I. Basic Game Rules
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The Resurrection of Permadeath: an Analysis of the Sustainability of Permadeath Use in Video Games
The Resurrection of Permadeath: An analysis of the sustainability of Permadeath use in Video Games. Hugh Ruddy A research paper submitted to the University of Dublin, in partial fulfilment of the requirements for the degree of Master of Science Interactive Digital Media 2014 Declaration I declare that the work described in this research paper is, except where otherwise stated, entirely my own work and has not been submitted as an exercise for a degree at this or any other university. Signed: ___________________ Hugh Ruddy 28th February 2014 Permission to lend and/or copy I agree that Trinity College Library may lend or copy this research Paper upon request. Signed: ___________________ Hugh Ruddy 28th February 2014 Abstract The purpose of this research paper is to study the the past, present and future use of Permadeath in video games. The emergence of Permadeath games in recent months has exposed the mainstream gaming population to the concept of the permanent death of the game avatar, a notion that has been vehemently avoided by game developers in the past. The paper discusses the many incarnations of Permadeath that have been implemented since the dawn of video games, and uses examples to illustrate how gamers are crying out for games to challenge them in a unique way. The aims of this are to highlight the potential that Permadeath has in the gaming world to become a genre by itself, as well as to give insights into the ways in which gamers play Permadeath games at the present. To carry out this research, the paper examines the motivation players have to play games from a theoretical standpoint, and investigates how the possibilty of failure in video games should not be something gamers stay away from. -
Chell Game: Representation, Identification, and Racial Ambiguity in PORTAL and PORTAL 2 2015
Repositorium für die Medienwissenschaft Jennifer deWinter; Carly A. Kocurek Chell Game: Representation, Identification, and Racial Ambiguity in PORTAL and PORTAL 2 2015 https://doi.org/10.25969/mediarep/14996 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: deWinter, Jennifer; Kocurek, Carly A.: Chell Game: Representation, Identification, and Racial Ambiguity in PORTAL and PORTAL 2. In: Thomas Hensel, Britta Neitzel, Rolf F. Nohr (Hg.): »The cake is a lie!« Polyperspektivische Betrachtungen des Computerspiels am Beispiel von PORTAL. Münster: LIT 2015, S. 31– 48. DOI: https://doi.org/10.25969/mediarep/14996. Erstmalig hier erschienen / Initial publication here: http://nuetzliche-bilder.de/bilder/wp-content/uploads/2020/10/Hensel_Neitzel_Nohr_Portal_Onlienausgabe.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Weitergabe unter Attribution - Non Commercial - Share Alike 3.0/ License. For more gleichen Bedingungen 3.0/ Lizenz zur Verfügung gestellt. Nähere information see: Auskünfte zu dieser Lizenz finden Sie hier: http://creativecommons.org/licenses/by-nc-sa/3.0/ http://creativecommons.org/licenses/by-nc-sa/3.0/ Jennifer deWinter / Carly A. Kocurek Chell Game: Representation, Identification, and Racial Ambiguity in ›Portal‹ and ›Portal 2‹ Chell stands in a corner facing a portal, then takes aim at the adjacent wall with the Aperture Science Handheld Portal Device. Between the two portals, one ringed in blue, one ringed in orange, Chell is revealed, reflected in both. And, so, we, the player, see Chell. She is a young woman with a ponytail, wearing an orange jumpsuit pulled down to her waist and an Aperture Science-branded white tank top. -
The HALFLING Point of View by Roger Moore
The HALFLING point of view by Roger Moore The smallest and physically weakest of function is to help maintain the security insistence upon security are readily all the demi-human races are the half- of the halfling community to the best of apparent. The average halfling is reluc- lings, so named because they are almost their abilities, and their most common tant to take action in unexpected situa- exactly one-half the size of humans, Male prayers are for the continued support of tions without looking for a consensus halflings average 3' in height and females their deities in keeping their homes safe among other halflings of what would be slightly less; they all weigh about 50-60 and their lives untroubled. the best thing to do. Thus, halflings tend Ibs., and they look much tike small The normal (0-level) members of the to appear shy, fearful, and overcautious humans. In fact, evidence suggests that halfling community generally believe in when on their own for the first time. halflings are more closely related to an orderly, cooperative system of working Their society appears stagnated in the humans than to any other demi-human together to ensure the continued stability eyes of other races, and they tend to close race. of their society. Individuals who break themselves off from the rest of the world. Most humans tend to see halflings as the rules are scolded and punished for Halfling life, while it seems to suit child-like, basically happy, naive, and "rocking the boat," and it is impressed them well, ran be described at worst as hungry most of the time. -
Video Games: Changing the Way We Think of Home Entertainment
