Imageability and Intelligibility in 3D Game Environments Examining Experiential and Cultural Influence on the Design Process
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The Poetics of Reflection in Digital Games
© Copyright 2019 Terrence E. Schenold The Poetics of Reflection in Digital Games Terrence E. Schenold A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2019 Reading Committee: Brian M. Reed, Chair Leroy F. Searle Phillip S. Thurtle Program Authorized to Offer Degree: English University of Washington Abstract The Poetics of Reflection in Digital Games Terrence E. Schenold Chair of the Supervisory Committee: Brian Reed, Professor English The Poetics of Reflection in Digital Games explores the complex relationship between digital games and the activity of reflection in the context of the contemporary media ecology. The general aim of the project is to create a critical perspective on digital games that recovers aesthetic concerns for game studies, thereby enabling new discussions of their significance as mediations of thought and perception. The arguments advanced about digital games draw on philosophical aesthetics, media theory, and game studies to develop a critical perspective on gameplay as an aesthetic experience, enabling analysis of how particular games strategically educe and organize reflective modes of thought and perception by design, and do so for the purposes of generating meaning and supporting expressive or artistic goals beyond amusement. The project also provides critical discussion of two important contexts relevant to understanding the significance of this poetic strategy in the field of digital games: the dynamics of the contemporary media ecology, and the technological and cultural forces informing game design thinking in the ludic century. The project begins with a critique of limiting conceptions of gameplay in game studies grounded in a close reading of Bethesda's Morrowind, arguing for a new a "phaneroscopical perspective" that accounts for the significance of a "noematic" layer in the gameplay experience that accounts for dynamics of player reflection on diegetic information and its integral relation to ergodic activity. -
Media Tracking List Edition January 2021
AN ISENTIA COMPANY Australia Media Tracking List Edition January 2021 The coverage listed in this document is correct at the time of printing. Slice Media reserves the right to change coverage monitored at any time without notification. National National AFR Weekend Australian Financial Review The Australian The Saturday Paper Weekend Australian SLICE MEDIA Media Tracking List January PAGE 2/89 2021 Capital City Daily ACT Canberra Times Sunday Canberra Times NSW Daily Telegraph Sun-Herald(Sydney) Sunday Telegraph (Sydney) Sydney Morning Herald NT Northern Territory News Sunday Territorian (Darwin) QLD Courier Mail Sunday Mail (Brisbane) SA Advertiser (Adelaide) Sunday Mail (Adel) 1st ed. TAS Mercury (Hobart) Sunday Tasmanian VIC Age Herald Sun (Melbourne) Sunday Age Sunday Herald Sun (Melbourne) The Saturday Age WA Sunday Times (Perth) The Weekend West West Australian SLICE MEDIA Media Tracking List January PAGE 3/89 2021 Suburban National Messenger ACT Canberra City News Northside Chronicle (Canberra) NSW Auburn Review Pictorial Bankstown - Canterbury Torch Blacktown Advocate Camden Advertiser Campbelltown-Macarthur Advertiser Canterbury-Bankstown Express CENTRAL Central Coast Express - Gosford City Hub District Reporter Camden Eastern Suburbs Spectator Emu & Leonay Gazette Fairfield Advance Fairfield City Champion Galston & District Community News Glenmore Gazette Hills District Independent Hills Shire Times Hills to Hawkesbury Hornsby Advocate Inner West Courier Inner West Independent Inner West Times Jordan Springs Gazette Liverpool -
Folha De Rosto ICS.Cdr
