Battle for Azeroth Guide for Returning Players
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Reluctant Readers and Game Literature an Intertextual Analysis of World of Warcraft: Chronicle I
Bachelor’s thesis, 15 credits Reluctant readers and game literature An intertextual analysis of World of Warcraft: Chronicle I Author: Hampus Söderberg Supervisor: Anna Greek Examiner: Anna Thyberg Term: Spring 2019 Subject: English Level: Bachelor Course code: 2ENÄ2E Abstract World of Warcraft and World of Warcraft: Chronicle I are in this essay analyzed as motivators for reluctant readers. World of Warcraft: Chronicle I is analyzed from small-scale and large-scale intertextual comparison to Greek and Norse mythology. The aim of this essay is to introduce alternative literature outside the literary canon in the EFL classroom in Sweden. The aim is to connect gaming an outside school activity with reading. The analysis is divided into three parts, the first part focuses on the amount of reading that is done while playing a game like World of Warcraft. The second part focuses on intertextuality in the Chronicle to Greek and Norse mythology. Lastly, how the knowledge of intertextuality in the Chronicle can be used to interact with likeminded people by posting on forums in discussed. The goal is to connect gaming and reading to motivate reluctant readers. Key words World of Warcraft, WoW, World of Warcraft: Chronicle I, Reluctant readers, Intertextuality, Upper secondary school, EFL. Table of Content 1 Introduction 1 2 Teaching Reluctant Readers 4 3 Intertextuality 7 4 Problematizing WoW in the EFL classroom 8 5 Method 13 6 Analysis – Quest, Forums, World of Warcraft and World of Warcraft: Chronicle I 14 6.1 World of Warcraft: Chronicle I and The Pantheons 17 6.2 Norse Mythology 20 6.3 Odyn 20 6.4 Hodir 23 6.5 Thorim 24 6.6 Tyr 25 6.7 Community Forums 26 7 Conclusion 30 Works Cited 32 “I play hearthstone and have played Warcrafts 1-3. -
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. -
Arena Tournament Rules
Emma Witkowski - “Inside the Huddle”, PhD Dissertation, 2012. Arena Tournament rules BlizzCon 2010 Tournament Rules. All matches that take place in the Tournament shall take place in accordance with the World of Warcraft Arena Rules, which are available at http://www.worldofwarcraft.com/pvp/arena/index.xml. In the event of any conflict between these Official Rules and the World of Warcraft Arena Rules, these Official Rules shall prevail. "Cheating," as determined in Sponsor's sole discretion, and specifically including, without limitation, "win-trading," shall result in disqualification of the Arena Team and all of its Team Members. Third party user interfaces compatible with World of Warcraft, and which do not violate the World of Warcraft Terms of Use may be used during the Qualification Round of the Tournament, but will not be allowed at the Regional Qualifier or the Finals. At the Regional Finals, Team Members will have fifteen (15) minutes prior to the start of the first match with each opponent Team Member to prepare the computer on which they will use to participate in the Tournament match. Determination of Winners Qualification Rounds and Regional Qualifier Tournaments The Qualification Round of the Tournament . The Qualification Round of the Tournament shall last for approximately eight weeks, and will commence on April 27, 2010 at approximately 10:00 AM Pacific Time (5:00 PM GMT) (subject to ‘Server Maintenance’ to be performed by Sponsor), and end on June 21, 2010 at approximately 9:00 PM Pacific Time (4:00 AM GMT). The first four weeks of the Qualification Round will be a “practice” period, and during this time Eligible Participants may switch from one team to another without that Arena Team being penalized. -
In- and Out-Of-Character
