Retro Asylum Asked If I Would Help Do Some Research for Their Upcoming Psygnosis Podcast, It Was a Task of Which I Was Honoured to Do
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VIDEO GAME SUBCULTURES Playing at the Periphery of Mainstream Culture Edited by Marco Benoît Carbone & Paolo Ruffino
ISSN 2280-7705 www.gamejournal.it Published by LUDICA Issue 03, 2014 – volume 1: JOURNAL (PEER-REVIEWED) VIDEO GAME SUBCULTURES Playing at the periphery of mainstream culture Edited by Marco Benoît Carbone & Paolo Ruffino GAME JOURNAL – Peer Reviewed Section Issue 03 – 2014 GAME Journal A PROJECT BY SUPERVISING EDITORS Antioco Floris (Università di Cagliari), Roy Menarini (Università di Bologna), Peppino Ortoleva (Università di Torino), Leonardo Quaresima (Università di Udine). EDITORS WITH THE PATRONAGE OF Marco Benoît Carbone (University College London), Giovanni Caruso (Università di Udine), Riccardo Fassone (Università di Torino), Gabriele Ferri (Indiana University), Adam Gallimore (University of Warwick), Ivan Girina (University of Warwick), Federico Giordano (Università per Stranieri di Perugia), Dipartimento di Storia, Beni Culturali e Territorio Valentina Paggiarin, Justin Pickard, Paolo Ruffino (Goldsmiths, University of London), Mauro Salvador (Università Cattolica, Milano), Marco Teti (Università di Ferrara). PARTNERS ADVISORY BOARD Espen Aarseth (IT University of Copenaghen), Matteo Bittanti (California College of the Arts), Jay David Bolter (Georgia Institute of Technology), Gordon C. Calleja (IT University of Copenaghen), Gianni Canova (IULM, Milano), Antonio Catolfi (Università per Stranieri di Perugia), Mia Consalvo (Ohio University), Patrick Coppock (Università di Modena e Reggio Emilia), Ruggero Eugeni (Università Cattolica del Sacro Cuore, Milano), Roy Menarini (Università di Bologna), Enrico Menduni (Università di -
Fictionally Flipping Tetrominoes? Defining the Fictionality of a Videogame Player’S Actions
The Philosophy of Computer Games Conference, Kraków 2017 Fictionally Flipping Tetrominoes? Defining the Fictionality of a Videogame Player’s Actions Nele Van de Mosselaer University of Antwerp “I have never fought a goblin in real life, though fictionally I’ve fought many of them.” (Tavinor 2009: 24) We can save Little Sisters in Bioshock, help our team members in Mass Effect, kill orcs in Shadow of Mordor, and race spaceships in WipeOut. Players of computer games interact with fictional objects, save characters that are invented, and kill monsters that are clearly non- existent within worlds that are mere representations on a screen. But how should we understand these actions, which players say to perform while they are never really performed? When describing situations as these, authors both in the philosophy of computer games and videogame studies often talk about fictional actions (Tavinor 2009; Matsunaga 2016; Robson and Meskin 2016; Velleman 2008). However, the concept of fictional actions is not always unambiguously or explicitly described and it is thus not always clear how this concept has to be understood. In this paper, I will use the case of Tetris actions to explore descriptions of fictional actions and discuss possible problems with existing views. I will first describe the Waltonian way of defining fictional actions and discuss how this would force us to call player actions in Tetris fictional. I will then assess two possible new conditions for fictional actions hinted at by Grant Tavinor, who refuses to call player actions in Tetris fictional actions. The first possibility is that the (non-)fictional status of videogame actions depends on the nature of the affordances to which the players react (Tavinor 2009; Juul 2005). -
VIDEO GAME SUBCULTURES Playing at the Periphery of Mainstream Culture Edited by Marco Benoît Carbone & Paolo Ruffino