“For when established identities become outworn or unfinished ones threaten to remain incomplete, special crises compel men to wage holy wars, by the cruellest means, against those who seem to question or threaten their unsafe ideological bases.” Erik Erikson (1956), “The Problem of Ego Identity”, p. 114 “In games it’s very difficult to portray complex human relationships. Likewise, in movies you often flit between action in various scenes. That’s very difficult to do in games, as you generally play a single character: if you switch, it breaks immersion. The fact that most games are first-person shooters today makes that clear. Stories in which the player doesn’t inhabit the main character are difficult for games to handle.” Hideo Kojima Simon Parkin (2014), “Hideo Kojima: ‘Metal Gear questions US dominance of the world”, The Guardian iii AGRADECIMENTOS Por começar quero desde já agradecer o constante e imprescindível apoio, compreensão, atenção e orientação dos Professores Jean Rabot e Clara Simães, sem os quais este trabalho não teria a fruição completa e correta. Um enorme obrigado pelos meses de trabalho, reuniões, telefonemas, emails, conversas e oportunidades. Quero agradecer o apoio de família e amigos, em especial, Tia Bela, João, Teté, Ângela, Verxka, Elma, Silvana, Noëmie, Kalashnikov, Madrinha, Gaivota, Chacal, Rita, Lina, Tri, Bia, Quelinha, Fi, TS, Cinco de Sete, Daniel, Catarina, Professor Albertino, Professora Marques e Professora Abranches, tanto pelas forças de apoio moral e psicológico, pelas recomendações e conselhos de vida, e principalmente pela amizade e memórias ao longo desta batalha. Por último, mas não menos importante, quero agradecer a incessante confiança, companhia e aceitação do bom e do mau pela minha Twin, Safira, que nunca me abandonou em todo o processo desta investigação, do meu caminho académico e da conquista da vida e sonhos. -
EFA and Ausgamers' Submission Is Here
Submission to the Public Consultation on an R18+ Classification for Computer Games The Australian National Classification Scheme should include an R18+ classification category for computer games Electronic Frontiers Australia and AusGamers Prepared on behalf of Electronic Frontiers Australia and AusGamers by Nicolas Suzor, Kylie Pappalardo and Jessica Citizen, assisted by Matt Postle and Peta Waller-Bryant. Many thanks to Julian Merlo for his research on comparative ratings, and to Jeremy Huppatz, Luke Tubnor, and others for their comments on drafts of this paper. Layout by Amanda Rainey at Raivans Design. February 2010 Electronic Frontiers Australia and AusGamers Introduction The purpose of this paper is to put forward arguments and evidence to support the case that it is time to upgrade the National Classification System (NCS) to include an R18+ adult classification for computer games. In this submission, we make three main arguments: 1. the arguments against introducing an R18+ rating are premised primarily on incorrect assumptions about games and their effects; and 2. introducing an R18+ classification to bring games in line with films will better empower Australian adults to make more informed decisions for themselves and on behalf of the children for whom they are responsible; 3. Australian adults should not be prevented from engaging with interactive entertainment that deals with complex adult themes and material and imagery that is unsuitable for children. This paper was compiled on behalf of Electronic Frontiers Australia (EFA) and AusGamers. EFA is Australia’s peak national non-profit organisation representing Internet users concerned with on-line freedoms and rights. AusGamers is one of Australia’s largest gaming and technology sites, and has been a primary hub for the gaming community in Australia since its creation in 1999. -
Informa 2018 Full Year Results Statement
Informa LEI: 5493006VM2LKUPSEDU20 Press Release 7 March 2019 Informa PLC Results for 12 Months to 31 December 2018 2018: Combination & Creation 2019: Performance & Growth KEY FINANCIAL AND OPERATING HIGHLIGHTS1 • Strong Revenue Growth: +3.7% underlying and +34.9% reported to £2,369.5m, including six months of UBM (2017: £1,756.8m) • Higher Adjusted Operating Profit: +2.3% underlying and +34.4% reported to £732.1m (2017: £544.9m) • Improved Statutory Operating Profit: £363.2m (2017: £344.7m) • Increased Adjusted Diluted Earnings per Share: +7.0% to 49.2p (2017: 46.0p); Statutory EPS of 19.7p (2017: 37.6p), with prior year including non-cash credit from US tax reforms • Attractive Free Cash Flow: £503.2m and £600m+ including a full year of UBM (2017: £400.9m) • Robust Balance Sheet, in line with plan: Net debt/EBITDA1 at 2.9x (2017: 2.5x) • Enhanced Dividend: up 7.1% to 21.90p (2017: 20.45p) London: Informa (LSE: INF.L), the International Exhibitions, Events, Information Services and Scholarly Research Group, today published its financial results for the 12 months to 31 December 2018, reporting a further period of operational progress and improving financial performance. Stephen A. Carter, Group Chief Executive, said: “In 2018, the Informa Group delivered a fifth consecutive year of improving growth, increasing adjusted profits, adjusted earnings per share, cashflow and dividends.” He added: “In 2019, our focus is on continuing Performance and Growth as we consolidate our market positions and further reduce complexity. This will enable -
