Dragon-Age-Origins-Manuals

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WARNING Before playing this game, read the Xbox 360® Instruction Manual CONTENTS and any peripheral manuals for important safety and health information. Keep all manuals for future reference. For replacement manuals, see www.xbox.com/support INTRODUCTION . 5 or call Xbox Customer Support. COMPLETE CONTROLS . 5 CHARACTER CONTROL . 5 TARGETS AND DEFAULT ACTIONS . 5 Important Health Warning About Playing Video Games RADIAL MENU . 5 Photosensitive seizures BATTLE MENU . 5 A very small percentage of people may experience a seizure when exposed to certain SPECIAL ABILITIES . 6 visual images, including ﬂ ashing lights or patterns that may appear in video games. MAIN MENU . 6 Even people who have no history of seizures or epilepsy may have an undiagnosed LOG IN . 6 condition that can cause these “photosensitive epileptic seizures” while watching video games. DOWNLOADABLE CONTENT . 6 These seizures may have a variety of symptoms, including lightheadedness, altered CHARACTER GENERATION . 6 vision, eye or face twitching, jerking or shaking of arms or legs, disorientation, GENDER . 6 confusion, or momentary loss of awareness. Seizures may also cause loss of RACE . 6 consciousness or convulsions that can lead to injury from falling down or striking HUMAN . 6 nearby objects. ELF . 7 Immediately stop playing and consult a doctor if you experience any of these DWARF . 7 symptoms. Parents should watch for or ask their children about the above symptoms— children and teenagers are more likely than adults to experience these seizures. The risk RACIAL BENEFITS . 7 of photosensitive epileptic seizures may be reduced by taking the following precautions: CLASS . 7 Sit farther from the screen; use a smaller screen; play in a well-lit room; do not play WARRIOR . 7 when you are drowsy or fatigued. MAGE . 7 If you or any of your relatives have a history of seizures or epilepsy, consult a doctor ROGUE . 7 before playing. CLASS BENEFITS . 8 BACKGROUND . 8 HUMAN NOBLE . 8 ESRB Game Ratings MAGI . 8 The Entertainment Software Rating Board (ESRB) ratings are designed to provide CITY ELF . 8 consumers, especially parents, with concise, impartial guidance about the age- appropriateness and content of computer and video games. This information can DALISH ELF . 8 help consumers make informed purchase decisions about which games they deem DWARF COMMONER . 8 suitable for their children and families. DWARF NOBLE . 9 ESRB ratings have two equal parts: BACKGROUND BENEFIT . 9 • Rating Symbols suggest age appropriateness for the game. These symbols CUSTOMIZATION . 9 appear on the front of virtually every game box available for retail sale or NAME . 9 rental in the United States and Canada. APPEARANCE . 9 • Content Descriptors indicate elements in a game that may have triggered a PORTRAIT . 9 particular rating and/or may be of interest or concern. The descriptors appear VOICE . 9 on the back of the box next to the rating symbol. ADVA NCED . 9 ON FRONT ON BACK DIFFICULTY . 10 VIDEO CASUAL . 10 GAME NORMAL . 10 E HARD . 10 NIGHTMARE . 10 For more information, visit www.ESRB.org 1 CHARACTER PROGRESSION . 10 CONVERSATION . 16 ATTRIBUTES . 10 PERSUASION . 16 STRENGTH . 10 INTIMIDATION . 16 DEXTERITY . 11 OTHER ATTRIBUTE CHECKS . 16 WILLPOWER . 11 JOB BOARDS . 17 MAGIC . 11 JOURNAL . 17 CUNNING . 11 CODEX . 17 CONSTITUTION. 11 CONVERSATION HISTORY . 17 QUICK-PLAY PICKS . 11 DOWNLOADABLE CONTENT . 17 SKILLS . 11 MAPS . 17 COERCION . 12 COMBAT . 20 STEALING . 12 HEALTH . 21 TRAP-MAKING . 12 STAMINA/MANA . 21 SU RVI VAL . ..

