Characterization, Purpose, and Action: Creating Strong Characters in Video Games

Total Page:16

File Type:pdf, Size:1020Kb

Characterization, Purpose, and Action: Creating Strong Characters in Video Games Characterization, Purpose, and Action: Creating Strong Characters in Video Games Jeremy Bernstein @fajitas Freelance Writer/Designer Hi. I am a silent protagonist. I have no voice of my own. This helps you empathize with me. As I have no characteristics of my own… …you can imbue me… …with any characteristic you want. I’m just like you. Isn’t it great? We’re like BFFs! ? Silent Cinematic Open Half-Life Uncharted Walking Dead Portal/Portal 2 Gears of War The Room God of War Bioshock Bioshock Infinite Dead Space Dead Space 2 Linear Zelda GTA Fallout Myst Batman: Arkham Fable Elder Scrolls Dragon Age Sandbox ? Silent Cinematic Open Half-Life Uncharted Walking Dead Portal/Portal 2 Gears of War The Room God of War Bioshock Bioshock Infinite Dead Space Dead Space 2 Linear Zelda GTA Fallout Myst Batman: Arkham Fable Elder Scrolls Dragon Age Sandbox Yes* * WARNING: Theory may be neither grand nor unifying I THESE GAMES Why character? Deborah Hendersen, User Researcher Why character? Story:Character: A Definition A Definition The People In the Story Story in games? Must we? Story: A Definition Someone who wants something badly and is havingOBJECTIVE a hard time getting it. GAMEPLAYOBSTACLE SOMEONEPROTAGONIST OBSTACLE OBSTACLE OBSTACLE OBJECTIVEWANT Story:Character: A Definition A Definition PROTAGONIST Someone who wants something badly and is having a hard time getting it. Character: A Definition PROTAGONIST Someone who wants something badly Character: A Definition PROTAGONIST Someone who WANTS wants something badly Character: A Definition PROTAGONIST Someone who WANTS wants something badly Character: A Definition OBSTACLE OBSTACLE PROTAGONIST ANTAGONIST OBSTACLE Someone who WANTS wants something badly Character: A Definition OBSTACLE OBSTACLE LOVE INTEREST PROTAGONIST ANTAGONIST OBSTACLE Someone who WANTS wants something badly Character: A Definition OBSTACLE OBSTACLE SIDEKICK LOVE INTEREST PROTAGONIST ANTAGONIST LEVEL BOSSES OBSTACLE MENTOR QUEST GIVERS CANNON HENCHPEOPLE Someone who WANTS wants somethingFODDER badly OBSTACLE OBSTACLE REVENGEOBSTACLE OBSTACLE OBSTACLE ELENAOBSTACLE CHLOEOBSTACLE OBSTACLE OBSTACLE OBSTACLE OBSTACLE TREASUREOBSTACLE Character:Elements of A Character Definition SomeoneWhat who do WANTSwants they WANT?something badly What do they DO to get what they want? PROTAGONIST ACTION OBSTACLE ACTION OBSTACLE ACTION OBSTACLE WANT Elements of Character ACTION Elements of Character Character = ACTION ACTION = Gameplay then… CHARACTER= GAMEPLAY What does he DO to get what he wants? What other people TELL him to do. What does he DO to get what he wants? What other people TELL him to do. Silent PCs Elements of Character What do they WANT? What do they DO to get what they want? Elements of Character APPEARANCE EDUCATION CHARACTERIZATIONBACKSTORY FAMILY JOB ATTRIBUTES Elements of Character CHARACTERIZATION CHARACTERIZATION CHARACTERIZATION PROTAGONIST CHARACTERIZATION CHARACTERIZATION CHARACTERIZATION CHARACTERIZATION CHARACTERIZATION Elements of Character CHARACTERIZATION CHARACTERIZATION CHARACTERIZATION PROTAGONIST CHARACTERIZATION CHARACTERIZATION CHARACTERIZATION CHARACTERIZATION CHARACTERIZATION Elements of