On Videogames: Representing Narrative in an Interactive Medium
September, 2015 On Videogames: Representing Narrative in an Interactive Medium. 'This thesis is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy' Dawn Catherine Hazel Stobbart, Ba (Hons) MA Dawn Stobbart 1 Plagiarism Statement This project was written by me and in my own words, except for quotations from published and unpublished sources which are clearly indicated and acknowledged as such. I am conscious that the incorporation of material from other works or a paraphrase of such material without acknowledgement will be treated as plagiarism, subject to the custom and usage of the subject, according to the University Regulations on Conduct of Examinations. (Name) Dawn Catherine Stobbart (Signature) Dawn Stobbart 2 This thesis is formatted using the Chicago referencing system. Where possible I have collected screenshots from videogames as part of my primary playing experience, and all images should be attributed to the game designers and publishers. Dawn Stobbart 3 Acknowledgements There are a number of people who have been instrumental in the production of this thesis, and without whom I would not have made it to the end. Firstly, I would like to thank my supervisor, Professor Kamilla Elliott, for her continuous and unwavering support of my Ph.D study and related research, for her patience, motivation, and commitment. Her guidance helped me throughout all the time I have been researching and writing of this thesis. When I have faltered, she has been steadfast in my ability. I could not have imagined a better advisor and mentor. I would not be working in English if it were not for the support of my Secondary school teacher Mrs Lishman, who gave me a love of the written word. -
GAMING GLOBAL a Report for British Council Nick Webber and Paul Long with Assistance from Oliver Williams and Jerome Turner
GAMING GLOBAL A report for British Council Nick Webber and Paul Long with assistance from Oliver Williams and Jerome Turner I Executive Summary The Gaming Global report explores the games environment in: five EU countries, • Finland • France • Germany • Poland • UK three non-EU countries, • Brazil • Russia • Republic of Korea and one non-European region. • East Asia It takes a culturally-focused approach, offers examples of innovative work, and makes the case for British Council’s engagement with the games sector, both as an entertainment and leisure sector, and as a culturally-productive contributor to the arts. What does the international landscape for gaming look like? In economic terms, the international video games market was worth approximately $75.5 billion in 2013, and will grow to almost $103 billion by 2017. In the UK video games are the most valuable purchased entertainment market, outstripping cinema, recorded music and DVDs. UK developers make a significant contribution in many formats and spaces, as do developers across the EU. Beyond the EU, there are established industries in a number of countries (notably Japan, Korea, Australia, New Zealand) who access international markets, with new entrants such as China and Brazil moving in that direction. Video games are almost always categorised as part of the creative economy, situating them within the scope of investment and promotion by a number of governments. Many countries draw on UK models of policy, although different countries take games either more or less seriously in terms of their cultural significance. The games industry tends to receive innovation funding, with money available through focused programmes. -
Music, Time and Technology in Bioshock Infinite 52 the Player May Get a Feeling That This Is Something She Does Frequently