ISSN 2280-7705 www.gamejournal.it Published by LUDICA Issue 03, 2014 – volume 1: JOURNAL (PEER-REVIEWED) VIDEO GAME SUBCULTURES Playing at the periphery of mainstream culture Edited by Marco Benoît Carbone & Paolo Ruffino GAME JOURNAL – Peer Reviewed Section Issue 03 – 2014 GAME Journal A PROJECT BY SUPERVISING EDITORS Antioco Floris (Università di Cagliari), Roy Menarini (Università di Bologna), Peppino Ortoleva (Università di Torino), Leonardo Quaresima (Università di Udine). EDITORS WITH THE PATRONAGE OF Marco Benoît Carbone (University College London), Giovanni Caruso (Università di Udine), Riccardo Fassone (Università di Torino), Gabriele Ferri (Indiana University), Adam Gallimore (University of Warwick), Ivan Girina (University of Warwick), Federico Giordano (Università per Stranieri di Perugia), Dipartimento di Storia, Beni Culturali e Territorio Valentina Paggiarin, Justin Pickard, Paolo Ruffino (Goldsmiths, University of London), Mauro Salvador (Università Cattolica, Milano), Marco Teti (Università di Ferrara). PARTNERS ADVISORY BOARD Espen Aarseth (IT University of Copenaghen), Matteo Bittanti (California College of the Arts), Jay David Bolter (Georgia Institute of Technology), Gordon C. Calleja (IT University of Copenaghen), Gianni Canova (IULM, Milano), Antonio Catolfi (Università per Stranieri di Perugia), Mia Consalvo (Ohio University), Patrick Coppock (Università di Modena e Reggio Emilia), Ruggero Eugeni (Università Cattolica del Sacro Cuore, Milano), Roy Menarini (Università di Bologna), Enrico Menduni (Università di -
Amended Final Draft
Independent or Indie? Creative Autonomy and Cultural Capital in Independent Video Game Production Martin Graham Smith A thesis submitted in fulfilment of the requirements of the Manchester Metropolitan University for the degree of Master of Arts (By Research) Manchester Institute for Research and Innovation in Art and Design (MIRIAD) May 2016 ABSTRACT The use of the word ‘indie’ in relation to video games has shifted from referring to games made independently of a large publisher to being a more nebulous term that is harder to define but that is clearly used at times to refer to games other than those made without the financial assistance of publishers. This thesis seeKs to contribute to the ongoing debate in academic writing on video games as to the meaning of the phrase ‘indie games’. The thesis combines textual and institutional analysis to contextualise the modern indie game by investigating the history of independent video game production in the UK and USA from the 1970s to the modern day, with reference to how changes in technology have shaped independent video game production over time. Alternative models of production that existed before the indie games of the mid-2000s onwards are an under researched area, and this thesis argues that a number of independent counter trends to dominant industry practices set precedents for many of the features of later indie games, in terms of content, style, distribution methods, and models of production. The thesis also contains a case study into the publisher-funded indie games of Jenova Chen and Thatgamecompany which investigates the conflicting definitions of indie in academic writing on video games and other forms of media, arguing that as with indie in cinema, indie in games functions as a form of cultural capital for the audience and developers. -
Defining the Fictionality of a Videogame Player's Actions
Journal of the Philosophy of Games Vol 1, No 1 http://dx.doi.org/10.5617/jpg.6035 ISSN: 2535-4388 Published online: 30. December 2018 Section editor: Mark Silcox Editor: John R. Sageng Article Fictionally Flipping Tetrominoes? Defining the Fictionality of a Videogame Player’s Actions Nele Van de Mosselaer* In this paper, I use the case of player actions in Tetris to explore possible problems in existing descriptions of videogame actions as fictional actions. Both in the philosophy of computer games and videogame studies, authors often make use of Kendall Walton’s make-believe theory to describe videogame actions as fictional. According to the Waltonian description of fictional actions, however, the actions players perform when playing Tetris, such as flipping tetrominoes, would also be fictional. This is a counterintuitive idea, as players of Tetris seem to be really manipulating the graphical shapes in this game. I will