Character ACTION PROTAGONISTWANT ACTION Elements of Character What do they WANT? What do they DO to get what they want? How do they SEEM? ? Silent Cinematic Open Half-Life Uncharted Walking Dead Portal/Portal 2 Gears of War The Room God of War What they DO Bioshock Bioshock Infinite Dead Space Dead Space 2 (DesignerLinear Choice) Zelda GTA Fallout Myst Batman: Arkham Fable Elder Scrolls Dragon Age What they DO (PlayerSandbox Choice) ? How theySilent SEEM HowCinematic they SEEM How theyOpen SEEM (NoHalf One’s-Life Choice) Uncharted(Designer Choice) Walking(Player Choice)Dead Portal/Portal 2 Gears of War The Room God of War What they DO Bioshock Bioshock Infinite Dead Space Dead Space 2 (DesignerLinear Choice) Zelda GTA Fallout Myst Batman: Arkham Fable Elder Scrolls Dragon Age What they DO (PlayerSandbox Choice) Gone Home ? How theySilent SEEM HowCinematic they SEEM HowPlayer they Choice SEEM (NoHalf One’s-Life Choice) Uncharted(Designer Choice) Walking(Player Choice)Dead Portal/Portal 2 Gears of War TheWhat Room they WANT GodWhat of they War WANT What they WANT Bioshock Infinite What they DO Bioshock(Designer Choice) (Designer Choice) (Designer Choice) Dead Space Dead Space 2 (DesignerLinear Choice) (Mostly) Zelda GTA Fallout Myst Batman: Arkham Fable What they WANT What they WANT ElderWhat theyScrolls WANT (Designer Choice) (Designer Choice) Dragon(Designer Age Choice) What they DO (Mostly) (Mostly) (Mostly) (PlayerSandbox Choice) WANT • High Level Want • Stop Lord Lucien • Low Level Want • Get Married? • Get Job? • Etc. What they WANT (Player Choice) ? How theySilent SEEM HowCinematic they SEEM HowPlayer they Choice SEEM (NoHalf One’s-Life Choice) Uncharted(Designer Choice) Walking(Player Choice)Dead Portal/Portal 2 Gears of War TheWhat Room they WANT GodWhat of they War WANT What they WANT Bioshock Infinite What they DO Bioshock(Designer Choice) (Designer Choice) (Designer Choice) Dead Space Dead Space 2 (DesignerLinear Choice) Zelda GTA Fallout Myst Batman: Arkham Fable What they WANT What they WANT ElderWhat theyScrolls WANT (Designer Choice) (Designer Choice) Dragon(Designer Age Choice) What they DO (PlayerSandbox Choice) What do they WANT? What do they DO to get what they want? How do they SEEM? WhatUnity do of they Unity WANT? of TRAIT ACTION What do they DO to get what they want? Unity of How doPURPOSE they SEEM ? Unity of Unity of TRAIT ACTION Unity of PURPOSE = “I Don’t Care” Dragon Age Unity of PURPOSE = “I Wouldn’t Unity of Unity of TRAIT ACTION Do That…” Unity of PURPOSE = “I Don’t Care” Unity of ACTION Unity of PURPOSE Portal vs. Portal 2 Unity of Unity of ACTION ACTION = “I Wouldn’t Unity of Unity of TRAIT ACTION Do That… …But My Character Would” Unity of PURPOSE = “I Don’t Care” Unity of ACTION Punch Dudes in Face Jump off Buildings Dress Unity of Like Bat PURPOSE Stay Up Past 10 Unity of Kill ACTION People Punch Dudes in Face Jump off Buildings Dress Unity of Like Bat PURPOSE Stay Up Past 10 Unity of Murder ACTION Spree ? Jump Climb Sneak Solve Fight Puzzles Unity of Murder ACTION Spree Murder SpreeJump Murder Climb Spree Murder Sneak Spree MurderSolve Murder Fight PuzzlesSpree Spree = “I Wouldn’t “No Big Deal” = Unity of Unity of TRAIT ACTION Do That… Unity of PURPOSE = “I Don’t Care” Unity of Unity of TRAIT ACTION Unity of PURPOSE Unity of Unity of TRAIT ACTION Unity of PURPOSE “We’re not so different, you