Florida State University Libraries 2016 In- and Out-of-Character: The Digital Literacy Practices and Emergent Information Worlds of Active Role-Players in a New Massively Multiplayer Online Role-Playing Game Jonathan Michael Hollister Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION & INFORMATION IN- AND OUT-OF-CHARACTER: THE DIGITAL LITERACY PRACTICES AND EMERGENT INFORMATION WORLDS OF ACTIVE ROLE-PLAYERS IN A NEW MASSIVELY MULTIPLAYER ONLINE ROLE-PLAYING GAME By JONATHAN M. HOLLISTER A Dissertation submitted to the School of Information in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2016 Jonathan M. Hollister defended this dissertation on March 28, 2016. The members of the supervisory committee were: Don Latham Professor Directing Dissertation Vanessa Dennen University Representative Gary Burnett Committee Member Shuyuan Mary Ho Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii For Grandpa Robert and Grandma Aggie. iii ACKNOWLEDGMENTS Thank you to my committee, for their infinite wisdom, sense of humor, and patience. Don has my eternal gratitude for being the best dissertation committee chair, mentor, and co- author out there—thank you for being my friend, too. Thanks to Shuyuan and Vanessa for their moral support and encouragement. I could not have asked for a better group of scholars (and people) to be on my committee. Thanks to the other members of 3 J’s and a G, Julia and Gary, for many great discussions about theory over many delectable beers. -
Esports High Impact and Investable
Needham Insights: Thought Leader Series Laura A. Martin, CFA & CMT – [email protected] / (917) 373-3066 September 5, 2019 Dan Medina – [email protected] / (626) 893-2925 eSports High Impact and Investable For the past decade, eSports has been growing on the main stage in Asia and in stealth mode in the US. This report addresses questions we get most often from investors about eSports: ➢ What is eSports? Definitions differ. Our definition of eSports is “players competing at a video game in front of a live audience while being live-streamed.” By implication, viewing, attendance, and playing time are linked, and each creates revenue streams for eSports. ➢ How big is eSports? Globally, one out of every three (ie, 33%) 18-25 year olds spent more than an hour a day playing video games, 395mm people watched eSports, and 250mm people played Fortnite in 2018. eSports revenue will be $1.1B in 2019, up 26% y/y. ➢ Should investors care about eSports? We would argue “yes”, owing to: a) global scale; b) time spent playing and viewing; c) compelling demographics; d) eSports vs traditional sports trends; e) revenue growth; and, f) sports betting should supercharge US eSports. ➢ Is eSports a fad? We would argue “no”, owing to: a) many US Universities now offer Varsity eSports scholarships; b) new special purpose eSports stadiums are proliferating; c) billionaires are investing to make eSports successful; d) audience growth; and, e) Olympics potential. ➢ Why have you never heard of eSports? Because zero of the top 30 earning players in the world were from the US in 2018. -
2019 World of Warcraft® Arena World Championship Europe Arena Cups
2019 WORLD OF WARCRAFT® ARENA WORLD CHAMPIONSHIP EUROPE ARENA CUPS AND SEASONAL FINALS OFFICIAL RULES TABLE OF CONTENTS 1. INTRODUCTION 2. ACCEPTANCE AND APPLICABILITY OF THESE OFFICIAL RULES 2.1. Acceptance of the Official Rules 2.2. Applicability of the Official Rules 3. PLAYER ELIGIBILITY REQUIREMENTS 3.1. Regional Eligibility 3.2. Residency Requirement 3.3. Minimum Age Requirements 3.4. No Purchase Necessary 3.5. Ineligible Players 4. TOURNAMENT STRUCTURE 4.1. General Tournament Rules 4.2. Arena Cup Tournaments 4.3. Arena Team Roster Swapping 4.4. Seasonal Finals Tournaments 4.5. Prize Award Terms 4.6. Travel and Expenses 5. PLAYER CONDUCT 5.1. Behavior 5.2. Cheating 5.3. Illegal and Unethical Conduct 5.4. Anti-Harassment 5.5. Gambling 5.6. Alcohol and Drugs 5.7. Non-Disparagement 5.8. Interviews and the Media 5.9. Software and Hardware Page 2 of 38 5.10. Restricted Sponsorships 5.11. Disciplinary Action 6. LIMITATIONS OF LIABILITY AND DISCLAIMERS 6.1. Cap on Liability; No Punitive Damages 6.2. Disclaimers 6.3. Changes to Your Blizzard Battle.net Account 7. USE OF YOUR BRAND MATERIALS AND PERSONAL DATA 7.1. License to Use Your Brand Materials 7.2. Advertising Materials 7.3. Ownership of Advertising Materials, Feedback, Stats and Suggestions 7.4. Collection of Personal Data 8. RESOLUTION OF DISPUTES 8.1. Applicability 8.2. Negotiations 8.3. Binding Arbitration 8.4. Arbitration Procedures 8.5. Class and Collective Action Waiver 8.6. Location of Arbitration 8.7. Governing Law 9. GENERAL (BUT IMPORTANT) TERMS AND CONDITIONS 9.1. -