thus discuss two other possible descriptions of fictional actions hinted at by Grant Tavinor (2009). Firstly, the (non-)fictional status of videogame actions might depend on the nature of the affordances to which they are reactions. Secondly, it might be the case that players must take on a role in the fictional world for their actions to be fictional. In the end, I will combine this second idea with a Waltonian description of fictional actions to form a new description of videogame actions as fictional actions that corresponds to and explains videogame players’ experiences. Keywords: video games, actions, affordances, fiction, player actions, fictional actions, avatar, imagination, make-believe, Walton. We can save Little Sisters in Bioshock, help our team members in Mass Effect, kill orcs in Shadow of Mordor, and race spaceships in WipeOut. -
Bram Stoker's Dracula Is a Trademark of Columbia Industries Inc
T t T This product is COPYRIGHT. Here at Psygnosis we're dedicated to bringing you the best in computer entertainment. Every game we publish represents months of hard work aimed at raising the standard of the games you play. Please respect our endeavours and remember that copying software reduces the investment available for producing new and original games. It is also a criminal offence. This software product including all screen images, concepts, audio effects, musical material and program code is marketed by Psygnosis Limited who own all rights therein including copyrights. Such marketing of this product gives only the lawful possessor at any time the right to use this program limited to being read from its medium as marketed into the memory of and expected by the computer system to which this product is specifically adapted. Any other use or continuation of use including copying, duplicating, selling, hiring, renting, lending or otherwise distributing transmitting or transferring this product in contravention of these conditions is in breach of Psygnosis Limited's rights unless specifically authorised in writing by Psygnosis Limited. The product DRACULA, its program code manuals and all associated product materials are the copyright of Psygnosis Limited who reserve all rights therein. These documents, program code and other items may not in whole or part be copied, reproduced, hired, rented, lent or transmitted in any way nor translated or reduced to any electronic medium or machine readable form without prior consent in writing from Psygnosis Limited. Bram Stoker's Dracula is a trademark of Columbia Industries Inc. © 1992 Columbia Pictures Industries Inc. -
Lemmings Game Download Safe
Lemmings game download safe Continue Play a classic puzzle game on your computer with DHTML Lemmings.DHTML Lemmings is a free Windows PC app from Elizium-Drak Rock Music that lets you play the classic Lemmings game.The goal of the game is to get all the lemmings out of the exit at the bottom of the game window. Lemmings will fall out of the hatch above and then you have to guide them using the skills of each lemming. The skill icons are located under the screen and just click on the icon and then particular Lemming activate this skill on it. At each level you will be presented with new puzzles to challenge you and figure out how to get Lemmings to safety. There are 4 all over levels such as fun, tricky, taxing and Mayhem that will be available to you. Download DHTML Lemmings now and enjoy a challenging puzzle game. You can visit Tom's Guide for more information about Windows and Windows Applications.Also check out the forums for Windows. Download Page 2 Play a classic puzzle game on your computer with DHTML Lemmings.DHTML Lemmings is a free Windows PC app from Elizium-Drak Rock Music that lets you play the classic Lemmings game.The goal of the game is to get all the lemmings out of the exit at the bottom of the game window. Lemmings will fall out of the hatch above and then you have to guide them using the skills of each lemming. The skill icons are located under the screen and just click on the icon and then particular Lemming activate this skill on it. -
