft Online Manual
Game Experience May Change During Online Play WOWz 9/11/04 4:02 PM Page 2 Copyright ©2004 by Blizzard Entertainment. All rights reserved. The use of this software product is subject to the terms of the enclosed End User License Agreement. You must accept the End User License Agreement before you can use the product. Use of World of Warcraft, is subject to your acceptance of the World of Warcraft® Terms of Use Agreement. World of Warcraft, Warcraft and Blizzard Entertainment are trademarks or registered trademarks of Blizzard Entertainment in the U.S. and/or other countries.Windows and DirectX are trademarks or registered trademarks of Microsoft Corporation in the U.S. and/or other countries. Pentium is a registered trademark of Intel Corporation. Power Macintosh is a registered trademark of Apple Computer, Inc. Dolby and the double-D symbol are trademarks of Dolby Laboratory. Monotype is a trademark of Agfa Monotype Limited registered in the U.S. Patent and Trademark ® Office and certain other jurisdictions. Arial is a trademark of The Monotype Corporation registered in the U.S. Patent and Trademark Office and certain other jurisdictions. ITC Friz Quadrata is a trademark of The International Typeface Corporation which may be registered in certain jurisdictions. All other trademarks are the property of their respective owners. Uses high-quality DivX® Video. DivX® and the DivX® Video logo are trademarks of DivXNetworks, Inc. and are used under license. All rights reserved. AMD, the AMD logo, and combinations thereof are trademarks of Advanced Micro Devices, Inc All ATI product and product feature names and logos, including ATI, the ATI Logo, and RADEON are trademarks and / or registered trademarks of ATI Technologies Inc. -
Activision Blizzard, Inc
Investment Club Presentation Activision Blizzard, Inc. (ATVI) Analyst: Niko Martinovic 5-Yr Stock Performance $90 $80 $70 $60 $50 $40 $30 Decline in stock primarily driven by analyst sentiment changes, missing expectations, CFO firings, $20 and most recently, Bungie games leaving ATVI $10 $0 1/15/20144/15/20147/15/201410/15/20141/15/20154/15/20157/15/201510/15/20151/15/20164/15/20167/15/201610/15/20161/15/20174/15/20177/15/201710/15/20171/15/20184/15/20187/15/201810/15/2018 Source: AIM/Martinovic 2018, Company Filings, S&P Capital IQ, and IBIS World 2 They’re Wrong Activision Blizzard has three meaningful and diverse revenue streams that can all grow in unique ways. E-Sports and Virtual Reality are the most exciting growth opportunities in this industry and ATVI is the best positioned to take advantage of it with the power of their brands, aggressive R&D spend, and patience. Source: 3 Note: Three Year Stock Performance ATVI has outperformed the S&P consistently since early 2017 while the Peer Set1 has reverted back. 160.00% 140.00% Stock Price $46.85 Shares Outstanding $762.41mm 120.00% Market Cap $36.08bn 52 Week Range $43.71-$84.68 100.00% Avg. Volume 7,550,000 EPS (TTM) $2.13 80.00% Past Month Performance -1.60% Past 1 Year -33.63% 60.00% Past 5 Year 170.36% 40.00% 20.00% 0.00% -20.00% -40.00% 1/15/2016 4/15/2016 7/15/2016 10/15/2016 1/15/2017 4/15/2017 7/15/2017 10/15/2017 1/15/2018 4/15/2018 7/15/2018 10/15/2018 S&P ATVI Peer Set Source: AIM/Martinovic 2018, Company Filings, S&P Capital IQ, and IBIS World 4 1Electronic Arts, Ubisoft, Take Two Interactive, Square Enix, and Zynga Company Overview & Monetization Activision Blizzard, Inc. -
Blizzard Entertainment® Soundtracks Now on Itunes
Blizzard Entertainment® Soundtracks Now On iTunes IRVINE, Calif. -- Blizzard Entertainment, Inc. today announced that a wide selection of music from its popular games has been added to the iTunes store. Much of this music was originally available only in collector's editions of the games, or at special events such as the company's BlizzCon® gaming convention. Six Blizzard Entertainment® soundtrack albums are currently available: • StarCraft® Original Soundtrack • Diablo® II Original Soundtrack • Warcraft® III: Reign of Chaos® Original Soundtrack • World of Warcraft® Original Soundtrack • World of Warcraft: The Burning Crusade® Original Soundtrack • World of Warcraft: Taverns of Azeroth Original Soundtrack The albums have been placed on a new Blizzard Entertainment hub page within the iTunes store. This page also hosts content such as the BlizzCast™ podcast and trailers and gameplay footage from upcoming Blizzard Entertainment games, with more material to be added in the months ahead. In addition, the "Diablo III Overture" from the company's recently announced action role-playing game, Diablo III, is available as a single and has been highlighted as a Discovery Download, making it free to download until Tuesday, September 9. Players in the regions iTunes serves (North America, Europe, Australia, New Zealand, and Japan) can purchase the music at standard rates for each of those regions. For more information, please visit www.blizzard.com. About Blizzard Entertainment, Inc. Best known for blockbuster hits including World of Warcraft® and the Warcraft®, StarCraft®, and Diablo® series, Blizzard Entertainment, Inc. (www.blizzard.com), a division of Activision Blizzard (NASDAQ: ATVI), is a premier developer and publisher of entertainment software renowned for creating some of the industry's most critically acclaimed games. -
