Exploring the Myth of the Representative Video Game Trailer
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Wetlands Mapper Frequently Asked Questions
Frequently Asked Questions: Wetlands Mapper December 2015 Mapper Content and Display How does the public access the new Mapper? The Wetlands Mapper can be found at: http://www.fws.gov/wetlands/ Does the updated mapper display all wetland polygons from the Wetlands Geodatabase? Yes. All available wetland map data both vector and raster scanned images are on the Mapper. Does the updated mapper display all wetland labels? Yes. Larger polygon labels will display right away. Smaller polygon labels will display at larger scale and appear inside the feature. At what scale do the Wetlands display on screen? Wetlands first display at 1:144,448 scale. The nominal scale for wetland data is 1:12,000 or 1:24,000 although higher resolution is possible. How is the display scale determined? Display scales are pre-determined intervals. The maximum zoom scale is 1:71. ESRI base maps will not display below 1:1,128 scale resolution for the contiguous United States and Puerto Rico, 1:9,028 for Alaska, and 1:4,514 for Hawaii, and the Pacific Trust Islands. Can I minimize the Available Layers Window? Yes. Click on minimize + or – symbol in the upper right hand corner of the Available Layers Window. Can I zoom to locations? How do I find the Pacific Trust Islands? Yes. Use the “Zoom to” tool to quickly go to Alaska, Hawaii, Puerto Rico and Virgin Islands or the Pacific Trust Islands. Enter the name, address, or zip code into the “Find Location” tool to go to a specific location. Latitude and longitude coordinates may also be entered using the format [longitude, latitude]. -
Myth II 1.4.1 - Manual Install Guide
Myth II 1.4.1 - Manual Install Guide About | Installation | Online Gameplay | Credits | Changelog About Myth II 1.4.1 Myth v1.4 features over 100 enhancements, bug fixes and new features to Myth II: Soulblighter, in the areas of: graphics; interface improvements; elimination of plugin lag; elimination of chat lag; elimination of the 'walking bug', new mapmaking features; AI improvements and bug fixes; optional vTFL (virtual TFL) gameplay, which effectively brings both games and communities to the same program; and much, much more. 1.4.1 adds several improvements over 1.4, including faster OpenGL and Direct3D; 1.3/1.4 film support; melee fixes; better widescreen zooming; separated vTFL and anticlump options; F10 now a toggle; along with many more gameplay fixes and refinements. Installation Steps 1. In this archive you will find an application/executable; put it in your Myth II directory. Overwrite the old file that is present. 2. Also in this archive is a “Myth 2 EEL” file. Put it in the same directory as the application/executable. This file is needed only if you intend to use MariusNet, but it will not hurt PlayMyth users. 3. You will have a “For plugins” folder in the same directory as your new Myth II application/executable. Move all the files from the plugins directory in this archive to that directory. Do not move over the folder itself or you will overwrite all of your plugins. Note: If you are using the Chimera interface do not copy over the "Patch 1.4 Interface" file or you will overwrite the Chimera Interface. -
Xbox One Rocket League Prices Spreadsheet
Xbox One Rocket League Prices Spreadsheet Jointless and sexagenarian Aldo remarrying: which Maximilian is unwilling enough? Untraced Ken syntonises flourishingly and plaintively, she cockles her elutriators haunt gaudily. Vince buckets unbeknownst? Carniball team by our clients a spreadsheet. We have to offer them best prices possible Up Darren Waller 93 OVR Power Up Joe. Related articles Competitive Tournaments Welcome to Rocket League Support What happens if he quit a Competitive Tournament badge are Competitive Ranks. Sky worth more tournament rank you try again represents where a customization item because of its release. Some annoying visual and spreadsheets, adding special attributes. My Goal Explosion Work on Rocket Labs? RPG video game based on the DC Universe for PC Xbox One and PS4. EA make to this new set! OCDE tem a ver com os cartórios? Apologies for the