Rochester Institute of Technology RIT Scholar Works Theses 2005 Video games: Changing the way we think of home entertainment Eri Shulga Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Shulga, Eri, "Video games: Changing the way we think of home entertainment" (2005). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Video Games: Changing The Way We Think Of Home Entertainment by Eri Shulga Thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in Information Technology Rochester Institute of Technology B. Thomas Golisano College of Computing and Information Sciences Copyright 2005 Rochester Institute of Technology B. Thomas Golisano College of Computing and Information Sciences Master of Science in Information Technology Thesis Approval Form Student Name: _ __;E=.;r....;...i S=-h;....;..;u;;;..;..lg;;i..;:a;;...__ _____ Thesis Title: Video Games: Changing the Way We Think of Home Entertainment Thesis Committee Name Signature Date Evelyn Rozanski, Ph.D Evelyn Rozanski /o-/d-os- Chair Prof. Andy Phelps Andrew Phelps Committee Member Anne Haake, Ph.D Anne R. Haake Committee Member Thesis Reproduction Permission Form Rochester Institute of Technology B. Thomas Golisano College of Computing and Information Sciences Master of Science in Information Technology Video Games: Changing the Way We Think Of Home Entertainment L Eri Shulga. hereby grant permission to the Wallace Library of the Rochester Institute of Technofogy to reproduce my thesis in whole or in part. -
Video Games and Enhancing Prosocial Behaviour
Chapter GAMING FOR GOOD: VIDEO GAMES AND ENHANCING PROSOCIAL BEHAVIOUR Holli-Anne Passmore∗ and Mark D. Holder Department of Psychology, IKBSAS, University of British Columbia, Kelowna, BC, Canada ABSTRACT The number of publications pertaining to video gaming and its effects on subsequent behavior has more than tripled from the past to the current decade. This surge of research parallels the ubiquitousness of video game play in everyday life, and the increasing concern of parents, educators, and the public regarding possible deleterious effects of gaming. Numerous studies have now investigated this concern. Recently, research has also begun to explore the possible benefits of gaming, in particular, increasing prosocial behaviour. This chapter presents a comprehensive review of the research literature examining the effects of video game playing on prosocial behaviour. Within this literature, a variety of theoretical perspectives and research methodologies have been adopted. For example, many researchers invoke the General Learning Model to explain the mechanisms by which video games may influence behaviour. Other researchers refer to frameworks involving moral education, character education, and care-ethics in their examination of the relationship between gaming and prosocial development. Diverse parameters have been explored in these studies. For example, different studies have Email: [email protected]. 2 Holli-Anne Passmore and Mark D. Holder assessed both the immediate and delayed impacts of gaming, and investigated the effects of different durations of video game playing. Additionally, based on each study’s operational definitions of “aggressive behaviour” and “prosocial behaviour”, a variety of behaviours have been assessed and different measures have been employed. For instance, studies have used self-report measures of empathy, the character strengths of generosity and kindness, and the level of civic engagement, as well as used word-completion and story completion tasks and tit-for-tat social situation games such as “Prisoners' Dilemma”. -
Earth Power: Techniques of Natural Magic © 1983 and 2006 by Scott Cunningham
About the Author Scott Cunningham was born in Royal Oak, Michigan, on June 27, 1956. He learned about Wicca while still in high school and practiced elemental magic for twenty years. He experienced, researched, then wrote about what he learned in his magical training. Scott is credited with writing more than thirty books (both fiction and nonfiction). He passed from this incarnation on March 28, 1993, but his work and his words live on. Llewellyn Publications Woodbury, Minnesota Copyright Information Earth Power: Techniques of Natural Magic © 1983 and 2006 by Scott Cunningham. All rights reserved. No part of this book may be used or reproduced in any matter whatsoever, including Internet usage, without written permission from Llewellyn Publications, except in the form of brief quotations embodied in critical articles and reviews. As the purchaser of this e-book, you are granted the non- exclusive, non-transferable right to access and read the text of this e-book on screen. The text may not be otherwise reproduced, transmitted, downloaded, or recorded on any other storage device in any form or by any means. Any unauthorized usage of the text without express written permission of the publisher is a violation of the author’s copyright and is illegal and punishable by law. First e-book edition © 2013 E-book ISBN: 9780738716657 Revised Edition Sixth Printing, 2012 First edition, thirty-two printings Book design and layout by Joanna Willis Cover design by Kevin R. Brown Cover illustration © by Fiona King Interior illustrations by Llewellyn art department Revised edition editing by Kimberly Nightingale Llewellyn Publications is an imprint of Llewellyn Worldwide Ltd. -