and I…” Unity of Unity of TRAIT ACTION Unity of PURPOSE Unity of Unity of Trait Action Unity of Purpose Establishing Unity of Trait ? Silent Cinematic Open Establishing Unity of Trait ? Silent Cinematic Open Establishing Unity of Trait ? Open Establishing Unity of Action Linear Sandbox What Would I Do? Establishing Unity of Action Sandbox Establishing Unity of Action Unity of Purpose Unity of ACTION Unity of PURPOSE Establishing Unity of Purpose Someone who WANTS wants something badly Uncharted 2: Unity of Purpose • “What’s going on?” Uncharted 2: Unity of Purpose • Sharing is Caring • Shared Thought • Shared Mystery/Secret • Shared Emotion • Shared Choices • Shared Experiences Heavy Rain Uncharted 2: Unity of Purpose • “What’s going on?” • “That’s my blood…” Uncharted 2: Unity of Purpose • Likeable • Underdog • Funny • Noble • Sympathetic Uncharted 2: Unity of Purpose • “What’s going on?” • “That’s my blood…” • Surprise! Uh-oh! • Thud! Ow! • “Ha, ha…. Ah, crap” • Elemental Want Establishing Unity of Purpose Establishing Unity of Purpose Someone who WANTS wants something badly Unity of PURPOSE Questions? [email protected] @fajitas on Twitter www.jnbernstein.com .
Recommended publications
  • 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).
    [Show full text]
  • Philosophy, Theory, and Literature
    STANFORD UNIVERSITY PRESS PHILOSOPHY, THEORY, AND LITERATURE 20% DISCOUNT NEW & FORTHCOMING ON ALL TITLES 2019 TABLE OF CONTENTS Redwood Press .............................2 Square One: First-Order Questions in the Humanities ................... 2-3 Currencies: New Thinking for Financial Times ...............3-4 Post*45 ..........................................5-7 Philosophy and Social Theory ..........................7-10 Meridian: Crossing Aesthetics ............10-12 Cultural Memory in the Present ......................... 12-14 Literature and Literary Studies .................... 14-18 This Atom Bomb in Me Ordinary Unhappiness Shakesplish The Long Public Life of a History in Financial Times Asian and Asian Lindsey A. Freeman The Therapeutic Fiction of How We Read Short Private Poem Amin Samman American Literature .................19 David Foster Wallace Shakespeare’s Language Reading and Remembering This Atom Bomb in Me traces what Critical theorists of economy tend Thomas Wyatt Digital Publishing Initiative ....19 it felt like to grow up suffused with Jon Baskin Paula Blank to understand the history of market American nuclear culture in and In recent years, the American fiction Shakespeare may have written in Peter Murphy society as a succession of distinct around the atomic city of Oak Ridge, writer David Foster Wallace has Elizabethan English, but when Thomas Wyatt didn’t publish “They stages. This vision of history rests on ORDERING Tennessee. As a secret city during been treated as a symbol, an icon, we read him, we can’t help but Flee from Me.” It was written in a a chronological conception of time Use code S19PHIL to receive a the Manhattan Project, Oak Ridge and even a film character. Ordinary understand his words, metaphors, notebook, maybe abroad, maybe whereby each present slips into the 20% discount on all books listed enriched the uranium that powered Unhappiness returns us to the reason and syntax in relation to our own.
    [Show full text]
  • 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.