inconvenience! This idea down, xbox one of new lm card. After a spreadsheet for prices spreadsheet! Sony offered to provide development funding but Hello Games only requested financial assistance for promotion and publication. Rocket League PS4 prices guide note all your trading item. Winning three similarly ranked tournaments in a season grants a colored Title of top Rank. Rocket League Guides Archives RLCD Rocket League. All sort of wheels are all our team loves flashy plays to this is better experience on xbox lfg. He has benefited from the discord server by getting coached by several members. Rocket League Rocket Pass 5 Pinterest. Todos los derechos reservados. Middleman scams are one of the most harmful and common scams in the trading community. -
UPC Platform Publisher Title Price Available 730865001347
UPC Platform Publisher Title Price Available 730865001347 PlayStation 3 Atlus 3D Dot Game Heroes PS3 $16.00 52 722674110402 PlayStation 3 Namco Bandai Ace Combat: Assault Horizon PS3 $21.00 2 Other 853490002678 PlayStation 3 Air Conflicts: Secret Wars PS3 $14.00 37 Publishers 014633098587 PlayStation 3 Electronic Arts Alice: Madness Returns PS3 $16.50 60 Aliens Colonial Marines 010086690682 PlayStation 3 Sega $47.50 100+ (Portuguese) PS3 Aliens Colonial Marines (Spanish) 010086690675 PlayStation 3 Sega $47.50 100+ PS3 Aliens Colonial Marines Collector's 010086690637 PlayStation 3 Sega $76.00 9 Edition PS3 010086690170 PlayStation 3 Sega Aliens Colonial Marines PS3 $50.00 92 010086690194 PlayStation 3 Sega Alpha Protocol PS3 $14.00 14 047875843479 PlayStation 3 Activision Amazing Spider-Man PS3 $39.00 100+ 010086690545 PlayStation 3 Sega Anarchy Reigns PS3 $24.00 100+ 722674110525 PlayStation 3 Namco Bandai Armored Core V PS3 $23.00 100+ 014633157147 PlayStation 3 Electronic Arts Army of Two: The 40th Day PS3 $16.00 61 008888345343 PlayStation 3 Ubisoft Assassin's Creed II PS3 $15.00 100+ Assassin's Creed III Limited Edition 008888397717 PlayStation 3 Ubisoft $116.00 4 PS3 008888347231 PlayStation 3 Ubisoft Assassin's Creed III PS3 $47.50 100+ 008888343394 PlayStation 3 Ubisoft Assassin's Creed PS3 $14.00 100+ 008888346258 PlayStation 3 Ubisoft Assassin's Creed: Brotherhood PS3 $16.00 100+ 008888356844 PlayStation 3 Ubisoft Assassin's Creed: Revelations PS3 $22.50 100+ 013388340446 PlayStation 3 Capcom Asura's Wrath PS3 $16.00 55 008888345435 -
Killing the Competition
The Press, Christchurch March 3, 2009 7 Gun happy: Steven ter Heide and Eric Boltjes, of Killzone 2.If you die and restart, the artifical intelligence is different. Killing the competition Gerard Campbell: So, the game’s in test it in game’’. The whole immers- ter Heide: It also comes down to ter Heide: At certain times it is Gerard Campbell the bag. How are you feeling now ion and being in first person really replayability. If you die and restart maxing out the PS3, but I think in caught up with the game is finished? started to work for people. It sounds and the AI is predictable and moves five or six years time people will be Steven ter Heide (senior producer really simple but a lot of other games in the same way, that’s a problem. doing things on PS3 that people Steven ter Heide at Guerrilla Games): We’ve been are branching out to other genres, We wanted the AI to appear (can) not imagine now. It is still early working on this for a good long time but we just wanted to go back to the natural. We wanted every play days. and Eric Boltjes of now and to finally have a boxed copy basics and polish it until we could see through to be different. in our hands is a good feeling. our faces in it and give an experience GC: Who is harder on game top game Killzone 2 that was fun. GC: The first Killzone was hyped up developers: the media or gamers GC: Who put more pressure on as a Halo killer (Halo being the themselves? to talk about self- you to succeed with Killzone 2: GC: The original Killzone seemed successful first-person shooter on Boltjes: Gamers can be brutally imposed pressure, yourselves or Sony executives? an ambitious title for the ageing Microsoft’s Xbox platform). -
A Guide to the Josh Brandt Video Game Collection Worcester Polytechnic Institute
