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Take-Two Interactive Software, Inc. Reports Fourth Quarter and Fiscal 2004 Financial Results
Take-Two Interactive Software, Inc. Reports Fourth Quarter and Fiscal 2004 Financial Results December 16, 2004 4:05 PM ET NEW YORK, Dec 16, 2004 (BUSINESS WIRE) -- Take-Two Interactive Software, Inc. (NASDAQ:TTWO) today announced financial results for its fourth quarter and fiscal year ended October 31, 2004. Net sales for the fourth quarter ended October 31, 2004, which included the launch of the blockbuster title Grand Theft Auto: San Andreas for the PlayStation(R)2 computer entertainment system, were $438.0 million compared to $277.6 million for the same period a year ago. Net income for the quarter was $62.6 million, which included a $7.5 million accrual to establish a reserve in connection with the Company's SEC investigation as discussed below. Fourth quarter 2004 net income of $62.6 million and diluted net income per share of $1.36 compared to net income of $26.3 million and diluted net income per share of $0.58 the prior year. Net sales for the fiscal year ended October 31, 2004 were $1.13 billion compared to $1.03 billion for fiscal 2003. Net income of $65.4 million, including the $7.5 million accrual related to the Company's SEC investigation, compared to $98.1 million in net income last year, with diluted net income per share of $1.43 compared to $2.27 last year. Take-Two has accrued a $7.5 million expense in the fourth quarter associated with the Company's previously disclosed SEC investigation into certain accounting matters related to the Company's financial statements, periodic reporting and internal accounting controls. -
Now We Are All Sons of Bitches
Now We Are All Sons of Bitches MICHAEL BONTATIBUS “Wake up, Mr. Freeman. Wake up and smell the ashes,” the enigmat- ic G-Man murmurs as he leers into the camera, finishing an eerie opening monologue—and so begins Half-Life 2, Valve Corporation’s flagship game. The last time we saw Gordon Freeman, the protagonist, the same rigid and mysterious (though more poorly animated, since the prequel was released six years earlier) G-Man was handing him a job offer after witnessing the former scientist transform into a warrior, bent on escaping from the besieged Black Mesa Research Facility alive. Now, suddenly, Freeman finds himself on a train. No context.1 Is it a prison train? The three other individuals on it wear uniforms like those the inmates wore in Cool Hand Luke. The train soon stops at its destination, and we realize that it is a prison train, in a way—Freeman has arrived at the Orwellian “City 17,” where the ironically named Civil Protection abuses and oppresses, where antagonist Dr. Breen preaches poet- ic propaganda from large monitors hung high above the town. In the years since scientists at the facility accidentally opened a gateway between dimen- sions and allowed a bevy of grotesque creatures to spill into our universe, Earth has been taken over by the Combine, an alien multiplanetary empire. Breen is merely Earth’s administrator—and we realize that the ashes the G- Man spoke of were the ashes of the prelapsarian world. It’s classic dystopia, complete with a Resistance, of which Freeman soon finds himself the “mes- sianic” leader (HL2). -
Generation Kill and the New Screen Combat Magdalena Yüksel and Colleen Kennedy-Karpat
15 Generation Kill and the New Screen Combat Magdalena Yüksel and Colleen Kennedy-Karpat No one could accuse the American cultural industries of giving the Iraq War the silent treatment. Between the 24-hour news cycle and fictionalized enter- tainment, war narratives have played a significant and evolving role in the media landscape since the declaration of war in 2003. Iraq War films, on the whole, have failed to impress audiences and critics, with notable exceptions like Kathryn Bigelow’s The Hurt Locker (2008), which won the Oscar for Best Picture, and her follow-up Zero Dark Thirty (2012), which tripled its budget in worldwide box office intake.1 Television, however, has fared better as a vehicle for profitable, war-inspired entertainment, which is perhaps best exemplified by the nine seasons of Fox’s 24 (2001–2010). Situated squarely between these two formats lies the television miniseries, combining seriality with the closed narrative of feature filmmaking to bring to the small screen— and, probably more significantly, to the DVD market—a time-limited story that cultivates a broader and deeper narrative development than a single film, yet maintains a coherent thematic and creative agenda. As a pioneer in both the miniseries format and the more nebulous category of quality television, HBO has taken fresh approaches to representing combat as it unfolds in the twenty-first century.2 These innovations build on yet also depart from the precedent set by Band of Brothers (2001), Steven Spielberg’s WWII project that established HBO’s interest in war-themed miniseries, and the subsequent companion project, The Pacific (2010).3 Stylistically, both Band of Brothers and The Pacific depict WWII combat in ways that recall Spielberg’s blockbuster Saving Private Ryan (1998). -
The Development and Validation of the Game User Experience Satisfaction Scale (Guess)
THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) A Dissertation by Mikki Hoang Phan Master of Arts, Wichita State University, 2012 Bachelor of Arts, Wichita State University, 2008 Submitted to the Department of Psychology and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2015 © Copyright 2015 by Mikki Phan All Rights Reserved THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) The following faculty members have examined the final copy of this dissertation for form and content, and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy with a major in Psychology. _____________________________________ Barbara S. Chaparro, Committee Chair _____________________________________ Joseph Keebler, Committee Member _____________________________________ Jibo He, Committee Member _____________________________________ Darwin Dorr, Committee Member _____________________________________ Jodie Hertzog, Committee Member Accepted for the College of Liberal Arts and Sciences _____________________________________ Ronald Matson, Dean Accepted for the Graduate School _____________________________________ Abu S. Masud, Interim Dean iii DEDICATION To my parents for their love and support, and all that they have sacrificed so that my siblings and I can have a better future iv Video games open worlds. — Jon-Paul Dyson v ACKNOWLEDGEMENTS Althea Gibson once said, “No matter what accomplishments you make, somebody helped you.” Thus, completing this long and winding Ph.D. journey would not have been possible without a village of support and help. While words could not adequately sum up how thankful I am, I would like to start off by thanking my dissertation chair and advisor, Dr. -
TESIS: Grand Theft Auto IV. Impacto Y Contexto En Los Videojuegos Como
UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO FACULTAD DE ESTUDIOS SUPERIORES ACATLÁN Grand Theft Auto IV. Impacto y contexto en los videojuegos como parte de la cultura de masas Tesis para obtener el título de: Licenciado en Comunicación PRESENTA David Mendieta Velázquez ASESOR DE TESIS Mtro. José C. Botello Hernández UNAM – Dirección General de Bibliotecas Tesis Digitales Restricciones de uso DERECHOS RESERVADOS © PROHIBIDA SU REPRODUCCIÓN TOTAL O PARCIAL Todo el material contenido en esta tesis esta protegido por la Ley Federal del Derecho de Autor (LFDA) de los Estados Unidos Mexicanos (México). El uso de imágenes, fragmentos de videos, y demás material que sea objeto de protección de los derechos de autor, será exclusivamente para fines educativos e informativos y deberá citar la fuente donde la obtuvo mencionando el autor o autores. Cualquier uso distinto como el lucro, reproducción, edición o modificación, será perseguido y sancionado por el respectivo titular de los Derechos de Autor. Grand Theft Auto IV Impacto y contexto en los videojuegos como parte de la cultura de masas Agradecimientos A mis padres. Gracias, papá, por enseñarme valores y por tratar de enseñarme todo lo que sabías para que llegara a ser alguien importante. Sé que desde el cielo estás orgulloso de tu familia. Mamá, gracias por todo el apoyo en todos estos años; sé que tu esfuerzo es enorme y en este trabajo se refleja solo un poco de tus desvelos y preocupaciones. Gracias por todo tu apoyo para la terminación de este trabajo. A Ariadna Pruneda Alcántara. Gracias, mi amor, por toda tu ayuda y comprensión. Tu orientación, opiniones e interés que me has dado para la realización de cualquier proyecto que me he propuesto, así como por ser la motivación para seguir adelante siempre. -
The Transition of Black One-Dimensional Characters from Film to Video Games
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 2016 The ewN Black Face: The rT ansition of Black One- Dimensional Characters from Film to Video Games Kyle A. Harris Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Harris, Kyle A. "The eN w Black Face: The rT ansition of Black One-Dimensional Characters from Film to Video Games." (Spring 2016). This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THE NEW BLACK FACE: THE TRANSITION OF BLACK ONE-DIMENSIONAL CHARACTERS FROM FILM TO VIDEO GAMES By Kyle A. Harris B.A., Southern Illinois University, 2013 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Science Department of Mass Communications and Media Arts in the Graduate School Southern Illinois University Carbondale May 2016 RESEARCH PAPER APPROVAL THE NEW BLACK FACE: THE TRANSITION OF BLACK ONE-DIMENSIONAL CHARACTERS FROM FILM TO VIDEO GAMES By Kyle A. Harris A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in the field of Professional Media, Media Management Approved by: Dr. William Novotny Lawrence Department of Mass Communications and Media Arts In the Graduate School Southern Illinois University Carbondale -
Please Please Don't Buy This Game Like I Did. I