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Gaming Cover Front

Gaming A Technology Forecast Implications for Community & Technical Colleges in the State of Texas Authored by: Jim Brodie Brazell Program Manager for Research Programs for Emerging Technologies Nicholas Kim IC² Institute Program Director Honoria Starbuck, PhD. Eliza Evans, Ph.D. Michael Bettersworth, M.A. Digital Games: A Technology Forecast Authored by: Jim Brodie Brazell Nicholas Kim Honoria Starbuck, PhD. Program Manager for Research, IC² Institute Eliza Evans, Ph.D. Contributors: Melinda Jackson Aaron Thibault Laurel Donoho Research Assistants: Jordan Rex Matthew Weise Programs for Emerging Technologies, Program Director Michael Bettersworth, M.A. DIGITAL GAME FORECAST >> February 2004 i 3801 Campus Drive Waco, Texas 76705 Main: 254.867.3995 Fax: 254.867.3393 www.tstc.edu © February 2004. All rights reserved. The TSTC logo and the TSTC logo star are trademarks of Texas State Technical College. © Copyright IC2 Institute, February 2004. All rights reserved. The IC2 Institute logo is a trademark of The IC2 Institute at The Uinversity of Texas at Austin. This research was funded by the Carl D. Perkins Vocational and Technical Act of 1998 as administered by the Texas Higher Education Coordinating Board. ii DIGITAL GAME FORECAST >> February 2004 Table of Contents List of Tables ............................................................................................................................................. v List of Figures ..........................................................................................................................................
Flemeth of Dragon Age

JOURNAL OF COMPARATIVE RESEARCH IN ANTHROPOLOGY AND SOCIOLOGY Copyright © The Author, 2015 Volume 6, Number 2, Winter 2015 ISSN 2068 – 0317 http://compaso.eu Powerful elderly characters in video games: Flemeth of Dragon Age Elisabeta Toma1 Abstract As games are becoming an increasingly popular medium in various demographic and professional strata, scholars are discussing their content and how they shape society. However, despite an increase in gender analysis of video games, little has been written about orienting games towards an elderly audience, or game representations of aging and older persons. Games specifically designed for older persons are focused on improving cognitive functions, starting from the assumption that the elderly are in need of special games in order to repair age-related deficits. This repair-focused design philosophy comes at the expense of pursuing a broader understanding of quality of life and non-programmatic entertainment. Games-for-fun that also explicitly target the elderly as an audience are almost invisible. In this article we turn our attention to a powerful elderly feminine character in an AAA game designed for entertainment without a serious mission, namely Flemeth from Dragon Age. We discuss how the game depicts and models older characters: What repertoire of portraits has Flemeth as an old woman, in the Dragon Age games? How does Flemeth contribute to an enlarged repertoire of portrayals of old women in video games? We conclude that Flemeth’s gender and age displays in Dragon Age do not impoverish her portrayal but, on the contrary, turn her into a powerful and complex character, thus offering a model for game design to represent and invite older players.
Pcgzine Issue 17

FREE! NAVIGATE |01 Issue 17 | May 2008 WIN! LINEAGE II New collector’s PCGZine editions Free Magazine For PC Gamers. Read it, Print it, Send it to your mates… MASSIVE REVIEW INSIDE! MORE HOT REVIEWS... TOM CLANCY’S RAINBOW SIX VEGAS 2 C&C 3: KANE’S WRATH SAM & MAX: EPISODE 5 But is the Director’s Cut the deepest? AGE OF CONAN INTERVIEW We wrestle with FIRST SCREENS! PLUS ALL THESE GAMES & MORE the brutal MMO! THE SIMS 3 One thing’s for sure... Two Worlds: It’s character building! Race Driver: GRID Bionic Commando The Incredible Hulk Temptation CONTROL NAVIGATE |02 WIN! This month’s highlights... LINEAGE II Don’t miss! COLLECTOR EDITIONS PCGZine AGE OF CONAN INTERVIEW You wait ages for one Ubisoft game to turn Drunken fighting and angry Yetis in our up and then two arrive at once, one kicking Assassin’s Creed exclusive chat with Conan’s producer down your door and blinding you with a Does the PC version boast flashbang, the other leaping off a horse and enough new content to sticking a dagger in your back. Assassin’s Creed make it worth playing? and Rainbow Six Vegas 2 are here at last and for the most part are well worth the wait. Find out The Sims 3 QUICK FINDER Lonely punks & klepto grannies! what the PC versions of these massive console Every game’s just a click away! hits have in store for you in our massive reviews. In less deadly news, The Sims 3 has been The Incredible Hulk The Sims 3 Rainbow Six showing off its awesome new custom wares Red Alert 3 Bionic Commando this month and in this full sequel it’s all about Two Worlds: Temptation Race Driver: GRID Vegas 2 Bionic Commando customising character traits as much as Devil May Cry 4 Age of Conan The boys are back in town Armed and very dangerous PAGE 13 appearance, with practically Far Cry 2 Assassin’s Creed READER infinite options promised.
Ada: a Journal of Gender, New Media, and Technology Issue No. 1 Confronting Toxic Gamer Culture: a Challenge for Feminist Game Studies Scholars

