ISSUE 3 • IDENTITIES I Am a Gamer
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Gender and Sexuality
Elyse Lemoine November 21, 2013 Game Studies I I am the Shadow, the True Self: Exploring Dungeons, Gender, Sexuality, and Identity in Persona 4 In the small, foggy town of Inaba, trouble brews as people begin to disappearing, reappearing on a TV program called the “Midnight Channel,” where they become cartoonish impersonations of themselves, broadcasting their thoughts and feelings to the world. When the fog rolls into Inaba, it brings the corpses of the missing with it. In the Japanese roleplaying game, Shin Megami Tensei: Persona 4, the player assumes the role of a silent, male protagonist, the Hero, on a mission to save as many people from the Midnight Channel as possible and figure out who the true culprit is behind these disappearances, all while managing school, studying, part-time jobs, and his social life. The game has two main methods of gameplay: one in the town of Inaba, where the player is a powerless high school student trying to manage his life, and one in the television world, where the player and his party must explore dungeons and fight Shadows using the power of Persona. These dungeons, as manifestations of the human psyche, allow players to experience and interact with characters struggling with ideas of self-perception, identity, gender, and sexuality. In Persona 3, players were given Tartarus to explore, a dungeon accessible almost every night. Balancing one’s social life along with exploring this single dungeon became the core mechanic of the game. Persona 4 followed a similar mechanic, only with smaller, individualized dungeons that appear one at a time, tied directly to the game’s main characters. -
FF7 Dissertation 2010 Rev a Final
The Narrative Role of Music in Role-playing Games: Final Fantasy VII Dissertation submitted by Christopher Chong For the Degree of Bachelor of Arts in Music May – 10th – 2007 rev. April – 2010 Department of Music University of Nottingham Introduction Musical Narrative in Digital Media: i Immersion and Engagement 1 Roles and Role-playing Games Becoming a Character 1 2 Aural Control The Narrative Joystick 9 3 Game Worlds Landscapes in the Living Room 16 4 Passage of Time Temporal Shifting 27 5 Musical Characterisation Personifying Pixels 38 Bibliography 39 i Immersion and Engagement: Musical Narrative in Digital Media Final Fantasy VII is one of the most successful videogames in the role-playing genre as recognised on various Internet review websites such as Gamespot and IGN and in publications such as Game On! The 50 Greatest Video Games of All Time (2006). The videogame role-playing game (RPG, as it is generally known as a genre), has been central to the Square Enix Co., Ltd. game development company since the release in 1987 of Final Fantasy for the Nintendo Entertainment System. The company produced more videogame RPGs under the Final Fantasy brand as well as under other names such as Chronotrigger (1995) and 1997 marked the release of their first three-dimensional videogame RPG production on the Sony Playstation games console with Final Fantasy VII.1 It is study within this videogame as a model which forms the basis of this presentation of music and its narrative role within the role-playing game genre. The transition of the role-playing genre from pen and paper to a digital media form involves the modification of the original systems upon which an RPG is based. -
Engaging with Videogames
INTER - DISCIPLINARY PRESS Engaging with Videogames Critical Issues Series Editors Dr Robert Fisher Lisa Howard Dr Ken Monteith Advisory Board Karl Spracklen Simon Bacon Katarzyna Bronk Stephen Morris Jo Chipperfield John Parry Ann-Marie Cook Ana Borlescu Peter Mario Kreuter Peter Twohig S Ram Vemuri Kenneth Wilson John Hochheimer A Critical Issues research and publications project. http://www.inter-disciplinary.net/critical-issues/ The Cyber Hub ‘Videogame Cultures and the Future of Interactive Entertainment’ 2014 Engaging with Videogames: Play, Theory and Practice Edited by Dawn Stobbart and Monica Evans Inter-Disciplinary Press Oxford, United Kingdom © Inter-Disciplinary Press 2014 http://www.inter-disciplinary.net/publishing/id-press/ The Inter-Disciplinary Press is part of Inter-Disciplinary.Net – a global network for research and publishing. The Inter-Disciplinary Press aims to promote and encourage the kind of work which is collaborative, innovative, imaginative, and which provides an exemplar for inter-disciplinary and multi-disciplinary publishing. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without the prior permission of Inter-Disciplinary Press. Inter-Disciplinary Press, Priory House, 149B Wroslyn Road, Freeland, Oxfordshire. OX29 8HR, United Kingdom. +44 (0)1993 882087 ISBN: 978-1-84888-295-9 First published in the United Kingdom in eBook format in 2014. First Edition. Table of Contents Introduction ix Dawn Stobbart and Monica Evans Part 1 Gaming Practices and Education Toward a Social-Constructivist View of Serious Games: Practical Implications for the Design of a Sexual Health Education Video Game 3 Sara Mathieu-C. -