Juho Kahilaa, Satu Piispa-Hakalaa, Sanni Kahilaa, Teemu Valtonena, Henriikka Vartiainena and Matti Tedrea
Juho Kahilaa, Satu Piispa-Hakalaa, Sanni Kahilaa, Teemu Valtonena, Henriikka Vartiainena and Matti Tedrea a University of Eastern Finland / IT Services, P.O. Box 111, 80101 Joensuu, Finland manifestations of their content analysis. The results show that children explain their own in-game failures, incompetence of teammates, and technical problems as the main reasons for their gamer rage, and they express their rage verbally, physically, and by quitting. This article is the first attempt general. digital games, gamer rage, rage quitting, self-regulation, emotions concern, as some studies have found children playing digital games to behave more aggressively than their peers [10]. Aggressive Digital games, as an affective media, can behavior has often been associated with violent make players feel and generate various game content [11], although, according to emotional responses [1]. Games have been Ferguson [12], those results remain debatable. extensively studied from the perspective of Conversely, playing digital games has also emotions [2], and they have been shown to been suggested to support the development of provide positive emotions such as enjoyment self-regulating skills [13], and digital games and pleasure [3, 1], tools for mood management have been used as a tool for learning emotion [4], and meaningful experiences for their regulation skills [14]. Also, children themselves players [5]. Meaningful gaming experiences are have reported improved self-regulation skills, sought, for example, in games evoking strong such as frustration tolerance, by playing digital and intensive emotions, such as horror games games [15]. Rage induced by digital games, [6] and permadeath games, in which in-game gamer rage, has also become entertainment in death of a playable character is permanent [7, itself. -
Permadeath in Dayz
Fear, Loss and Meaningful Play: Permadeath in DayZ Marcus Carter, Digital Cultures Research Group, The University of Sydney; Fraser Allison, Microsoft Research Centre for Social NUI, The University of Melbourne Abstract This article interrogates player experiences with permadeath in the massively multiplayer online first-person shooter DayZ. Through analysing the differences between ‘good’ and ‘bad’ instances of permadeath, we argue that meaningfulness – in accordance with Salen & Zimmerman’s (2003) concept of meaningful play – is a critical requirement for positive experiences with permadeath. In doing so, this article suggests new ontologies for meaningfulness in play, and demonstrates how meaningfulness can be a useful lens through which to understand player experiences with negatively valanced play. We conclude by relating the appeal of permadeath to the excitation transfer effect (Zillmann 1971), drawing parallels between the appeal of DayZ and fear-inducing horror games such as Silent Hill and gratuitously violent and gory games such as Mortal Kombat. Keywords DayZ, virtual worlds, meaningful play, player experience, excitation transfer, risk play Introduction It's truly frightening, like not game-frightening, but oh my god I'm gonna die-frightening. Your hands starts shaking, your hands gets sweaty, your heart pounds, your mind is racing and you're a wreck when it's all over. There are very few games that – by default – feature permadeath as significantly and totally as DayZ (Bohemia Interactive 2013). A new character in this massively multiplayer online first- person shooter (MMOFPS) begins with almost nothing, and must constantly scavenge from the harsh zombie-infested virtual world to survive. A persistent emotional tension accompanies the requirement to constantly find food and water, and a player will celebrate the discovery of simple items like backpacks, guns and medical supplies. -
DRAGONLANCE! Actually, the Name of the World Is Krynn
Another world, another adventure. Another reality to explore, a thrilling new … library? A library, complete with the faintly musty smell of old tomes. Long tall stacks of books, scrolls, and tablets run the length of the chamber you find yourself in. Seated at a desk near the back of the chamber is a lone figure. He scratches away with quill and ink on a scroll, pausing only to wet his quill in a small inkpot and look into a crystal globe located to his left. “Astinus of Palanthas, Master of the Library of Palanthas and Historian of Krynn. He keeps a record of everything that happens here. Everything of note, at least. Most people think he’s immortal or some kind of god. No one seems to know for certain, though.” No one? Your Benefactor smiles one of those little smiles you’ve become so familiar with. “Well, maybe not no one. Maybe you’ll figure it out and tell me all about it?” Seemingly bored with that train of thought, your Benefactor turns away from you and runs their hands along the stacks. “So here we are: DRAGONLANCE! Actually, the name of the world is Krynn. Dragonlance is the title given to the intellectual property created, ‘created,’ by Margret Weiss and Tracy Hickman. So, if you’d like to take a minute to read up on what this place is about, now’s the time and here’s the place to do it. Or I can just give you the Chain’s Notes. Get it? Chain’s Notes? It’s like Cliff’s Notes, but … never mind.” “In the beginning was The High God and from the Beyond he called forth Paladine, Gilean and Takhisis, good, neutral and evil gods respectively. -