The Human Machine Art Interface: Arcade Port Aesthetics and Production Practices
The Human Machine Art Interface: Arcade Port Aesthetics and Production Practices Kieran Nolan GV2 Research Group School of Computer Science and Statistics Trinity College, Dublin +353-868227888 [email protected] ABSTRACT This research focuses on the aesthetic properties and production processes of arcade to home computer game ports during the 1980s and 1990s, in particular arcade titles originating in Japan that were licensed by UK based software houses for the 8-bit and 16-bit microcomputer market. The conversion teams worked within the unique constraints of 6 main platforms, namely the ZX Spectrum, Amstrad / Schneider CPC, Commodore 64, Atari ST, Commodore Amiga, and MS-DOS PC. In all the examples discussed, the original arcade cabinet was used as the core audiovisual and gameplay reference. As a human mediated process, the conversion of the digital material of arcade game to home computers not only bore the audiovisual constraints of the target platforms, but also the creative signatures of the conversion teams. The most successful home ports succeeded in capturing the essence of the arcade originals, while positively augmenting the gameplay, narrative, and overall aesthetic. Keywords arcade, home computer, video game, art, aesthetics, port, conversion, platform INTRODUCTION This paper concentrates on the creative processes and aesthetic properties, both audiovisual and interactive, of arcade to home computer game conversions in the 1980s and 1990s. It focuses mainly on arcade games licensed by third party developers for conversion to western 8-bit and 16-bit microcomputer platforms by UK based software houses, with findings based on first hand interaction with home arcade ports, alongside developer interviews sourced from video game magazines of the period. -
Commodore 64
Commodore 64 Last Updated on September 24, 2021 Title Publisher Qty Box Man Comments $100,000 Pyramid, The Box Office 10th Frame: Pro Bowling Simulator Access Software 1942 Capcom 1943: The Battle of Midway Capcom 2 for 1: Combat Lynx / White Viper Gameware (Tri-Micro) 2 on One: Bump, Set, Spike / Olympic Skier Mastertronic 2 on One: L.A. SWAT / Panther Mastertronic 221B Baker St. Datasoft 3 Hit Games: Brian Bloodaxe / Revelation / Quovadis Mindscape 3D-64 Man Softsmith Software 4th & Inches Accolade 4x4 Off-Road Racing Epyx 50 Mission Crush Strategic Simulations Inc (... 720° Mindscape A Bee C's Commodore A.L.C.O.N. Taito ABC Caterpillar Avalon Hill Game Company ABC Monday Night Football Data East Ace of Aces: Box Accolade Ace of Aces: Gatefold Accolade ACE: Air Combat Emulator Spinnaker Software AcroJet: The Advanced Flight Simulator MicroProse Software Action Fighter Mindscape / Sega Adult Poker Keypunch Software Advance to Boardwalk GameTek Advanced Dungeons & Dragons: Champions of Krynn Strategic Simulations Inc (... Advanced Dungeons & Dragons: Curse of the Azure Bonds Strategic Simulations Inc (... Advanced Dungeons & Dragons: Death Knights of Krynn Strategic Simulations Inc (... Advanced Dungeons & Dragons: Dragons of Flame Strategic Simulations Inc (... Advanced Dungeons & Dragons: Gateway to the Savage Frontier Strategic Simulations Inc (... Advanced Dungeons & Dragons: Heroes of the Lance Strategic Simulations Inc (... Advanced Dungeons & Dragons: Hillsfar Strategic Simulations Inc (... Advanced Dungeons & Dragons: Pool of -
Wormsdc[OCR+BM].Pdf
WELCOME TO WORMS - THE DIRECTOR'S CUT The Stunning fo llow up to WO RMS, the best selling arcade strategy game from Teaml7. Machine requirements Worms DC requires an A1 200 or an A4000. Extra RAM and accelerator boards are supported, machines with more RAM will have more in-game features. Loading instructions Before you go any further, back up the 3 disks!! Then you know the score, just put disk 1 in the d ri ve and turn your Amiga on. Installation to Hard Disk Insert disk 1 in the drive and cl ick on the Install icon from Workbench. Follow the on screen instructions. Playing the game on 2MEG Amigas. Worms DC needs all the memory it ca n get it's hands