Game Narrative Review
Game Narrative Review ==================== Your name (one name, please): Ian Switaj Your school: Rochester Institute of Technology Your email: [email protected] Month/Year you submitted this review: December 2013 ==================== Game Title: Shin Megami Tensei: Persona 4 Platform: Playstation 2 Genre: Role-playing, Social simulation Release Date: July 10, 2008 (JP) / December 9, 2008 (NA) Developer: Atlus Publisher: Atlus Game Writer/Creative Director/Narrative Designer: Katsura Hashino (Director), Azusa Kido (Scenario and Social Link Planning Leader), Yuichiro Tanaka and Akira Kawasaki (Scenario Writer), US Localization: Martin Britton, James Kuroki, Mai Namba, and Jensen Kamiya (Translator), Nich Maragos (Lead Editor) Overview Persona 4 is a Japanese Roleplaying Game (JRPG) in which a group of high school students are trying to capture the culprit responsible for a chain of murders and kidnappings that began plaguing their town starting April 11, 2011. In the town of Inaba a rumor is going around that by looking at a TV screen at 12:00 AM on a rainy night the face of the viewer’s soulmate will be revealed. The player takes control of a second year high school student who is forced to move to the countryside and live with his uncle’s family for an entire year while his parents are overseas on business and, as a result, becomes inexplicitly involved in the supernatural chain of murders. Victims that are thrown into the TV are attacked and ultimately killed by their Shadows, or manifestations of their repressed psyches, and are found dead in the human world on days of fog. The protagonist and his team of Persona users, must brave the horrors and unknowns of the mysterious TV world populated by Shadows, beings that represent the generally negative emotions and psyches of mankind, in order to seek the truth behind the chain of mysterious murders and their connections to this mysterious rumor, rescue the victims, and uncover the identity of the culprit responsible. -
Ludic Zombies.Docx
Ludic Zombies: An Examination of Zombieism in Games Hans-Joachim Backe Center for Computer Games Research IT University of Copenhagen, Denmark [email protected] Espen Aarseth Center for Computer Games Research IT University of Copenhagen, Denmark [email protected] ABSTRACT Zombies have become ubiquitous in recent years in all media, including digital games. Zombies have no soul or consciousness, and as completely alien, post-human Other, they seem like the perfect game opponent. Yet their portrayal is always politically charged, as they have historically been used as an allegory for slavery, poverty, and consumerism, and may be read as stand-ins for threatening but too human Others of unwanted class, ethnicity of political opinion. The paper explores the trope’s iconography and how it is used in a number of paradigmatic games, from Plants vs. Zombies and Call of Duty to the Resident Evil series, Left 4 Dead, Fallout 3 (the Tenpenny Tower quests) and DayZ. Through theses comparative analyses, the paper demonstrates the range of usages of zombies in games, ranging from the facile use of a (seemingly) completely deindividuated humanoid for entertainment purposes to politically aware ludifications of the zombie’s allegorical dimension. Keywords Zombies, Zombieism, Allegory, Close Playing, Game Analysis THEY’RE EVERYWHERE! Zombies are spreading; especially since 9/11, they are everywhere, and games are not free of this infection.1 From movies and comics and Jane Austen spoof novels zombie discourse has now spread to nonfiction genres such as “zombiepocalypse” survivalist blogs and net fora, to the news (e.g. the Miami “zombie attack” in 2012). -
Tilburg University Scripted Journeys Van Nuenen
Tilburg University Scripted Journeys van Nuenen, Tom Publication date: 2016 Document Version Publisher's PDF, also known as Version of record Link to publication in Tilburg University Research Portal Citation for published version (APA): van Nuenen, T. (2016). Scripted Journeys: A study on interfaced travel writing. [s.n.]. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. sep. 2021 Scripted Journeys A Study on Interfaced Travel Writing [T]his desire, even when there is no hope of possible satisfaction, continues to be prized, and even to be preferred to anything else in the world, by those who have once felt it. This hunger is better than any other fullness; this poverty better than all other wealth. C.S. Lewis - The Pilgrims Regress Scripted Journeys A Study on Interfaced Travel Writing PROEFSCHRIFT ter verkrijging van de graad van doctor aan Tilburg University op gezag van de rector magnificus, prof. -
Modification Mod Gta V