Confronting toxic gamer culture: A challenge for feminist game studies scholars Author(s): Mia Consalvo DOI: 10.7264/N33X84KH URL: http://adanewmedia.org/2012/11/issue1-consalvo Published: 15 November 2012 Copyright © 2012. This work is licensed under a Creative Commons Attribution- NonCommercial-NoDerivs 3.0 Unported License. Ada: A Journal of Gender, New Media, and Technology ISSN 2325-0496 Ada: A Journal of Gender, New Media, and Technology Issue no. 1 Confronting toxic gamer culture: A challenge for feminist game studies scholars Mia Consalvo Concordia University With increasing frequency the ugliness of gamer culture is being put on display for the wider world to see. While I was writing this piece, for example, a Canadian blogger created a game where one can punch and bruise the face of Anita Sarkeesian, creator of the popular website Feminist Frequency: Conversations with Pop Culture (Spurr, 2012). The game was in response to news of her Kickstarter campaign, where she proposed investigating portrayals of women in videogames over the past few decades. The game was only the latest in a string of attacks on Sarkeesian for her proposed project: she also received death threats, had her Wikipedia page defaced with pornographic imagery, and was repeatedly harassed on the Kickstarter page and elsewhere. About a month prior to that, in June 2012 a controversy erupted about Lara Croft’s alleged past in the latest Tomb Raider game, where sexual assault had helped form her character according to one of the game’s developers (Schreier, 2012). In May, the annual videogame expo E3 became the topic of controversy when multiple sources declared it a space hostile to women and juvenile in its approach to games (Alexander, 2012; Williams, 2012).
Rewriting the Story: Videogames Within the Post-Gamergate Society

Jones 1 Abigail Jones English 4995 Joanna Hearne Rewriting the Story: Videogames within the Post-Gamergate Society “Begin like this: If photographs are images, and films are moving images, then video games are actions.” - Gaming: Essays on Algorithmic Culture, Alexander Galloway Staring through the scope in Call of Duty Modern Warfare (2007), as you navigate through the boggy swamps of some exotic jungle, there is never any doubt that you are in control. The operator’s thumbs roll over the toggles of the controller signaling to the consul how the character on screen must move. By enacting actions within the real world, players affect the actions of the avatar within the game world. To any well-versed videogame player, this is common knowledge; when one plays a videogame it is to be engaged within the world of the game and to ultimately achieve the programmed goal of the game. Up until the creation of the videogame, mediums of entertainment were largely spectator based. While reading a book you may turn the page, but you do not affect the ending of the book. When viewing a movie you may be actively watching, but you are not able to change the ending of the movie. But when playing a videogame the decisions made within the game determine whether the goal is reached, or if it is not: game over. In Alexander Galloway’s essay, “Gaming: Essays on Algorithmic Culture,” he defines videogames as a medium based upon action; “There has emerged in recent years a whole new medium, computers and in particular videogames, whose foundation is not in looking and reading but in the instigation of material change through action.” It is this Jones 2 action that appeals to players--the level of interactivity and agency.
Dragon-Age-Inquisition-Manuals

CONTENTS GETTING STARTED ............ 2 MASTERING COMBAT ........ 7 INTRODUCTION ................ 3 YOUR INQUISITOR’S STARTING YOUR JOURNEY .......................... 11 ADVENTURE ..................... 3 MULTIPLAYER ................... 15 CONTROLS ....................... 6 NEED HELP? ..................... 16 See important health and safety warnings in the system Settings menu. GETTING STARTED PLAYSTATION®4 system Starting a game: Before use, carefully read the instructions supplied with the PS4™ computer entertainment system. The documentation contains information on setting up and using your system as well as important safety information. Touch the (power) button of the PS4™ system to turn the system on. The power indicator blinks in blue, and then lights up in white. Insert the Dragon Age™: Inquisition disc with the label facing up into the disc slot. The game appears in the content area of the home screen. Select the software title in the PS4™ system’s home screen, and then press the S button. Refer to this manual for information on using the software. Quitting a game: Press and hold the p button, and then select [Close Application] on the screen that is displayed. Returning to the home screen from a game: To return to the home screen without quitting a game, press the p button. To resume playing the game select it from the content area. Removing a disc: Touch the (eject) button after quitting the game. Trophies: Earn, compare and share trophies that you earn by making specific in-game accomplishments. Trophies access requires a Sony Entertainment Network account. 2 INTRODUCTION Chaos threatens the land of Thedas. Nations clash, dragons conquer the skies, and a civil war is brewing between mages and the templars who have appointed themselves the mages’ watchers.
Dragon-Age-Inquisition-Manuals

