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Investigating Meaning in Videogames
UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title Investigating Procedural Expression and Interpretation in Videogames Permalink https://escholarship.org/uc/item/1mn3x85g Author Treanor, Mike Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA AT SANTA CRUZ INVESTIGATING PROCEDURAL EXPRESSION AND INTERPRETATION IN VIDEOGAMES A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in COMPUTER SCIENCE by Mike Treanor June 2013 The Dissertation of Mike Treanor is approved: Professor Michael Mateas, Chair Professor Noah Wardrip-Fruin Professor Ian Bogost Rod Humble (CEO Linden Lab) Tyrus Miller Vice Provost and Dean of Graduate Studies Table of Contents List of Figures ........................................................................................................... vii Abstract…….. ............................................................................................................. x Acknowledgements ................................................................................................... xii Chapter 1. Introduction .............................................................................................. 1 Procedural Rhetoric ...................................................................................... 4 Critical Technical Practice ............................................................................ 7 Research -
Ubisoft® Reports Third Quarter 2014-15 Sales
Ubisoft® reports third quarter 2014-15 sales . Record third-quarter sales, coming in above target at €810 million . Targets for full-year 2014-15 updated Paris, February 12, 2015 – Today, Ubisoft released its sales figures for the fiscal quarter ended December 31, 2014. Sales Sales for the third quarter of 2014-15 came to €809.7 million, up 55.8% (or 49.5% at constant exchange rates) compared with the €519.7 million recorded for third-quarter 2013- 14. For the first nine months of fiscal 2014-15, sales totaled €1,293.9 million versus €813.0 million in the corresponding prior-year period, representing an increase of 59.2% (or 58.3% at constant exchange rates). The third-quarter sales figure was higher than the target of approximately €730 million announced when Ubisoft released its first-half 2014-15 results. This performance reflects: . A sharp increase in market share to 12.8%1 for 2014 (from 9.6% in 2013). A very good performance delivered by the two Assassin’s Creed® opuses, Far Cry® 4 and The Crew®, with respective sales of 10 million, 7 million and 2 million units (sell- in): Far Cry 4 was voted “Best Shooter” at "The Games Awards 2014". Assassin’s Creed Unity won the prize for best “Character Animation in a Video Game” at the Annie Awards. To date, The Crew has recorded the best sales1 for the racing games released in late 2014. A solid showing from Just Dance® with 4 million units sold (sell-in). The continued success of Watch Dogs®, with 10 million units sold (sell-in) since its release. -
Far Cry 4 and Assassin's Creed Unity: Spicing up PC Graphics With
Far Cry 4 and Assassin’s Creed Unity: Spicing Up PC Graphics with GameWorks Andrei Tatarinov, Senior Developer Technology Engineer, NVIDIA What games are we dealing with? How to make these games look even better on PC? Agenda The Mighty Three: HBAO+, PCSS, TXAA Far Cry 4: Making the beasts look cute Far Cry 4: Illuminating Kyrat with divine light 2 Far Cry 4 Open-world action-adventure first-person shooter Set in Kyrat, a breathtaking, perilous and wild region of the Himalayas Terrain spans from lush forests to the snowcapped mountains Kyrat is home to abundant wildlife Uses Dunia Engine 2 3 Far Cry 4 Set in astounding Himalayas 4 Far Cry 4 Player finds himself in the midst of a civil war 5 Far Cry 4 Absolute freedom of movement6 Dangerous and deadly wildlife Far Cry 4 7 Assassin’s Creed Unity Historical fiction action-adventure open world stealth video game Set in Paris during French Revolution Stunning full-scale open world city, made possible by the all-new game engine Unprecedented degree of freedom and control Uses AnvilNext engine 8 Assassin’s Creed Unity Set in Paris during French Revolution 9 Assassin’s Creed Unity Set in Paris during French Revolution10 Assassin’s Creed Unity Open world 11 Assassin’s Creed Unity Variety of moves12 Assassin’s Creed Unity Focus on stealth action13 Cooperative mode Assassin’s Creed Unity 14 Making PC versions look better PC offers extra performance to add extra features NVIDIA has technology that is ready to be integrated Experience gained while working on Assassin’s Creed IV Black Flag Both Ubisoft -
Hunting and Killing Animals in Open World Video Games Erik Van Ooijen Eludamos