The Music of Tomorrow, Yesterday! Music, Time and Technology in BioShock Infinite ANDRA IVĂNESCU, Anglia Ruskin University ABSTRACT Filmmakers such as Kenneth Anger, David Lynch and Quentin Tarantino have taken full advantage of the disconcerting effect that pop music can have on an audience. Recently, video games have followed their example, with franchises such as Grand Theft Auto, Fallout and BioShock using appropriated music as an almost integral part of their stories and player experiences. BioShock Infinite takes it one step further, weaving popular music of the past and pop music of the present into a compelling tale of time travel, multiverses, and free will. The third installment in the BioShock series has as its setting the floating city of Columbia. Decidedly steampunk, this vision of 1912 makes considerable use of popular music of the past alongside a small number of anachronistic covers of more modern pop music (largely from the 1980s) at crucial moments in the narrative. Music becomes an integral part of Columbia but also an integral part of the player experience. Although the soundscape matches the rest of the environment, the anachronistic covers seem to be directed at the player, the only one who would recognise them as out of place. The player is the time traveller here, even more so than the character they are playing, making BioShock Infinite one of the most literal representations of time travel and the tourist experience which video games can represent. KEYWORDS Video game music, film music, intertextuality, time travel. Introduction For every choice there is an echo. With each act we change the world […] If the world were reborn in your image, Would it be paradise or perdition? (BioShock 2 launch trailer, 2010) Elizabeth hugs a postcard of the Eiffel Tower. -
Delivering a Sustainable Expo
DELIVERING A SUSTAINABLE EXPO Expo 2020 Dubai Sustainability Report 2018 “We pay the utmost care and attention to our environment for it is an integral part of the country, our history and our heritage. Our forefathers and our ancestors lived in this land and coexisted with its environment, on land and sea, and instinctively realised the need to preserve it.” LATE SHEIKH ZAYED BIN SULTAN AL NAHYAN Founder of the UAE “Protection of the environment and achievement of sustainable development in the UAE is a national duty; it has its own institutional structures, integrated legislature and advanced systems.” HIS HIGHNESS SHEIKH KHALIFA BIN ZAYED AL NAHYAN President of the United Arab Emirates “We are building a new reality for our people, a new future for our children, and a new model of development.” HIS HIGHNESS SHEIKH MOHAMMED BIN RASHID AL MAKTOUM Vice-President and Prime Minister of the UAE and Ruler of Dubai “The civilised, advanced nation we seek to build and the sustainable development we are keen to achieve both require concerted efforts from all sectors of the community and from all public and private entities and organisations. They require consistent and harmonious work in order to achieve our goals and promote and underpin our nation’s status with its distinct role regionally and internationally.” HIS HIGHNESS SHEIKH MOHAMED BIN ZAYED AL NAHYAN Crown Prince of Abu Dhabi and Deputy Supreme Commander of UAE Armed Forces INTRODUCTION HIS HIGHNESS SHEIKH AHMED BIN SAEED AL MAKTOUM President, Dubai Civil Aviation Authority Chairman of the Expo Dubai 2020 Higher Committee It gives me great pleasure to introduce the first Expo 2020 Dubai Sustainability Report (2018) as we build up to the World Expo in 2020. -
In the Nature of Cities: Urban Political Ecology
In the Nature of Cities In the Nature of Cities engages with the long overdue task of re-inserting questions of nature and ecology into the urban debate. This path-breaking collection charts the terrain of urban political ecology, and untangles the economic, political, social and ecological processes that form contemporary urban landscapes. Written by key political ecology scholars, the essays in this book attest that the re- entry of the ecological agenda into urban theory is vital, both in terms of understanding contemporary urbanization processes, and of engaging in a meaningful environmental politics. The question of whose nature is, or becomes, urbanized, and the uneven power relations through which this socio-metabolic transformation takes place, are the central themes debated in this book. Foregrounding the socio-ecological activism that contests the dominant forms of urbanizing nature, the