Worcester Polytechnic Institute DigitalCommons@WPI Collection Guides CPA Collections 2014 A guide to the Josh Brandt video game collection Worcester Polytechnic Institute Follow this and additional works at: http://digitalcommons.wpi.edu/cpa-guides Suggested Citation , (2014). A guide to the Josh Brandt video game collection. Retrieved from: http://digitalcommons.wpi.edu/cpa-guides/4 This Other is brought to you for free and open access by the CPA Collections at DigitalCommons@WPI. It has been accepted for inclusion in Collection Guides by an authorized administrator of DigitalCommons@WPI. Finding Aid Report Josh Brandt Video Game Collection MS 16 Records This collection contains over 100 PC games ranging from 1983 to 2002. The games have been kept in good condition and most are contained in the original box or case. The PC games span all genres and are playable on Macintosh, Windows, or both. There are also guides for some of the games, and game-related T-shirts. The collection was donated by Josh Brandt, a former WPI student. Container List Container Folder Date Title Box 1 1986 Tass Times in Tonestown Activision game in original box, 3 1/2" disk Box 1 1989 Advanced Dungeons & Dragons - Curse of the Azure Bonds 5 1/4" discs, form IBM PC, in orginal box Box 1 1988 Life & Death: You are the Surgeon 3 1/2" disk and related idtems, for IBM PC, in original box Box 1 1990 Spaceward Ho! 2 3 1/2" disks, for Apple Macintosh, in original box Box 1 1987 Nord and Bert Couldn't Make Heads or Tails of It Infocom, 3 1/2" discs, for Macintosh in original -
Halo Engine Ancestry Statistics
HALO ENGINE ANCESTRY The Halo 2 engine is a direct-line descendant of the 1992 Pathways into Darkness engine originally written by Bungie for 68000 Macs using MPW and C. Not much remains except math functions and overall architecture, but the engine definitely has old roots. The path of descent runs through PiD to Marathon to Myth to Halo. In recent years it has shifted away from being primarily a player-driven renderer to being primarily a world simulation. I’m going to talk about two main philosophies that you can trace through the engine and most of its components. 1. The unified resource model, editing and import tools, general memory layout, filesystem and streaming architecture. 2. Our approach to runtime data organization, memory allocation and world state. STATISTICS • 1.5M lines in 3,624 files for 52.9MB of code (mostly C, some C++, very little asm) • Compile time for clean build of typical development build: 7:39 • Compile time for final shipping build (includes LTCG): 10:06 • Final executable size: 4,861,952 bytes • Total assets under source control: 70 GB not counting localization • Time to load a level, development build: 4 minutes • Time to compile a level for shipping build: 9 minutes • Time for complete build of all binaries on build farm: 18 minutes • Time for complete build of all map resources on build farm: 53 minutes • Size of final game: 4.2 GB • Development time: 34 months • Breakdown of production staff (56): o 17 engineers o 11 environment artists o 8 game artists o 7 designers o 6 animators o 3 producers o 3 sound designers o 1 technical artist • Breakdown of support staff (59): o 2 administrative o 8 web / community o 5 test engineers o 10 test staff o 20 hourly testers o 14 localization testers RESOURCE MODEL We use a unified model for the majority of our game resource data called “tags”. -
AI for Testing:The Development of Bots That Play 'Battlefield V' Jonas
AI for Testing:The Development of Bots that Play 'Battlefield V' Jonas Gillberg Senior AI Engineer, Electronic Arts Why? ▪ Fun & interesting challenges ▪ At capacity ▪ We need to scale Why? Battlefield V Multiplayer at launch Airborne Breakthrough Conquest Domination FinalStand Frontlines Team Deathmatch Aerodrome 64 64 32 64 32 32 Arras 64 64 32 64 32 32 Devastation 64 64 32 64 32 32 Fjell 652 64 64 32 64 32 32 Hamada 64 64 64 32 32 32 Narvik 64 64 64 32 32 32 Rotterdam 64 64 64 32 32 32 Twisted Steel 64 64 64 32 32 32 Test 1 hour per level / mode – 2304 hours Proof of Concept - MP Client Stability Testing Requirements ▪ All platforms ▪ Player similar ▪ Separate from game code ▪ No code required ▪ DICE QA Collaboration Stability Previously... Technical