“Please please don't buy this game like I did. I feel terrible and wish I could return it!”: A corpus-based study of professional and consumer reviews of video games Andrew Kehoe and Matt Gee (Birmingham City University, UK) Background This paper is a corpus-based comparison of professional and consumer reviews of video games. Professional video games journalism is a well-established field, with the first dedicated publications launched in 1981 (Computer and Video Games in the UK, followed by Electronic Games in the US). Over the next 30 years, such publications were highly influential in the success of particular video games, often leading to accusations of conflicts of interest, with the publishers of the games under review also paying substantial amounts of money to advertise their products in the same video games magazines. The rapid growth of the web since the early 2000s has seen a decline in all traditional print media, and games magazines are no exception. Such publications have now been largely replaced by professional video games review sites such as IGN.com, established in 1996 as the Imagine Games Network. However, the influence of professional review sites such as IGN appears to be waning, with a recent report by the Entertainment Software Association suggesting that only 3% of consumers rely on professional reviews as the most important factor when making a decision on which game to purchase (ESA 2015). The decline of professional games reviews does not reflect the state of the video games industry in general. It has been estimated (Newzoo 2016) that the industry generated almost $100 billion of revenue worldwide during 2016. -
Sites of Play: Locating Gameplace in Red Dead Redemption 2
Sites of Play: Locating Gameplace in Red Dead Redemption 2 Andrew Westerside University of Lincoln Brayford Pool, LN6 7TS United Kingdom [email protected] Jussi Holopainen University of Lincoln Brayford Pool, LN6 7TS United Kingdom [email protected] ABSTRACT In Video Game Spaces (2009), Michael Nitsche proposes three indicators of ‘placeness’ in video games: identity, self-motivated and self-organised action, and traces of memory (191-201). We read this notion of placeness as closely aligned to, or overlapping with, the understandings of place and site articulated in theatre and performance research as site-specific performance. Here, we articulate the ideas (and analyse the experiences) of placeness and sitedness in Rockstar Games’ Red Dead Redemption 2 (RDR2) through an analytical conversation between performance studies and games design research with a human-computer interaction bias. Through a close- reading of gameplay experiences (Bizzocchi and Tanenbaum, 2011), we individually experienced over 30 hours of RDR2 gameplay while taking notes, recording, and capturing screenshots. During our individual analyses, we met periodically to compare notes, discuss notable game moments and share analytical insights. At this intersection of game research and performance research, we ask to what extent the theoretical articulations of aesthetic/affective experience in physical, corporeal and material spaces can develop – and further nuance – our understanding of how place is experienced (and thus designed) in contemporary videogames. In doing so, we propose the term gameplace as a means of articulating what this article will define as the affective relationship between place, experience and play. Keywords Place, space, placeness, gameworld, gameplay, performance research, phenomenology INTRODUCTION Site-Specific Performance For scholars and practitioners in the discipline, site-specific performance refers to ‘performance conceived on the basis of a place in the real world (ergo, outside the established theatre)’ (Pavis, 1998, p.337). -
Pdf (Accessed 2.10.14)
Notes 1 Introduction: Video Games and Storytelling 1. It must be noted that the term ‘Narratological’ is a rather loose application by the Ludologists and the implications of this are pointed out later in this chapter. 2. Roland Barthes states that the ‘infinity of the signifier refers not to some idea of the ineffable (the unnameable signified) but to that of a playing [ ...] theText is plural’. Source: Barthes, R., 1977. Image, Music, Text, in: Heath,S.(Tran.), Fontana Communications Series. Fontana, London. pp. 158–159. 3.In Gaming Globally: Production, Play, and Place (Huntemann and Aslinger, 2012),theeditors acknowledgethat ‘while gaming maybe global, gaming cultures and practices vary widely depending on the power and voice of var- ious stakeholders’ (p. 27). The paucity of games studies scholarship coming from some of the largest consumers of video games, such as South Korea, China and India, to name a few, is markedly noticeable. The lack of represen- tation of non-Western conceptions of play culture and storytelling traditions is similarly problematic. 4. Chapter 8 will engage with this issue in more detail. 5. ‘(W)reading’ is preferred over the more commonly used neologism ‘wread- ing’toemphasise the supplementarity of the reading and writingprocesses and also to differentiate it from earlier usage that might claim that the two processes are the same thing. 3 (W)Reading the Machinic Game-Narrative 6. For whichhe is criticisedby Hayles (see Chapter 2). 7. Landow respondstothis by rightly stating that Aarseth misreads his original comment where heclaims that ‘the reader whochooses among linksortakes advantage of Storyspace’s hypertext capabilities shares some of the power of theauthor’(Landow, p. -
People Need Protecting from Violent Lyrics, Films and Video Games” the MEDIA Violence Debate in Context 2 of 7 NOTES