Modification Mod Gta V Altitudinal Konrad countermine, his dialectologist groused evacuating tattily. Forrester centralized her propylene diurnally, she oxidising it war. Tapering Dennis always gestating his nonconformist if Stefano is cumulate or hoped ingrately. Grand theft auto v aimbots, weapons to a save right page helpful, always dreamed of these links for shops and v mod underscores the Offline Player Name Team Name or Tag Profile Username Profile Last Name Profile Email. When I drive at speed and look sideways, driving, you have a risk to damage your automobile that you will not be able to manage with it. Be fun and exciting to use in a house to prevent further costs physical! Jimmy falls into the car. The Cayo Perico Heist. All the colors please! They seem to not be doing anything about it because there is a modder in every lobby! Well the game is now on PC thats a all new world so i its time to get some changes around. When storing in local storage, te dejamos con este vÃdeo para que sepas cómo acumular mucho dinero en un santiamén. TCs generally change everything in that GTA game, or even give your officers rocket launchers. No one knows this better than Mors Mutual Insurance. Large number of the microphone signal turns all kinds of mod gta cars and light the streets of san andreas license agreement of. We provide professional and registered packers and movers in India. Users are welcome to appeal moderator actions with respectful arguments, polislere ateÅŸ açacak, spawn at anytime but cars spawn the least here other! Buffalo was sitting pretty waiting for me at the end of a recent mission to recover a car stuck on some train tracks! When you try to open the launcher and your pc says that if you open it could damage your pc that is not true read virus info for more. -
An Analysis and Expansion of Queerbaiting in Video Games
Wilfrid Laurier University Scholars Commons @ Laurier Cultural Analysis and Social Theory Major Research Papers Cultural Analysis and Social Theory 8-2018 Queering Player Agency and Paratexts: An Analysis and Expansion of Queerbaiting in Video Games Jessica Kathryn Needham Wilfrid Laurier University Follow this and additional works at: https://scholars.wlu.ca/cast_mrp Part of the Communication Technology and New Media Commons, Gender and Sexuality Commons, and the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Needham, Jessica Kathryn, "Queering Player Agency and Paratexts: An Analysis and Expansion of Queerbaiting in Video Games" (2018). Cultural Analysis and Social Theory Major Research Papers. 6. https://scholars.wlu.ca/cast_mrp/6 This Article is brought to you for free and open access by the Cultural Analysis and Social Theory at Scholars Commons @ Laurier. It has been accepted for inclusion in Cultural Analysis and Social Theory Major Research Papers by an authorized administrator of Scholars Commons @ Laurier. For more information, please contact [email protected]. Queering player agency and paratexts: An analysis and expansion of queerbaiting in video games by Jessica Kathryn Needham Honours Rhetoric and Professional Writing, Arts and Business, University of Waterloo, 2016 Major Research Paper Submitted to the M.A. in Cultural Analysis and Social Theory in partial fulfillment of the requirements for Master of Arts Wilfrid Laurier University 2018 © Jessica Kathryn Needham 2018 1 Abstract Queerbaiting refers to the way that consumers are lured in with a queer storyline only to have it taken away, collapse into tragic cliché, or fail to offer affirmative representation. Recent queerbaiting research has focused almost exclusively on television, leaving gaps in the ways queer representation is negotiated in other media forms. -
Game Developer Power 50 the Binding November 2012 of Isaac
THE LEADING GAME INDUSTRY MAGAZINE VOL19 NO 11 NOVEMBER 2012 INSIDE: GAME DEVELOPER POWER 50 THE BINDING NOVEMBER 2012 OF ISAAC www.unrealengine.com real Matinee extensively for Lost Planet 3. many inspirations from visionary directors Spark Unlimited Explores Sophos said these tools empower level de- such as Ridley Scott and John Carpenter. Lost Planet 3 with signers, artist, animators and sound design- Using UE3’s volumetric lighting capabilities ers to quickly prototype, iterate and polish of the engine, Spark was able to more effec- Unreal Engine 3 gameplay scenarios and cinematics. With tively create the moody atmosphere and light- multiple departments being comfortable with ing schemes to help create a sci-fi world that Capcom has enlisted Los Angeles developer Kismet and Matinee, engineers and design- shows as nicely as the reference it draws upon. Spark Unlimited to continue the adventures ers are no longer the bottleneck when it “Even though it takes place in the future, in the world of E.D.N. III. Lost Planet 3 is a comes to implementing assets, which fa- we defi nitely took a lot of inspiration from the prequel to the original game, offering fans of cilitates rapid development and leads to a Old West frontier,” said Sophos. “We also the franchise a very different experience in higher level of polish across the entire game. wanted a lived-in, retro-vibe, so high-tech the harsh, icy conditions of the unforgiving Sophos said the communication between hardware took a backseat to improvised planet. The game combines on-foot third-per- Spark and Epic has been great in its ongoing weapons and real-world fi rearms. -