on - because of this you may have probl ems on some Amiga set-ups if you have 2MEG of memory and are also using a hard drive. If you want to run the game from hard d ri ve on a 2MEG machine, then you will not be able to start the game from Workbench - instead boot with no startup-sequence from the "Earl y Startup Control" screen (reset the Amiga whilst holding down both mouse buttons). At the Shell prompt, CD to the directory you installed WormsDC in and type Run De. For example, if you installed the game in a Games directolY on the drive called Work: you would type the fo llowing: CD Work :Ga meslWormsDC RunDC Depending on how you have configured your hard d ri ve, there still might not be enough memory free. -
Gaikai - Wikipedia Case 3:19-Cv-07027-WHA Document 28-2 Filed 10/14/19 Page 2 of 8 Not Logged in Talk Contributions Create Account Log In
Case 3:19-cv-07027-WHA Document 28-2 Filed 10/14/19 Page 1 of 8 EXHIBIT B Gaikai - Wikipedia Case 3:19-cv-07027-WHA Document 28-2 Filed 10/14/19 Page 2 of 8 Not logged in Talk Contributions Create account Log in Article Talk Read Edit View history Gaikai From Wikipedia, the free encyclopedia Main page Gaikai (外海, lit. "open sea", i.e. an expansive outdoor space) is an American company which provides technology for the streaming of high- Contents Gaikai Featured content end video games.[1] Founded in 2008, it was acquired by Sony Interactive Entertainment in 2012. Its technology has multiple applications, Current events including in-home streaming over a local wired or wireless network (as in Remote Play between the PlayStation 4 and PlayStation Vita), as Random article well as cloud-based gaming where video games are rendered on remote servers and delivered to end users via internet streaming (such as Donate to Wikipedia the PlayStation Now game streaming service.[2]) As a startup, before its acquisition by Sony, the company announced many partners using Wikipedia store [3] the technology from 2010 through 2012 including game publishers, web portals, retailers and consumer electronics manufacturers. On July Founded November 2008 Interaction 2, 2012, Sony announced that a formal agreement had been reached to acquire the company for $380 million USD with plans of establishing Headquarters Aliso Viejo, California, U.S. [4] Help their own new cloud-based gaming service, as well as integrating streaming technology built by Gaikai into PlayStation products, resulting Owner Sony [5] [6] About Wikipedia in PlayStation Now and Remote Play. -
Universidad De Guadalajara
Universidad de Guadalajara Centro Universitario en Arte, Arquitectura y Diseño Doctorado Interinstitucional en Arte y Cultura Tema de Tesis: En contra de la momificación. Los videojuegos como artefactos de cultura visual contemporánea: la emulación y simulación a nivel circuito, a modo de tácticas de su preservación Tesis que para obtener el grado de Doctor en Arte y Cultura Presenta: Romano Ponce Díaz Director de Tesis: Dr. Jorge Arturo Chamorro Escalante Línea de Generación y Aplicación del Conocimiento: Artes Visuales. Guadalajara, Jalisco, febrero del 2019 1 En contra de la momificación. Los videojuegos como artefactos de cultura visual contemporánea: la emulación y simulación a nivel circuito, a modo de tácticas de su preservación. ©Derechos Reservados 2019 Romano Ponce Díaz [romano.ponce@ alumnos.udg.mx] 2 ÍNDICE DE ILUSTRACIONES. 8 ÍNDICE DE TABLAS. 8 1.1 PRESENTACIÓN 9 1.2 AGRADECIMIENTOS 11 1.3 RESUMEN 13 1.4 ABSTRACT 14 2 PRIMER NODO: EXPOSICIÓN. 16 2.1.1 CAPÍTULO 2. EL PROBLEMA PREFIGURADO: 19 2.2 OTRO EPÍLOGO A MANERA DE PRÓLOGO. 19 2.3 EL RELATO COMO PRESERVADOR DEL TESTIMONIO DE LA CULTURA. 20 2.4 LA MEMORIA PROSTÉTICA, SU RELACIÓN CON LOS OBJETOS, Y, LA NATURALEZA FINITA 27 2.4.1 CINEMATOGRAFÍA, EXPLOSIONES Y FILMES PERDIDOS 29 2.4.2 LOS VIDEOJUEGOS Y LAS FORMAS DE MIRAR AL MUNDO 33 2.4.3 VIDEOJUEGOS, IDEOLOGÍA, VISUALIDAD Y ARTE: 35 2.4.4 LA ESTRUCTURA DE LA OBSOLESCENCIA Y EL MALESTAR DE LA CULTURA 46 2.5 ANTES DE QUE CAIGA EN EL OLVIDO: UNA HIPÓTESIS 49 2.5.1 SOBRE LOS OBJETIVOS, ALCANCES, Y LA MORFOLOGÍA DEL TEXTO 51 3 CAPÍTULO 3.