MOTION: APRIL 2008 MEDIA “PEOPLE NEED VIOLENCE PROTECTING FROM JAMES GLEDHILL VIOLENT LYRICS, FILMS AND VIDEO GAMES” DEBATING MATTERS DEBATOPITING MATTERCS GUIDETOPICS GUIDEwww.debatingmatters.comS CONTENTS INTRODUCTION 1 of 7 NOTES What impact does media violence have on the way people act? Introduction 1 Does exposure to violent music lyrics, films and video games lead Key terms 1 to aggressive and violent behaviour? It’s a debate that won’t go away, as the reaction [Ref: BBC News] to the launch of Grand The media violence debate in context 2 Theft Auto IV shows. And it’s a particular concern of politicians, Essential reading 4 as in the wake of headlines about gun and knife crime both Gordon Brown [Ref: Sun] and David Cameron [Ref: Independent] Backgrounders 5 referred to violent video games in calling for greater social responsibility. While it may be too simplistic to suggest a Organisations 5 straightforward copycat effect linking what people see or hear In the news 6 to what they do, many scientific studies have raised concerns about the effects of media violence, particularly on vulnerable and impressionable young people. Such evidence forms the basis of arguments for censorship, with measures ranging from bans on violent material, to the cutting of scenes from films and the classification of films and video games by age limits. The game Manhunt 2 has been banned [Ref: BBC News] and the government’s Byron review recommended that more games be rated. Campaigners for freedom of expression oppose such restriction and dispute the claim that media has a direct effect on behaviour. -
Take-Two Interactive Software, Inc. Reports First Quarter Fiscal 2009 Financial Results
Take-Two Interactive Software, Inc. Reports First Quarter Fiscal 2009 Financial Results March 10, 2009 4:01 PM ET NEW YORK NEW YORK--(BUSINESS WIRE)--Mar. 10, 2009-- Take-Two Interactive Software, Inc. (NASDAQ: TTWO) today announced financial results for its first fiscal quarter ended January 31, 2009. Net revenue for the first quarter was $256.8 million, compared to $240.4 million for the same quarter of fiscal 2008. First quarter sales were led by Grand Theft Auto IV, Carnival Games, NBA 2K9 and Midnight Club: Los Angeles. Net loss for the first quarter was $50.4 million or $0.66 per share, compared to a net loss of $38.0 million or $0.52 per share in the first quarter of fiscal 2008. The Company’s increased loss for the first quarter compared to the prior year was primarily due to higher marketing, legal, and research and development expenses. The first quarter results include $6.2 million in stock-based compensation expense ($0.08 per share) and $4.9 million in expenses related to unusual legal matters ($0.06 per share). Results for the first quarter of 2008 included $6.1 million in stock-based compensation expense ($0.08 per share) and $1.7 million in expenses related to unusual legal matters and business reorganization costs ($0.02 per share). Non-GAAP net loss was $39.3 million or $0.52 per share in the first quarter, compared to a net loss of $30.3 million or $0.41 per share in the first quarter of 2008. (Please refer to Non-GAAP Financial Measures and reconciliation tables included later in this release for additional information and details on non-GAAP items.) Business Highlights Among the significant recent business developments, Take-Two noted the following: Over 13 million units of Rockstar Games’ Grand Theft Auto IV have been shipped as of January 31, 2009. -
Red Dead Redemption 2 the Complete O
Red dead redemption 2 the complete o Continue Red Dead Redemption 2 is a West Cowboy Music Adventure, developed by Rockstar Studios and published by Rockstar Games, released on October 26, 2018 for PlayStation 4 and Xbox One, and scheduled for release in November 2019 for Google Stadia and Microsoft Windows. The third game in the Red Dead series, pre-race (post- story) and the second season of Red Dead Redemption. Set in fiction back in 1899 in the American West, the story revolves around outlaw Arthur Morgan, a member of the Van der Laine gang led by the Dutch. The gang is trying to cope with the decline of the Wild West and against the authorities, along with many other opponents. The story also follows John Marston, the main character from Red Dead Redemption.Red Dead Redemption 2 month later has a live version of Red Dead Online, a mode that many people can play together, a trial version of Red Dead Online was released in November 2018. The game bounty system is the same as the wanted system in Grand Theft Auto, which appears when players kill nPCs around them and receive criminal bonuses, after which bounty hunters will chase and catch players for their crimes. The game broke many records and received positive reviews from critics, such as character praise, plot,... Red Dead Redemption 2 sold more than $750 million and sold 17 million copies in two weeks. Игра также получила множество наград, в том числе Выбор критиков на 2018 Золотой Joystick Awards и Лучшая игра сюжетной линии на Game Awards 2018.Minimum configurationOS: Windows 7 SP1 (ver.7601) 64-bitCPU: Intel Core i5-2500K/ AMD FX-16300RAM: 1 8GBVGA: Geforce GTX 770 2GB/Radeon R9 280 3GBSung хранения: 150GB Рекомендуемая конфигурацияOS: Windows 10 64-битный (Ver.1803)CPU: Intel Core i7-4770K/AMD 1Ryzen 5 1500XRAM: 12GBVGA: Geforce GTX 1060 6GB/Radeon RX 480 4GBSl хранения: 150 ГБ MINIMUM: Требуется 64-битный процессор и операционная системаOS: Windows 7 - Сервисный пакет 1 (6.