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Eludamos. Journal for Computer Game Culture Vol. 9, No. 1 (2018) http://www.eludamos.org On the Brink of Virtual Extinction: Hunting and Killing Animals in Open World Video Games Erik van Ooijen Eludamos. Journal for Computer Game Culture. 2018; 9 (1), pp. 33-45 On the Brink of Virtual Extinction: Hunting and Killing Animals in Open World Video Games ERIK VAN OOIJEN The present article focuses on the ways in which games represent certain aspects of the systemic nature of violence. It seeks to shift focus from the “outrageous” representations of violence directed at human individuals that often tend to dominate debates on game violence, to rather study the, much less visible, “everyday” violence directed at animals as it is manifested by the hunting mechanics of open world games. Taking a rhetorical approach to the underlying mechanics of violence, it focuses less on shocking depictions as such than on the implicit ideological functions of procedural gameplay. The article circles around four main areas of investigation: how games represent the relationship between hunting animals and crafting animal goods; construct distinctions between human and non-human animals; separate species into juridical and ethical categories; and deal with the digital nature of representations of wildlife in games, where animals may always respawn anew, in order to present rhetorical arguments on the connection between hunting and extinction. Game Studies and Animal Violence Studies on violence against animals in games are surprisingly scarce (Sawers & Demetrious, 2010). In gaming discourse in general, accounts may be found of individual players’ reactions to shocking depictions of animal violence. -
Ubisoft® and Nvidia Team up on Assassin's Creed® Unity
UBISOFT® AND NVIDIA TEAM UP ON ASSASSIN’S CREED® UNITY, FAR CRY® 4, THE CREW™ AND TOM CLANCY’S THE DIVISION™ SAN FRANCISCO — June 4, 2014 — Ubisoft and NVIDIA today announced the next chapter in their strategic partnership bringing amazing PC gaming experiences to life in Ubisoft’s highly anticipated upcoming titles including Assassin’s Creed Unity, Far Cry 4, The Crew and Tom Clancy’s The Division. NVIDIA’s GameWorks Team is working closely with Ubisoft’s development studios to incorporate cutting edge graphics technology and gaming innovations to create game worlds that deliver unprecedented realism and immersion. NVIDIA’s GameWorks technology includes TXAA antialiasing, which provides Hollywood-levels of smooth animation, soft shadows, HBAO+ (horizon-based ambient occlusion), advanced DX11 tessellation, and NVIDIA PhysX technology. “Working with NVIDIA has enabled us to bring an enhanced gameplay experience to our PC players,” said Tony Key, senior vice president of sales and marketing, Ubisoft. “We look forward to continuing our partnership with NVIDIA on our biggest upcoming titles.” This announcement builds on the successful collaboration between Ubisoft and NVIDIA that added visually stunning effects to Tom Clancy’s Splinter Cell® Blacklist™, Assassins Creed® IV Black Flag and Watch Dogs™. “We’re excited to continue our long-term partnership with Ubisoft in bringing our latest PC technology to their games”, said Tony Tamasi, senior vice president of Content & Technology at NVIDIA. “Through GameWorks, we have been able to add unique visual and gameplay innovations to deliver amazing experiences for these stellar Ubisoft games, I can’t wait to play them myself.” For the latest on all of Ubisoft’s games, please visit the UbiBlog: ubiblog.com About Ubisoft: Ubisoft is a leading creator, publisher and distributor of interactive entertainment and services, with a rich portfolio of world-renowned brands, including Assassin’s Creed, Just Dance, Tom Clancy’s video game series, Rayman and Far Cry. -
Comparative Life Cycle Impact Assessment of Digital and Physical Distribution of Video Games in the United States
Comparative Life Cycle Impact Assessment of Digital and Physical Distribution of Video Games in the United States The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Buonocore, Cathryn E. 2016. Comparative Life Cycle Impact Assessment of Digital and Physical Distribution of Video Games in the United States. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797406 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Comparative Life Cycle Impact Assessment of Digital and Physical Distribution of Video Games in the United States Cathryn E. Buonocore A Thesis in the field of Sustainability for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2016 Copyright 2016 Cathryn E. Buonocor Abstract This study examines and compares the environmental footprint of video game distribution on last generation consoles, current generation consoles and personal computers (PC). Two different methods of delivery are compared on each platform: traditional retail on optical discs and digital downloads in the U.S. Downloading content has been growing and is used to distribute movies, music, books and video games. This technology may change the environmental footprint of entertainment media. Previous studies on books, music, movies and television shows found that digital methods of distribution reduced emissions. However, prior research on video games, looking only at previous generation consoles, found the opposite conclusion. -
Journal of Games Is Here to Ask Himself, "What Design-Focused Pre- Hideo Kojima Need an Editor?" Inferiors