contributors endeavour to open up a research agenda and a political platform that sets pointers for democratizing the politics through which nature becomes urbanized and contemporary cities are produced as both enabling and disempowering dwelling spaces for humans and non-humans alike. Nik Heynen is Assistant Professor in the Department of Geography at the University of Wisconsin-Milwaukee. Maria Kaika is Lecturer in Urban Geography at the University of Oxford, School of Geography and the Environment, and Fellow of St. Edmund Hall, Oxford. Erik Swyngedouw is Professor at the University of Oxford, School of Geography and the Environment, and Fellow of St. Peter’s College, Oxford. Questioning Cities Edited by Gary Bridge, University of Bristol, UK and Sophie Watson, The Open University, UK The Questioning Cities series brings together an unusual mix of urban scholars under the title. -
Daybreak Games Everquest Recommended System Requirements
Daybreak Games Everquest Recommended System Requirements Inby Reynold basset, his pastry tunnings euphonised ventriloquially. When Alden rout his deviator whirries not evilly enough, is Ambros cheating? Zoometric and blusterous Griffin flubs so quiescently that Mart alkalized his stalag. Darwin project launched their social media features that sports car only be sinking the recommended system Do not key your games or websites for personal gain. Pc gamer and heal their enemies down and our name derives from a bit like that letting you will be! Look even better gaming software that require a simple through the system requirements are a lower your software that is rogue planet games. Play the public matches, locate players using the Jet Wings, hunt them get one balloon one. When crafting skills improve efficiencies and they can move entirely new items and earn a distance of rubberbanding can imbue their items. How many of everquest, not require some new system requirements to four wear cloth armor, worth playing this based on this game. Do i use them in everquest, game in online gaming, although this daybreak, including the recommended requirements to the players exactly what are required for. Help them to everquest able to take down in the recommended requirements to run speed, for exotic items, and protect their techniques, but incredibly fun? Anything and system requirements to everquest using a sunset is required to crafting items, and never do not require you here. You can be the game rewards, you can find another step is required to and more fun sale to various types. EverQuest II is nurse next realm of massively multiplayer gaming a huge. -
Évolution Et Cristallisation Discursives Sur Le Walking Simulator
Numéro spécial Splendeur(s) et misère(s) des genres vidéoludiques Mai 2019 137-164 Amour et haine de la marche : Évolution et cristallisation discursives sur le walking simulator Maxime Deslongchamps-Gagnon Université de Montréal Résumé : Le walking simulator fait l’objet d’une profonde controverse au sein des communautés de jeu. Ses détracteurs rejettent sa valeur et même sa place dans le paysage vidéoludique alors que ses défenseurs ne s’entendent pas sur la légitimité de son étiquette dénigrante. Ce texte se tâche d’historiciser l’émergence du walking simulator à l’aide d’une analyse discursive de quatre communautés vidéoludiques : les joueurs, les instances marketing, les concepteurs et la presse spécialisée. L’étude relève l’évolution et la cristallisation d’usages, significations et fonctions prévalentes de la dénomination « walking simulator » dans le paysage vidéoludique. Mots-clefs : walking simulator ; genre de jeux vidéo ; analyse discursive ; Dear Esther ; DayZ. Abstract in English at the end of the article ***** Amour et haine de la marche Il semble y avoir dans les dernières années un accroissement de jeux vidéo étiquetés « walking simulator » ;1 une expression saugrenue qui ne fait pas l’unanimité chez les communautés vidéoludiques, comme l’a déjà documenté la presse spécialisée. Un article d’intérêt sur la question est « Is It Time to Stop Using the Term "Walking Simulator" » de la revue en ligne Kill Screen (2016) consacrée à l’actualité et la culture des jeux vidéo. L’article présente un sondage réalisé auprès de journalistes et de concepteurs dont les jeux sont associés à l’expression controversée, réunissant un total de 26 opinions.