Lead AI Programmer Tom Clancy’s The Division Behavior Trees, server bots etc.. GDC 2016: Tom Clancy’s The Division AI Behavior Editing and Debugging Initial Investigation ▪ Reuse existing AI? ▪ Navmesh – Not used for MP ▪ Player scripting, input injection... ▪ Parallel implementation Machine Learning? Experimental Self-Learning AI in Battlefield 1 Implementation Functionality Fun Fidelity Single Client Control Inputs? Input (abstract) Movement Game • Yaw/Pitch Player Hardware Context • Fire Code • Actions • Jump • Etc • Etc UI Combat ▪ Weapon data=>Behavior ▪ Simple representation ▪ Closest target only ▪ Very cheap – good enough ▪ Blacklist invalid targets Navigation ▪ Server Pathfinding ▪ Not to be trusted ▪ Monitor progress ▪ No progress ▪ Button Spam (Jump, interact, open door) Navigation ▪ Server Pathfinding ▪ Not to be trusted ▪ Monitor progress ▪ No progress ▪ Button Spam (Jump, interact, open door) ▪ Still stuck - Teleport Visual Scripting – Frostbite Schematics AutoPlayer Objectives Objective Parameters ▪ MoveMode • Aggressive: Chase everything • Defensive: Keep moving – shoot if able • Passive: Stay on path – ignore all ▪ Other Parameters: • Unlimited Ammo • GodMode • Teleportation.. -
The Tragedy of the Gamer: a Dramatistic Study of Gamergate By
The Tragedy of the Gamer: A Dramatistic Study of GamerGate by Mason Stephen Langenbach A thesis submitted to the Graduate Faculty of Auburn University in partial fulfillment of the requirements for the Degree of Master of Arts Auburn, Alabama May 5, 2019 Keywords: dramatism, scapegoat, mortification, GamerGate Copyright 2019 by Mason Stephen Langenbach Approved by Michael Milford, Chair, Professor of Communication Andrea Kelley, Professor of Media Studies Elizabeth Larson, Professor of Communication Abstract In August 2014, a small but active group of gamers began a relentless online harassment campaign against notable women in the videogame industry in a controversy known as GamerGate. In response, game journalists from several prominent gaming websites published op-eds condemning the incident and declared that “gamers are dead.” Using Burke’s dramatistic method, this thesis will examine these articles as operating within the genre of tragedy, outlining the journalists’ efforts to scapegoat the gamer. It will argue that game journalists simultaneously engaged in mortification not to purge the guilt within themselves but to further the scapegoating process. An extension of dramatistic theory will be offered which asserts that mortification can be appropriated by rhetors seeking to ascend within their social order’s hierarchy. ii Acknowledgments This project was long and arduous, and I would not have been able to complete it without the help of several individuals. First, I would like to thank all of my graduate professors who have given me the gift of education and knowledge throughout these past two years. To the members of my committee, Dr. Milford, Dr. Kelley, and Dr. -
1 ELECTRONIC ARTS Q4 FY16 PREPARED COMMENTS May 10
ELECTRONIC ARTS Q4 FY16 PREPARED COMMENTS May 10, 2016 Chris: Thank you. Welcome to EA’s fiscal 2016 fourth quarter earnings call. With me on the call today are Andrew Wilson, our CEO, and Blake Jorgensen, our CFO. Please note that our SEC filings and our earnings release are available at ir.ea.com. In addition, we have posted earnings slides to accompany our prepared remarks. After the call, we will post our prepared remarks, an audio replay of this call, and a transcript. A couple of quick notes on our calendar: we plan to deliver our next earnings report on Tuesday, August 2. And our press conference at EA PLAY will take place at 1pm Pacific Time on Sunday, June 12. Coming up next week, on Tuesday, May 17, is our Investor Day – if you haven’t registered already, please contact me so that we can send you an invitation. This presentation and our comments include forward-looking statements regarding future events and the future financial performance of the Company. Actual events and results may differ materially from our expectations. We refer you to our most recent Form 10-Q for a discussion of risks that could cause actual results to differ materially from those discussed today. Electronic Arts makes these statements as of May 10, 2016 and disclaims any duty to update them. During this call unless otherwise stated, the financial metrics will be presented on a non-GAAP basis. Our earnings release and the earnings slides provide a reconciliation of our GAAP to non-GAAP measures. These non-GAAP measures are not intended to be considered in isolation from, as a substitute for, or superior to our GAAP results. -