WE’RE PROB NVENING ABLY ALL A G AND CO BOUT V ONFERRIN IDEO GA BOUT C MES ALSO A JournalThe IDLE THUMBS of Games Ultraboost Ad Est’d. 2004 TOUCHING THE INDUSTRY IN A PROVOCATIVE PLACE FUN FACTOR Sessions of Interest Former developers Game Developers Confer We read the program. sue 3D Realms Did you? Probably not. Read this instead. Computer game entreprenuers claim by Steve Gaynor and Chris Remo Duke Nukem copyright Countdown to Tears (A history of tears?) infringement Evolving Game Design: Today and Tomorrow, Eastern and Western Game Design by Chris Remo Two founders of long-defunct Goichi Suda a.k.a. SUDA51 Fumito Ueda British computer game developer Notable Industry Figure Skewered in Print Crumpetsoft Disk Systems have Emil Pagliarulo Mark MacDonald sued 3D Realms, claiming the lat- ter's hit game series Duke Nukem Wednesday, 10:30am - 11:30am infringes copyright of Crumpetsoft's Room 132, North Hall vintage game character, The Duke of industry session deemed completely unnewswor- Newcolmbe. Overview: What are the most impor- The character's first adventure, tant recent trends in modern game Yuan-Hao Chiang The Duke of Newcolmbe Finds Himself design? Where are games headed in the thy, insightful next few years? Drawing on their own in a Bit of a Spot, was the Walton-on- experiences as leading names in game the-Naze-based studio's thirty-sev- design, the panel will discuss their an- enth game title. Released in 1986 for swers to these questions, and how they the Amstrad CPC 6128, it features see them affecting the industry both in Japan and the West. -
Ubisoft Studios
CREATIVITY AT THE CORE UBISOFT STUDIOS With the second largest in-house development staff in the world, Ubisoft employs around 8 000 team members dedicated to video games development in 29 studios around the world. Ubisoft attracts the best and brightest from all continents because talent, creativity & innovation are at its core. UBISOFT WORLDWIDE STUDIOS OPENING/ACQUISITION TIMELINE Ubisoft Paris, France – Opened in 1992 Ubisoft Bucharest, Romania – Opened in 1992 Ubisoft Montpellier, France – Opened in 1994 Ubisoft Annecy, France – Opened in 1996 Ubisoft Shanghai, China – Opened in 1996 Ubisoft Montreal, Canada – Opened in 1997 Ubisoft Barcelona, Spain – Opened in 1998 Ubisoft Milan, Italy – Opened in 1998 Red Storm Entertainment, NC, USA – Acquired in 2000 Blue Byte, Germany – Acquired in 2001 Ubisoft Quebec, Canada – Opened in 2005 Ubisoft Sofia, Bulgaria – Opened in 2006 Reflections, United Kingdom – Acquired in 2006 Ubisoft Osaka, Japan – Acquired in 2008 Ubisoft Chengdu, China – Opened in 2008 Ubisoft Singapore – Opened in 2008 Ubisoft Pune, India – Acquired in 2008 Ubisoft Kiev, Ukraine – Opened in 2008 Massive, Sweden – Acquired in 2008 Ubisoft Toronto, Canada – Opened in 2009 Nadeo, France – Acquired in 2009 Ubisoft San Francisco, USA – Opened in 2009 Owlient, France – Acquired in 2011 RedLynx, Finland – Acquired in 2011 Ubisoft Abu Dhabi, U.A.E – Opened in 2011 Future Games of London, UK – Acquired in 2013 Ubisoft Halifax, Canada – Acquired in 2015 Ivory Tower, France – Acquired in 2015 Ubisoft Philippines – Opened in 2016 UBISOFT PaRIS Established in 1992, Ubisoft’s pioneer in-house studio is responsible for the creation of some of the most iconic Ubisoft brands such as the blockbuster franchise Rayman® as well as the worldwide Just Dance® phenomenon that has sold over 55 million copies. -
Art Worlds for Art Games Edited
Loading… The Journal of the Canadian Game Studies Association Vol 7(11): 41-60 http://loading.gamestudies.ca An Art World for Artgames Felan Parker York University [email protected] Abstract Drawing together the insights of game studies, aesthetics, and the sociology of art, this article examines the legitimation of ‘artgames’ as a category of indie games with particularly high cultural and artistic status. Passage (PC, Mac, Linux, iOS, 2007) serves as a case study, demonstrating how a diverse range of factors and processes, including a conducive ‘opportunity space’, changes in independent game production, distribution, and reception, and the emergence of a critical discourse, collectively produce an assemblage or ‘art world’ (Baumann, 2007a; 2007b) that constitutes artgames as legitimate art. Author Keywords Artgames; legitimation; art world; indie games; critical discourse; authorship; Passage; Rohrer Introduction The seemingly meteoric rise to widespread recognition of ‘indie’ digital games in recent years is the product of a much longer process made up of many diverse elements. It is generally accepted as a given that indie games now play an important role in the industry and culture of digital games, but just over a decade ago there was no such category in popular discourse – independent game production went by other names (freeware, shareware, amateur, bedroom) and took place in insular, autonomous communities of practice focused on particular game-creation tools or genres, with their own distribution networks, audiences, and systems of evaluation, only occasionally connected with a larger marketplace. Even five years ago, the idea of indie games was still burgeoning and becoming stable, and it is the historical moment around 2007 that I will address in this article. -