Blizzcon Is Bigger Than Ever with Nine Stages, 12 Trucks, 200+ Broadcast Streams
BlizzCon Is Bigger Than Ever With Nine Stages, 12 Trucks, 200+ Broadcast Streams The live stages feed into central Master Control, ‘Post Hub’ BY JASON DACHMAN, CHIEF EDITOR NOVEMBER 2, 2018 We distribute to a huge number amount of platforms and we also localize in 18 different languages. All of our esports programming is free, and we make the decision what goes on R Logotext Lorem TaglineBlizzCon Virtual Ticket holistically across Blizzard [based on] what we feel our community would want access to. Peter Eminger, Sr. Director Blizzard With 40,000 fans onsite watching five live esports stages and four content stages sprawled across a million square feet at Anaheim Convention Center, it simply doesn’t get any bigger for the Blizzard Entertainment pro- duction operation than BlizzCon. In addition, Blizzard’s Global Broadcast team is distributing a whopping 211 unique broadcast streams to 17 outlets in 18 languages. “For us, the live event and the broadcasts are very linked together because so much of the broadcast is from these live stages. Our show is definitely bigger this year,” says Pete Emminger, senior director, Blizzard Entertain- ment. “We’re really lucky in that we have a lot of consistent crew, so this year has actually been the smoothest year so far. Plus, we’ve really had a great year at Blizzard overall, so we’re extremely excited to finally be here at BlizzCon, which is really a celebration for us as much as it is [for the fans].” A Blizzard of Activity: A Dozen Mobile Units Onsite Serving Nine Stages Now in its 14th year, the convention features everything from live esports competitions to Q&A panels and announcements to demos of upcoming game releases to concerts and much more. -
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’. -
Personality and Character Selection in World of Warcraft
Personality and Character Selection in World of Warcraft Ian D. Mosley: McNair Scholar Dr. Steven Patrick: Mentor Sociology Abstract The present study examined the relationship between players’ personality characteristics and their online behaviors, including character faction, class selection, and game play in the massively multiplayer online role playing game the World of Warcraft (WoW). Data were collected from 205 WoW players who participated in an online survey that included the Big 5 Personality Inventory (Extroversion, Agreeableness, Conscientiousness, Emotional Stability and Openness to Experience) and portions of the California Personality Index, as well as original questions pertaining to WoW (Goldberg, et al. 2006). Statistical analysis showed that although there was not a significant relationship between player personality traits and their class or faction selection, there were significant relationships between personality traits and engagement in player versus player game play. Introduction Game developers go to great lengths to ensure that game worlds are realistic to players. This is perhaps most present in World of Warcraft (WoW). Although the overarching theme of the game may be fantasy, there are several elements to the game that parallel our own world and history (Krzywinslca, 2006). These parallels further the attachment players develop to the characters they portray, and the transference players experience from their game world interaction into their out of game lives. WoW and other games are now so well constructed that it has even been suggested that they could be “…windows into and catalysts in existing relationships in the material world” (Yee, 2006, p. 312). In WoW and all other massively multi-player online role playing games (MMORPG’s) players self select into specific racial and cultural stereotypes. -
The Economy of World of Warcraft Making Millions of Gold and How Blizzard Knows You’Re Doing It, Using Splunk!