Cgcopyright 2013 Alexander Jaffe
c Copyright 2013 Alexander Jaffe Understanding Game Balance with Quantitative Methods Alexander Jaffe A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: James R. Lee, Chair Zoran Popovi´c,Chair Anna Karlin Program Authorized to Offer Degree: UW Computer Science & Engineering University of Washington Abstract Understanding Game Balance with Quantitative Methods Alexander Jaffe Co-Chairs of the Supervisory Committee: Professor James R. Lee CSE Professor Zoran Popovi´c CSE Game balancing is the fine-tuning phase in which a functioning game is adjusted to be deep, fair, and interesting. Balancing is difficult and time-consuming, as designers must repeatedly tweak parameters and run lengthy playtests to evaluate the effects of these changes. Only recently has computer science played a role in balancing, through quantitative balance analysis. Such methods take two forms: analytics for repositories of real gameplay, and the study of simulated players. In this work I rectify a deficiency of prior work: largely ignoring the players themselves. I argue that variety among players is the main source of depth in many games, and that analysis should be contextualized by the behavioral properties of players. Concretely, I present a formalization of diverse forms of game balance. This formulation, called `restricted play', reveals the connection between balancing concerns, by effectively reducing them to the fairness of games with restricted players. Using restricted play as a foundation, I contribute four novel methods of quantitative balance analysis. I first show how game balance be estimated without players, using sim- ulated agents under algorithmic restrictions. -
Second Quarter 2021 Results August 2021
SECOND QUARTER 2021 RESULTS AUGUST 2021 1 Safe Harbor Disclosure Please review our SEC filings on Form 10-K and Form 10-Q The statements contained herein that are not historical facts are central banks around the world, including the impact on interest online gaming service; potential data breaches and other forward-looking statements including, but not limited to rates; increased demand for our games due to stay-at-home orders cybersecurity risks; significant disruption during our live events; statements about: (1) projections of revenues, expenses, income and curtailment of other forms of entertainment, which may not risks related to the impacts of catastrophic events, including the or loss, earnings or loss per share, cash flow, or other financial be sustained; and volatility in foreign exchange rates); our ability to susceptibility of the location of our headquarters to earthquakes; items; (2) statements of our plans and objectives, including those consistently deliver popular, high-quality titles in a timely manner, provisions in our corporate documents that may make it more related to releases of products or services and restructuring which has been made more difficult as a result of the COVID-19 difficult for any person to acquire control of our company; risks and activities; (3) statements of future financial or operating pandemic; competition; concentration of revenue among a small costs associated with legal proceedings, including the impact of the performance, including the impact of tax items thereon; and (4) number of franchises; our ability to satisfy the expectations of complaint filed by the California Department of Fair Employment statements of assumptions underlying such statements. -
BLIZZARD ENTERTAINMENT, INC. V. JUNG 422 F.3D 630 (8Th Cir. 2005)
BLIZZARD ENTERTAINMENT, INC. v. JUNG 422 F.3d 630 (8th Cir. 2005) SMITH, Circuit Judge. Davidson & Associates, Inc. d/b/a Blizzard Entertainment ("Blizzard") and Vivendi Universal Games, Inc. ("Vivendi"), owner of copyrights in computer game software and online gaming ser- vice software sued Ross Combs ("Combs"), Rob Crittenden ("Crittenden"), Jim Jung ("Jung"), and Internet Gateway, Inc. ("Internet Gateway") (collectively referred to as "Appellants"), for breach of contract, circumvention of copyright protection system, and trafficking in circumvention technolo- gy. Both parties moved for summary judgment. The district court granted summary judgment in fa- vor of Blizzard and Vivendi, and determined that: (1) Blizzard's software end-user license and terms of usage agreements were enforceable contracts; (2) Appellants waived any "fair use" defense; (3) the agreements did not constitute misuse of copyright; and (4) Appellants violated the anti- circumvention and anti-trafficking provisions of the Digital Millennium Copyright Act ("DMCA"). We affirm. [*633] I. Background A. Factual Background Blizzard, a California corporation and subsidiary of Vivendi, creates and sells software games for personal computers. This appeal concerns the particular Blizzard games "StarCraft," "StarCraft: Brood War," "WarCraft II: Battle.net Edition," "Diablo," and "Diablo II: Lord of Destruction." Combs and Crittenden are computer programmers, Jung is a systems administrator, and Internet Gateway is an Internet service provider based in St. Peters, Missouri. Jung is also the president, co- owner, and day-to-day operator of Internet Gateway. In January 1997, Blizzard officially launched "Battle.net," a 24-hour online-gaming service available exclusively to purchasers of its computer games. The Battle.net service has nearly 12 mil- lion active users who spend more that 2.1 million hours online per day. -