CONTENTS INTRODUCTION ................ 2 MASTERING COMBAT ........ 8 CONTROLS ....................... 3 YOUR INQUISITOR’S STARTING YOUR JOURNEY .......................... 12 ADVENTURE ..................... 5 MULTIPLAYER ................... 16 INTRODUCTION Chaos threatens the land of Thedas. Nations clash, dragons conquer the skies, and a civil war is brewing between mages and the templars who have appointed themselves the mages’ watchers. As leader of the Inquisition, it’s up to you to restore order. Recruit a party of skilled adventurers to battle at your side while you explore the vast continent of Thedas. As you take control of various strongholds and outposts, you’ll be able to upgrade and assign duties to each—and every decision you make will have an extraordinary impact on the world around you. Just remember that even the most beautiful places can be fiercely inhospitable, and danger hides where you least expect it… 2 CONTROLS Keyboard + Mouse Controls Move character W/Q/S/E Toggle Auto-run (except in Tactical G Combat mode) Position cursor mouse Rotate camera right-click (hold) + mouse (drag) Turn camera left/right A/D Zoom in/out scroll wheel Select party member (single-player only) F1/F2/F3/F4 Interact right-click Jump SPACEBAR Sprint (on foot)/Gallop (on horseback) SHIFT Tactical Combat mode T Attack left-click/R Primary abilities 1/2/3/4 Secondary abilities 5/6/7/8 Cycle targets (except in Tactical Combat mode) TAB Select potion 0/- Party attack Y Party clear commands K Party disengage L Summon mount/Dismount = Quest Map M Journal J Inventory I Character Record P Quick save F5 Quick load F9 Screenshot PrtScn Hero Menu ESC 3 Classic Controls NOTE: The control instructions in this manual refer to the Xbox 360 Controller configuration.
Conference Booklet

30th Oct - 1st Nov CONFERENCE BOOKLET 1 2 3 INTRO REBOOT DEVELOP RED | 2019 y Always Outnumbered, Never Outgunned Warmest welcome to first ever Reboot Develop it! And we are here to stay. Our ambition through Red conference. Welcome to breathtaking Banff the next few years is to turn Reboot Develop National Park and welcome to iconic Fairmont Red not just in one the best and biggest annual Banff Springs. It all feels a bit like history repeating games industry and game developers conferences to me. When we were starting our European older in Canada and North America, but in the world! sister, Reboot Develop Blue conference, everybody We are committed to stay at this beautiful venue was full of doubts on why somebody would ever and in this incredible nature and astonishing choose a beautiful yet a bit remote place to host surroundings for the next few forthcoming years one of the biggest worldwide gatherings of the and make it THE annual key gathering spot of the international games industry. In the end, it turned international games industry. We will need all of into one of the biggest and highest-rated games your help and support on the way! industry conferences in the world. And here we are yet again at the beginning, in one of the most Thank you from the bottom of the heart for all beautiful and serene places on Earth, at one of the the support shown so far, and even more for the most unique and luxurious venues as well, and in forthcoming one! the company of some of the greatest minds that the games industry has to offer! _Damir Durovic
Enabling the Localization of Large Role-Playing Games Four Recorded Languages: French, Italian, Ger- Is to Put Together As Complete a Localization Man and Polish)

In order to achieve total immersion in the game world, TRANS · núm. 15 · 2011 DOSSIER · 39-51 increasing therefore player’ satisfaction, localization should ideally aim at creating complete suspension of disbelief. However, time constraints and constant design and script changes mean that localisation is sometimes forced to trade quality in favor of speed, because missing release dates can mean multimillion losses. This article explains the strategies BioWare has developed internally to counteract the problems provoked by long-established game development practices with the ultimate goal of supporting quality localization from the start, and so guaranteeing players’ suspension of disbelief whatever the language version they play. key words: multiplayer, localization, role-playing, video game, online, MMO, RPG Enabling the Localization of Large Role-Playing Games Facilitando la localización de videojuegos de rol masivos Con el objeto de lograr la inmersión absoluta en el mundo virtual del videojuego, aumentando así la satisfacción del jugador, la localización debe conseguir el ideal de la total suspensión de la incredulidad. Sin embargo, los cortos pla- zos así como cambios constantes de diseño y guión a veces obligan a que la localización tenga que cambiar calidad por velocidad, porque el cambio de las fechas de lanzamiento suele provocar pérdidas multimillonarias. Este artículo explica las estrategias que BioWare ha desarrollado inter- hris hristou C C namente para contrarrestar los problemas provocados por Lead Localization Tools Programmer, BioWare las prácticas tradicionales en la industria del videojuego. Jenny MCKearney El objetivo es facilitar un proceso de localización de alta Localization Producer, BioWare calidad desde el principio del desarrollo, de modo que se ryan warden garantice la suspensión de la incredulidad de los jugadores independientemente de la lengua en la que estén jugando.
10Th IAA FINALISTS ANNOUNCED