Living Forgotten Realms Campaign Guide Explains How to Beyond
LIVING FORGOTTEN REALMS® CAMPAIGN GUIDE Version 2.5: August 4, 2011 (Next Update: January 2012) For a list of changes made from v2.0 of this document, please visit this thread on the LFR Community Forum. What is Living Forgotten Realms? Campaign Setting and Structure Living Forgotten Realms (LFR for short) is a worldwide Living The Living Forgotten Realms campaign is based on the setting Campaign that uses the 4th Edition DUNGEONS & DRAGONS® details found in the 4th Edition Forgotten Realms Campaign rules and the FORGOTTEN REALMS® campaign setting. Players Guide. Faerûn is constantly evolving. Game products from create characters using the core D&D rules and the Wizards of the Coast (such as the Neverwinter Campaign guidelines in this document, and can then play those Guide) offer new information about the world. New characters in any LFR adventure, anywhere in the world. As FORGOTTEN REALMS content appears regularly on D&D you play adventures, your character earns experience points, Insider. LFR adventures sometimes refer to events and gold, and magic items which stay with you from game to characters from the many fiction novels set in the Realms. game. There are dozens of new adventures to play each year! Most importantly, LFR characters themselves can and do change the world through their actions and decisions! How to Use This Guide Living Forgotten Realms adventures span the vastness of Faerûn's surface, the Underdark beneath, and the planes The Living Forgotten Realms Campaign Guide explains how to beyond. Your character might explore the jungles of Chult in create and advance characters. -
Spontaneous Emotional Speech Recordings Through a Cooperative Online Video Game
Spontaneous emotional speech recordings through a cooperative online video game Daniel Palacios-Alonso, Victoria Rodellar-Biarge, Victor Nieto-Lluis, and Pedro G´omez-Vilda Centro de Tecnolog´ıaBiom´edicaand Escuela T´ecnica Superior de Ingenieros Inform´aticos Universidad Polit´ecnicade Madrid Campus de Montegancedo - Pozuelo de Alarc´on- 28223 Madrid - SPAIN email:[email protected].fi.upm.es Abstract. Most of emotional speech databases are recorded by actors and some of spontaneous databases are not free of charge. To progress in emotional recognition, it is necessary to carry out a big data acquisition task. The current work gives a methodology to capture spontaneous emo- tions through a cooperative video game. Our methodology is based on three new concepts: novelty, reproducibility and ubiquity. Moreover, we have developed an experiment to capture spontaneous speech and video recordings in a controlled environment in order to obtain high quality samples. Keywords: Spontaneous emotions; Affective Computing; Cooperative Platform; Databases; MOBA Games 1 Introduction Capturing emotions is an arduous task, above all when we speak about cap- turing and identifying spontaneous emotions in voice. Major progress has been made in the capturing and identifying gestural or body emotions [1]. However, this progress is not similar in the speech emotion field. Emotion identification is a very complex task because it is dependent on, among others factors, culture, language, gender and the age of the subject. The consulted literature mentions a few databases and data collections of emotional speech in different languages but in many cases this information is not open to the community and not available for research. -
Dark Souls™ Series By: BANDAI NAMCO Entertainment Inc
1 Contents Introduction . 3 Character Activations . 22 Overview . 22 Game Contents . 4 Character Movement . 22 Setup . 8 Character Attacks . 22 Initial Setup . 8 Enemy Activations . 24 Setup After the Mini Boss . 9 Overview . 24 Tiles and Nodes . 10 Enemy Movement . 24 The Basics . 10 Enemy Attacks . 25 Node Movement . 10 Boss Encounters . 26 Range . 10 Boss Basics . 26 Node Model Limits . 10 Boss Data Cards . 26 Characters . 11 Behaviour Cards . 27 Character Boards . 11 Boss Arcs . 27 Estus Flask Tokens . 11 Starting a Boss Encounter . 28 Luck Tokens . 11 Ending a Boss Encounter . 28 Equipment . 12 Boss Activations . 29 Equipment Cards . 12 Overview . 29 Upgrade Cards . 12 Boss Attacks . 29 Equipment Modifiers . 12 Boss Movement . 29 Embers . 12 Boss Activation Example . 30 The Bonfire Tile . 13 Post-Game Ritual . 31 Home Base . 13 Blacksmith Andre . 14 The Firekeeper . 15 Resting at the Bonfire . 15 Exploration . 16 Into the Dungeon . 16 The Fog Gate . 16 Campaign Rules . 32 Introduction . 32 Encounter Setup . 17 Encounter Cards . 17 Rules of the Campaign . 33 Terrain . 17 Setup . 33 Trap Tokens . 18 Adding and Dropping Players . 33 Encounter Setup Example . 18 Dashing Through . 33 Sparks . 33 Encounters . 19 Progressing through The Basics . 19 the Campaign . 33 Activating Models . 19 The Bonfire Tile . 33 Ending an Encounter . 19 Campaign Scenarios Combat Basics . 20 Using the Core Set . 34 Target versus Hit . 20 The Endurance Bar . 20 The First Journey . 34 Enemy Data Cards . 20 The Coiled Sword . 36 Pushing . 21 Conditions . 21 Campaign