Overwatch Ultimate Voice Lines
Overwatch ultimate voice lines Continue The ultimate ability in Overwatch is the ultimate way to take control of the match and turn things in your favor. Some have powerful attacking abilities, while others support abilities for your team. Knowing how and when to react when you hear the ultimate enemy quote is the key to getting out of the line of fire and staying alive. We rank each Overwatch Ultimate Voice Line character from the least to the scariest so you know how urgently you need to respond... and what is best to do in this situation. We will continue to update this list as soon as Blizzard adds a few more characters to reset. In the meantime, watch out for these quotes when you play and know how best to react! Last updated: Wednesday, April 15 202032. Reality bends to my willSymmetraPoor old Symmetra. Initially one of the least played heroes in the game, and even after huge changes last year, still has not found himself in meta. However, it is much more enjoyable for both the game and the fight, and its ultimate can be useful, but only if perfectly placed, and is used similarly to zenyatta in the fight against the extremely spectacular enemy ultimate.31. Pass Into The Iris'enyatta'enyatta's Ultimate makes him unbeaten for a short period, as well as greatly healing his teammates around him. It won't cause you any damage, so it's not something you need to escape urgently from, but it makes skirmishes with enemies tough because of their temporary health enhancement. -
Sociality and Materiality in World of Warcraft Nicholas Anthony Gadsby
Sociality and Materiality in World of Warcraft Nicholas Anthony Gadsby University College London Department of Anthropology A thesis re-submitted for the degree of Doctor of Philosophy May 2016 1 Declaration I, Nicholas Anthony Gadsby, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I conform this has been indicated in the thesis. 2 Abstract The focus of my thesis is the role and status of control in the MMO World of Warcraft where one of the primary motivations for player engagement was to eliminate and marginalise contingency at sites across the game that were perceived to be prone to the negative effects of contingency, a process that its developers were to a significant degree complicit in. My field sites traced the activities and lives of gamers across the physical location of London and the south east of the United Kingdom and their online game locations that constituted World of Warcraft and occasionally other online games which included the guild they were a member of that was called ‘Helkpo’. It examines how the transparency attributed to the game’s code, its ‘architectural rules’, framed the unpredictability of players as problematic and how codified ‘social rules’ attempted to correct this shortcoming. In my thesis I dive into the lives of the members of Helkpo as both guild members and as part of the expansive network that constituted their social lives in London. It demonstrates how the indeterminate nature of information in the relations in their social network contrasted with the modes of accountability that World of Warcraft offered, defined by different forms of information termed ‘knowing’ and ‘knowledge’. -
A Discourse Analysis of Chris Metzen's Game Announcements
A Discourse Analysis of Chris Metzen’s Game Announcements Radek Němec Bachelor’s thesis 2019 ABSTRAKT Tato bakalářská práce se zabývá herními oznámeními pronesenými Chrisem Metzenem. Hlavním cílem je provést diskurzivní analýzu těchto oznámení. Teoretická část se zaměřuje na charakterizaci diskurzu a diskurzivní analýzy. Dále se pak zabývá definicí textu a jeho náležitostí, pragmatikou a vysvětlením jednotlivých přesvědčovacích prostředků, které byly použity Metzenem. Praktická část pak zkoumá pokrok Metzenových proslovů a poukazuje na důvody, proč byly dané prostředky použity. V praktické části jsou podány konkrétní očíslované příklady použití těchto prostředků, které slouží jako podpora analýzy. Klíčová slova: diskurz, diskurzivní analýza, herní oznámení, Chris Metzen, přesvědčovací prostředky, herní průmysl ABSTRACT This bachelor thesis deals with Chris Metzen’s game announcements. The main goal is to do a discursive analysis of these announcements. The theoretical part focuses on the characterization of the terms discourse and discourse analysis. Furthermore, it deals with the definition of the text and its essentials, pragmatics and the explanation of the individual persuasive tools used by Metzen. The practical part then examines the progress of Metzen's speeches and points out the reasons for use of these persuasive devices. The practical part provides concrete numbered examples of using these tools, which serve as support of analysis. Keywords: discourse, discourse analysis, game announcements, Chris Metzen, persuasive tools, gaming industry ACKNOWLEDGEMENTS I would like to thank my supervisor Mgr. Petr Dujka and his colleague M.A. Svitlana Shurma, Ph.D. for their time devoted to me and this thesis, as well as for directing me during the whole process. Also, I would like to thank the UTB library for providing me a perfect place for writing the thesis and for lending me a lot of relevant literature that I found useful for the work. -