10th Annual Interactive Achievement Awards Finalists GAME TITLE PUBLISHER DEVELOPER CREDITS Outstanding Achievement in Animation ANIMATION DIRECTOR LEAD ANIMATOR Gears of War Microsoft Game Studios Epic Games Aaron Herzog & Jay Hosfelt Jerry O'Flaherty Daxter Sony Computer Entertainment ReadyatDawn Art Director: Ru Weerasuriya Jerome de Menou Lego Star Wars II: The Original Trilogy LucasArts Traveller's Tales Jeremy Pardon Jeremy Pardon Rayman Raving Rabbids Ubisoft Ubisoft Montpellier Patrick Bodard Patrick Bodard Fight Night Round 3 Electronic Arts EA Sports Alan Cruz Andy Konieczny Outstanding Achievement in Art Direction VISUAL ART DIRECTOR TECHNICAL ART DIRECTOR Gears of War Microsoft Game Studios Epic Games Jerry O'Flaherty Chris Perna Final Fantasy XII Square Enix Square Enix Akihiko Yoshida Hideo Minaba Call of Duty 3 Activison Treyarch Treyarch Treyarch Tom Clancy's Rainbow Six: Vegas Ubisoft Ubisoft Montreal Olivier Leonardi Jeffrey Giles Viva Piñata Microsoft Game Studios Rare Outstanding Achievement in Soundtrack MUSIC SUPERVISOR Guitar Hero 2 Activision/Red Octane Harmonix Eric Brosius SingStar Rocks! Sony Computer Entertainment SCE London Studio Alex Hackford & Sergio Pimentel FIFA 07 Electronic Arts Electronic Arts Canada Joe Nickolls Marc Ecko's Getting Up Atari The Collective Marc Ecko, Sean "Diddy" Combs Scarface Sierra Entertainment Radical Entertainment Sound Director: Rob Bridgett Outstanding Achievement in Original Music Composition COMPOSER Call of Duty 3 Activison Treyarch Joel Goldsmith LocoRoco Sony Computer
El Éxito Del Universo Cinematográfico De Marvel: Estrategias, Claves Y Consecuencias

UNIVERSITAT POLITÈCNICA DE VALÈNCIA ESCOLA POLITE CNICA SUPERIOR DE GANDIA Grado en Comunicación Audiovisual “El éxito del Universo Cinematográfico de Marvel: estrategias, claves y consecuencias” TRABAJO FINAL DE GRADO Autor/a: Costa Llopis, Luis Tutor/a: Terol Bolinches, Raúl GANDIA, 2019 Resumen El presente trabajo ofrece un análisis de los motivos por los que el Universo cinematográfico de Marvel ha llegado a ser un referente del cine comercial de nuestro tiempo, así como de las consecuencias de su éxito. Se estudiará el caso desde distintas perspectivas: estrategia del mapa de tramas, narrativa transmedia, filosofía de sus películas, fenómeno fan y aspectos económicos. Todo esto con el objetivo de presentar al cine de superhéroes como objeto de estudio y como muestra representativa del cine contemporáneo. The present work offers an analysis of the reasons why the Marvel Cinematic Universe has become a benchmark for commercial cinema of our time, as well as the consequences of its success. The case will be studied from different perspectives: plot map strategy, transmedia narrative, film philosophy, fan phenomenon and economic aspects. All this with the aim of presenting the superhero movies as an object of study and as a representative sample of contemporary cinema. Palabras clave Universo cinematográfico de Marvel, cine, superhéroes, transmedia Marvel cinematic universe, cinema, superheroes, transmedia 2 Índice 1.Introducción…………………………………………………………………………..4 1.1 Objetivos………………………………………………………………..…..5 2. Contexto e historia de Marvel Studios 2.1 De Timely Publications a Marvel Comics………………………….…….5 2.2 Marvel desde los 80 hasta la actualidad………………………….….….7 2.3 Los primeros pasos de Marvel en el cine y la televisión…………..…..8 2.4 Primeros éxitos de Marvel en el cine antes del Universo Cinematográfico………………………………………..…….….10 3.