© 2020 SPLUNK INC. © 2020 SPLUNK INC. The Economy of World of Warcraft Making Millions of Gold and How Blizzard Knows You’re Doing It, Using Splunk! Shawn Routhier Sr. Security Engineer | Blizzard Entertainment During the course of this presentation, we may make forward‐looking statements regarding Forward- future events or plans of the company. We caution you that such statements reflect our current expectations and estimates based on factors currently known to us and that actual Looking events or results may differ materially. The forward-looking statements made in the this presentation are being made as of the time and date of its live presentation. If reviewed after Statements its live presentation, it may not contain current or accurate information. We do not assume any obligation to update any forward‐looking statements made herein. In addition, any information about our roadmap outlines our general product direction and is subject to change at any time without notice. It is for informational purposes only, and shall not be incorporated into any contract or other commitment. Splunk undertakes no obligation either to develop the features or functionalities described or to include any such feature or functionality in a future release. Splunk, Splunk>, Data-to-Everything, D2E and Turn Data Into Doing are trademarks and registered trademarks of Splunk Inc. in the United States and other countries. All other brand names, product names or trademarks belong to their respective owners. © 2020 Splunk Inc. All rights reserved © 2020 SPLUNK INC. Shawn Routhier Senior Security Engineer | Blizzard Entertainment © 2020 SPLUNK INC. Shawn Routhier Human Rogue Blizzard Entertainment - 5 years • Security Professional for 11+ years… and counting – Booz Allen Hamilton, MIT – Lincoln Laboratory, Blizzard Entertainment NPC “Shawn” in Nagrand (Outland) • Met and proposed to my wife in WoW Defcon25 Black Badge (Uber) Winner – Telephreak Southern California User Group Leader .Conf19 Speaker – Winning in Starcraft 2 © 2020 SPLUNK INC. -
Transmedia Storytelling in the Warcraft Universe: the Role of Intermediality in Shaping the Warcraft Lore
Transmedia Storytelling in the Warcraft Universe: the Role of Intermediality in Shaping the Warcraft Lore Eszter Barabás A research Paper submitted to the University of Dublin, in partial fulfillment of the requirements for the degree of Master of Science Interactive Digital Media 2020 Declaration I have read and I understand the plagiarism provisions in the General Regulations of the University Calendar for the current year, found at: http://www.tcd.ie/calendar I have also completed the Online Tutorial on avoiding plagiarism ‘Ready, Steady, Write’, located at http://tcd-ie.libguides.com/plagiarism/ready-steady-write I declare that the work described in this research Paper is, except where otherwise stated, entirely my own work and has not been submitted as an exercise for a degree at this or any other university. Signed: Eszter Barabás 2020 Permission to lend and/or copy I agree that Trinity College Library may lend or copy this research Paper upon request. Signed: Eszter Barabás 2020 Summary This paper examines the popular franchise known as Warcraft, applying the theory of intermediality to the different mediums that contribute to it, analyzing each of their roles and how intermediality manifests across all platforms. The three established forms of intermediality, that of medial transposition, media combination and intermedial references are used, as well as the concept of transmedia storytelling, considered a fourth type. These categories are first introduced and defined, along with the vast network of media artifacts that contribute to the Warcraft lore. Each consecutive chapter focuses on one form of intermediality, applying it to a few representative works from the Warcraft franchise. -
The Semiotic Ecology and Linguistic Complexity of an Online Game World
Portland State University PDXScholar World Languages and Literatures Faculty Publications and Presentations World Languages and Literatures 9-26-2012 The Semiotic Ecology and Linguistic Complexity of an Online Game World Steven L. Thorne Portland State University Ingrid Fischer University of Groningen Xiaofei Lu Pennsylvania State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/wll_fac Part of the First and Second Language Acquisition Commons, Language Description and Documentation Commons, Semantics and Pragmatics Commons, and the Typological Linguistics and Linguistic Diversity Commons Let us know how access to this document benefits ou.y Citation Details Steven L. Thorne, Ingrid Fischer and Xiaofei Lu (2012). The semiotic ecology and linguistic complexity of an online game world. ReCALL, pp 279301 This Article is brought to you for free and open access. It has been accepted for inclusion in World Languages and Literatures Faculty Publications and Presentations by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. ReCALL http://journals.cambridge.org/REC Additional services for ReCALL: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here The semiotic ecology and linguistic complexity of an online game world Steven L. Thorne, Ingrid Fischer and Xiaofei Lu ReCALL / Volume null / Issue 03 / September 2012, pp 279 301 DOI: 10.1017/S0958344012000158, Published online: 26 September 2012 Link to this article: http://journals.cambridge.org/abstract_S0958344012000158 How to cite this article: Steven L. Thorne, Ingrid Fischer and Xiaofei Lu (2012). The semiotic ecology and linguistic complexity of an online game world.