Heroes of Warcraft —
University of Liège Faculty of Engineering Montefiore Institute Learning Artificial Intelligence in Large-Scale Video Games — A First Case Study with Hearthstone: Heroes of WarCraft — Master Thesis Submitted for the Degree of MSc in Computer Science & Engineering Author: Supervisor: David Taralla Prof. Damien Ernst Academic year 2014 – 2015 Legal Notice This document makes an intensive use of Hearthstone: Heroes of WarCraft content and materials for illustration purposes only. These content and materials are trademarks and copyrights of Blizzard and its licensors, all rights reserved. Other copyrighted software products are also referenced in this work. All mentioned trademarks or registered trademarks are the property of their respective owners. Acknowledgements My first thanks go to Prof. Damien Ernst who let me work on a subject I am passionate about. I wish also to thank Aaron Qiu, PhD student and researcher at the Uni- versity of Liège and as today on the way to get the title of Legend in Hearthstone. He is the expert we mention several times in this thesis, and without his knowledge on the game, the autonomous agent we designed would not have the quality reached so far. As a side note and to insist on his expert role, the agent was first named Aaron. However, as we kept seeing it as a “she”, it (or she) finally was named Nora, which is nothing but... Aaron in reverse. Of course, I acknowledge the interest of my friends and family, even when most of them did not understand what my thesis was about. Therefore, a big thanks to all of you, because you were my day-to-day supporters. -
Cheating in Candy Crush Saga." Social, Casual and Mobile Games: the Changing Gaming Landscape
Carter, Marcus, and Staffan Björk. "Cheating in Candy Crush Saga." Social, Casual and Mobile Games: The changing gaming landscape. Ed. Tama Leaver and Michele Willson. New York: Bloomsbury Academic, 2015. 261–274. Bloomsbury Collections. Web. 1 Oct. 2021. <http:// dx.doi.org/10.5040/9781501310591.ch-018>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 16:24 UTC. Copyright © Tama Leaver, Michele Willson and Contributors 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 18 Cheating in Candy Crush Saga M a r c u s C a r t e r a n d S t a ff a n B j ö r k reemium’ describes an economic model for digital software that involves ‘F a free basic service, with premium content available for customers that choose to pay. Freemium games are thus ‘free-to-play’ (F2P) and have grown enormously popular in tandem with the emergence of ‘casual’ games popular on non-dedicated mobile gaming platforms (such as iOS or Android devices) and social network sites (SNSs) (such as Facebook). A December 2012 survey estimated that revenue from free mobile and computer games has surpassed revenue from paid titles in the United States (Amano 2013). Candy Crush Saga is one of the most commercially successful freemium games, being F2P while offering purchases of in-game ‘lives’ and advantages at a relatively low cost (ranging between US$0.99 and US$2.99 on the iOS version). -
Rainbow’ Star Lands in Bakersfield
The RenegadeBakersfield College Rip Vol. 86 ∙ No. 7 www.therip.com Wednesday, December 3, 2014 ‘Rainbow’ star lands in Bakersfield By Alisia Sanchez more, Burton said, “I see that Photographer some of you have copies of ‘The Rhino Who Swallowed a Storm,’ The product details of LeVar and if you have one, please feel Burton’s first children’s book, free to follow along.” “The Rhino Who Swallowed a “I don’t,” a little boy said in Storm,” suggest that the book is response. intended for children between “You can borrow mine,” of- the ages of 5 and 7 years old, but fered 9-year-old Zion Johnson, when Burton appeared at Barnes who wore a pair of soft-pink & Noble on Nov. 21 to read his footed pajamas. book out loud, listeners of all “If you don’t have a copy, I’m ages were eager to take a look. going to share the pictures with Wearing a blue sweater and a you, OK? All right,” Burton as- pair of blue denim jeans, long- sured the boy. time host of the PBS children’s After numerous parents at- television series “Reading Rain- tempted to hush the talkative bow,” Burton made his way children, Burton began his around the circle of children and reading of the 32-page book he their parents. He sat down on a Above: 9-month-old Lily co-wrote with Susan Schaefer Thompson and LeVar brown wooden chair that had Bernardo. been set out for him by Barnes Illustrated by Courtenay Burton share a glance as he & Noble Community Business Fletcher, Burton kept his word signs her copy of his first Development Manager Cody W.