LUNCH BREAK Looks Andfeelsgood
9:30 KILLZONE: SHADOW FALL Arjan Bak • Guerrilla Games Misja Baas • Guerrilla Games ic PRO OUT WITH THE OLD AND IN WITH THE OWL: Principal game-Designer and Environment Art Art Director, Killzone Shadow Fall BUILDING A BRIGHT NEW FUTURE Director, Killzone Shadow Fall An alumnus of the Willem de Kooning Academy of Arts in 2 An industry veteran at age 29, Arjan Bak worked in design and art Rotterdam, Misja Baas first entered the games industry in 2001 as In “Out With The Old And In With The Owl: Building A Bright New roles for Valve and Ubisoft before joining Guerrilla in 2007. Since an Artist for Frontier Developments. After rising to the position of Future”, Arjan Bak and Misja Baas will talk about the new direction then he has played a pivotal role in the graphical realization of Senior Artist at Elixir Studios, he joined Guerrilla in 2005 to initially of Killzone Shadow Fall. Their presentation provides insight into the Killzone series, rising from Senior Artist on Killzone 2 to Lead work on the environments, and later on the vehicles and weapons, the challenges of developing a new direction for a franchise while Environment Artist on Killzone 3 and Environment Art Director on of Killzone 2. In 2009 Misja became the Assistant Art Director on 9:30 remainingKILLZONE: true to SHADOW its roots, using FALL the implementation of new key KillzoneArjan BakShadow • Guerrilla Fall. In addition, Games Arjan was one of the Principal KillzoneMisja Baas3, assuming • Guerrilla responsibility Games for all outsourcing and internal ic PRO featuresOUT WITH like the THE OWL andOLD the ANDconstruction IN WITH of a believable THE OWL: futuristic GamePrincipal Designers game-Designer responsible for Killzone and Environment Shadow Fall’s new Art assetArt Director, development. -
Writing “Gamers”: the Gendered Construction of Gamer Identity in Nintendo Power (1994-1999) Amanda C
Running head: WRITING GAMERS Writing “Gamers”: The Gendered Construction of Gamer Identity in Nintendo Power (1994-1999) Amanda C. Cote This is an Accepted Manuscript of an article published by Sage in Games and Culture on July 1, 2018, available online: https://journals.sagepub.com/doi/10.1177/1555412015624742. Abstract In the mid-1990s, a small group of video game designers attempted to lessen gaming’s gender gap by creating software targeting girls. By 1999, however, these attempts collapsed, and video games remained a masculinized technology. To help understand why this movement failed, this article addresses the unexplored role of consumer press in defining “gamers” as male. A detailed content analysis of Nintendo Power issues published from 1994-1999 shows that mainstream companies largely ignored the girls’ games movement, instead targeting male audiences through player representations, sexualized female characters, magazine covers featuring men, and predominantly male authors. Given the mutually constitutive nature of representation and reality, the lack of women in consumer press then affected girls’ ability to identify as gamers and enter the gaming community. This shows that, even as gaming audiences diversify, inclusive representations are also needed to redefine “gamer” as more than just “male”. Keywords: media history, video games, gender, consumer press, critical content analysis WRITING GAMERS Introduction Following the success of the Nintendo Wii in the mid-2000s and the subsequent spread of mobile gaming, popular and industry media have paid significant attention to casual games’ potential to broaden the video game audience (Mindlin 2006, Kane 2009, “U-Turn” 2012). Played frequently or even primarily by women, casual and mobile offerings break the stereotypical view of games as a masculinized technology primarily consumed by men and boys.