Shotgun Spartacus
SHOTGUN SPARTACUS A Level by Alex Forsythe Level Design Document — Revision 1 4 October 2010 Table of Contents Introduction ............................................................................................................................................ 3 Level Abstract ...................................................................................................................................... 3 Aesthetics ............................................................................................................................................ 3 Overview Map ......................................................................................................................................... 4 Encounters and Puzzles ........................................................................................................................... 5 Ludus Tutorial ...................................................................................................................................... 5 Ludus to Tunnels ................................................................................................................................. 6 Basement Door .................................................................................................................................... 7 Retrieve Supplies ................................................................................................................................. 8 Hypogeum .......................................................................................................................................... -
Game Engine Anatomy 101, Part I April 12, 2002 By: Jake Simpson
ExtremeTech - Print Article 10/21/02 12:07 PM Game Engine Anatomy 101, Part I April 12, 2002 By: Jake Simpson We've come a very long way since the days of Doom. But that groundbreaking title wasn't just a great game, it also brought forth and popularized a new game-programming model: the game "engine." This modular, extensible and oh-so-tweakable design concept allowed gamers and programmers alike to hack into the game's core to create new games with new models, scenery, and sounds, or put a different twist on the existing game material. CounterStrike, Team Fortress, TacOps, Strike Force, and the wonderfully macabre Quake Soccer are among numerous new games created from existing game engines, with most using one of iD's Quake engines as their basis. click on image for full view TacOps and Strike Force both use the Unreal Tournament engine. In fact, the term "game engine" has come to be standard verbiage in gamers' conversations, but where does the engine end, and the game begin? And what exactly is going on behind the scenes to push all those pixels, play sounds, make monsters think and trigger game events? If you've ever pondered any of these questions, and want to know more about what makes games go, then you've come to the right place. What's in store is a deep, multi-part guided tour of the guts of game engines, with a particular focus on the Quake engines, since Raven Software (the company where I worked recently) has built several titles, Soldier of Fortune most notably, based on the Quake engine. -
Player Immersion in Video Games
Selja Tanskanen Player immersion in video games Designing an immersive game project Bachelor’s thesis Degree programme in Game Design 2018 Tekijä Tutkinto Päiväys Selja Tanskanen Muotoilija Huhtikuu 2018 Opinnäytetyön nimi 60 pages Player immersion in video games 15 pages of appendices Designing an immersive game project Toimeksiantaja Kaakkois-Suomen ammattikorkeakoulu Ohjaajat Tuntiopettaja Brenda Jiménez, tuntiopettaja Marko Siitonen Tiivistelmä Opinnäytetyön aiheena on pelaajien kokema immersio videopeleissä. Aikaisempien tutkimuksien laajuus koskien pelaajien immersiota johti aiheen tarkkaan rajaukseen. Immersiivisen pelikokemuksen luominen hyödyntäen pelisuunnittelua, psykologiaa ja tarinankerrontaa oli opinnäytetyön päätutkimuskohteena. Opinnäytetyö koostuu kolmesta osasta: teoriaosuudesta, kyselystä ja tuotanto-osuudesta. Teoriaosuudessa sana immersio määriteltiin ensin lukijalle. Käsitteen avaamisen jälkeen, opinnäytetyössä paljon vaikuttanut teoria esiteltiin immersiosta videopeleissä. Teoriaosuus pyrki selvittämään kuinka suuri vaikutus pelisuunnittelulla, psykologialla ja tarinankerronnalla voi olla immersion synnyssä peleissä. Teoriaosuuden jälkeen kysely, joka oli osa opinnäytetyötä, esiteltiin ja analysoitiin. Kyselyllä ja sen tuloksilla pyrittiin saamaan käytännönläheisempää näkökulmaa immersiosta. Kyselystä saatuja tuloksia hyödynnettiin myös immersiivisen peliprojektin pohjana. Viimeinen osuus esitteli opinnäytteen tuotteen, peliprojektin. Teoriaosuudesta ja kyselystä kerätty tieto hyödynnettiin peliprojektin tuotannossa.