UBISOFT Creator of Worlds: How Signiant Helps Power Ubisoft’S Global Game Development
CASE STUDY UBISOFT Creator of Worlds: How Signiant helps power Ubisoft’s global game development Ubisoft is well-known as a global leader in video-game production and publishing. For the millions who play games like Assassin’s Creed, Just Dance, Tom Clancy’s series, Rayman, Far Cry and Watch Dogs, Ubisoft creates worlds that are intensely engaging, fun and meaningful. But developing such immersive experiences and staying relevant in the increasingly competitive gaming market requires an equally intense production and delivery process. Founded more than 30 years ago in France, Ubisoft has the largest in-house game development staff in the world, with more than 15,000 team members from 95 nationalities spread across over 40 global studios. +1 781.221.4051 | WWW.SIGNIANT.COM More consoles, larger files, and long distances heighten pressure on game-development pipelines Today’s game development pipeline is far more complex than it was even five years ago. An increasing number of consoles from companies like Sony, Microsoft, and Nintendo require multiple versions of each game to be created and tested. And emerging display standards like 4K, HDR and VR mean managing enormous file sizes. “When we produce a game, it typically involves hundreds of people, programmers, artists, game designers and testers, from multiple studios around the world working on the same game, including a lead studio and several co-development studios,” says Li Xiao Song, Ubisoft Service Manager. Everyone working on a game needs to receive each new version, so they can run it, see what has been done and test it. -
Disruptive Innovation and Internationalization Strategies: the Case of the Videogame Industry Par Shoma Patnaik
HEC MONTRÉAL Disruptive Innovation and Internationalization Strategies: The Case of the Videogame Industry par Shoma Patnaik Sciences de la gestion (Option International Business) Mémoire présenté en vue de l’obtention du grade de maîtrise ès sciences en gestion (M. Sc.) Décembre 2017 © Shoma Patnaik, 2017 Résumé Ce mémoire a pour objectif une analyse des deux tendances très pertinentes dans le milieu du commerce d'aujourd'hui – l'innovation de rupture et l'internationalisation. L'innovation de rupture (en anglais, « disruptive innovation ») est particulièrement devenue un mot à la mode. Cependant, cela n'est pas assez étudié dans la recherche académique, surtout dans le contexte des affaires internationales. De plus, la théorie de l'innovation de rupture est fréquemment incomprise et mal-appliquée. Ce mémoire vise donc à combler ces lacunes, non seulement en examinant en détail la théorie de l'innovation de rupture, ses antécédents théoriques et ses liens avec l'internationalisation, mais en outre, en situant l'étude dans l'industrie des jeux vidéo, il découvre de nouvelles tendances industrielles et pratiques en examinant le mouvement ascendant des jeux mobiles et jeux en lignes. Le mémoire commence par un dessein des liens entre l'innovation de rupture et l'internationalisation, sur le fondement que la recherche de nouveaux débouchés est un élément critique dans la théorie de l'innovation de rupture. En formulant des propositions tirées de la littérature académique, je postule que les entreprises « disruptives » auront une vitesse d'internationalisation plus élevée que celle des entreprises traditionnelles. De plus, elles auront plus de facilité à franchir l'obstacle de la distance entre des marchés et pénétreront dans des domaines inconnus et inexploités. -
These Are the Slides for My IGDA San Francisco Talk
Note to the reader: These are the slides for my IGDA San Francisco talk. The format was Pecha Kucha – chit-chatting/ranting over 20 images that auto-advance every 20 seconds. What I said during the session and what’s in the speaker notes might not match 100%. 1 I’m Matthias Worch, a lead designer at LucasArts, working on an awesome new project with Clint Hocking and Kent Hudson. I’ve been a professional game developer since 1998, working in various capacities during my time in the industry. But I’ve always been a level designer at heart – something I can trace back all the way to the 3D Construction Kit. 2 After that I moved on to Doom and Quake levels. And I vividly remember sitting in my room – this must have been 1995 or so – working on my Doom levels, and trying to explain to my dad what it was that I was doing there and why I wasn’t getting ready for college instead. I didn’t have a satisfactory answer for him back then. What exactly does a level designer do? 3 Our industry has the same problem. Ed Byrne did a talk on this topic at our GDC level designer workshop this year, which he called “Unscaping The Goat.” Because level design is where the game comes together, the discipline is often blamed for all sorts of unrelated development problems. So… if level designers can’t even express what they do, how do we expect the rest of the development team to work with and accommodate us? 4 So I’ve been looking for analogies, and the one I’ve been using a lot recently is that of the game as a series of paintings.