    [Show full text]
  • 2K and Bethesda Softworks Release Legendary Bundles February 11
    2K and Bethesda Softworks Release Legendary Bundles February 11, 2014 8:00 AM ET The Elder Scrolls® V: Skyrim and BioShock® Infinite; Borderlands® 2 and Dishonored™ bundles deliver supreme quality at an unprecedented price NEW YORK--(BUSINESS WIRE)--Feb. 11, 2014-- 2K and Bethesda Softworks® today announced that four of the most critically-acclaimed video games of their generation – The Elder Scrolls® V: Skyrim, BioShock® Infinite, Borderlands® 2, and Dishonored™ – are now available in two all-new bundles* for $29.99 each in North America on the Xbox 360 games and entertainment system from Microsoft, PlayStation®3 computer entertainment system, and Windows PC. ● The Elder Scrolls V: Skyrim & BioShock Infinite Bundle combines two blockbusters from world-renowned developers Bethesda Game Studios and Irrational Games. ● The Borderlands 2 & Dishonored Bundle combines Gearbox Software’s fan favorite shooter-looter with Arkane Studio’s first- person action breakout hit. Critics agree that Skyrim, BioShock Infinite, Borderlands 2, and Dishonored are four of the most celebrated and influential games of all time. 2K and Bethesda Softworks(R) today announced that four of the most critically- ● Skyrim garnered more than 50 perfect review acclaimed video games of their generation - The Elder Scrolls(R) V: Skyrim, scores and more than 200 awards on its way BioShock(R) Infinite, Borderlands(R) 2, and Dishonored(TM) - are now available to a 94 overall rating**, earning praise from in two all-new bundles* for $29.99 each in North America on the Xbox 360 some of the industry’s most influential and games and entertainment system from Microsoft, PlayStation(R)3 computer respected critics.
    [Show full text]
  • Exploring the Experiences of Gamers Playing As Multiple First-Person Video Game Protagonists in Halo 3: ODST’S Single-Player Narrative
    Exploring the experiences of gamers playing as multiple first-person video game protagonists in Halo 3: ODST’s single-player narrative Richard Alexander Meyers Bachelor of Arts Submitted in fulfilment of the requirement for the degree of Master of Arts (Research) School of Creative Practice Creative Industries Faculty Queensland University of Technology 2018 Keywords First-Person Shooter (FPS), Halo 3: ODST, Interpretive Phenomenological Analysis (IPA), ludus, paidia, phenomenology, video games. i Abstract This thesis explores the experiences of gamers playing as multiple first-person video game protagonists in Halo 3: ODST, with a view to formulating an understanding of player experience for the benefit of video game theorists and industry developers. A significant number of contemporary console-based video games are coming to be characterised by multiple playable characters within a game’s narrative. The experience of playing as more than one video game character in a single narrative has been identified as an under-explored area in the academic literature to date. An empirical research study was conducted to explore the experiences of a small group of gamers playing through Halo 3: ODST’s single-player narrative. Interpretive Phenomenological Analysis (IPA) was used as a methodology particularly suited to exploring a new or unexplored area of research and one which provides a nuanced understanding of a small number of people experiencing a phenomenon such as, in this case, playing a video game. Data were gathered from three participants through experience journals and subsequently through two semi- structured interviews. The findings in relation to participants’ experiences of Halo 3: ODST’s narrative were able to be categorised into three interrelated narrative elements: visual imagery and world-building, sound and music, and character.
    [Show full text]
  • What Literature Knows: Forays Into Literary Knowledge Production
    Contributions to English 2 Contributions to English and American Literary Studies 2 and American Literary Studies 2 Antje Kley / Kai Merten (eds.) Antje Kley / Kai Merten (eds.) Kai Merten (eds.) Merten Kai / What Literature Knows This volume sheds light on the nexus between knowledge and literature. Arranged What Literature Knows historically, contributions address both popular and canonical English and Antje Kley US-American writing from the early modern period to the present. They focus on how historically specific texts engage with epistemological questions in relation to Forays into Literary Knowledge Production material and social forms as well as representation. The authors discuss literature as a culturally embedded form of knowledge production in its own right, which deploys narrative and poetic means of exploration to establish an independent and sometimes dissident archive. The worlds that imaginary texts project are shown to open up alternative perspectives to be reckoned with in the academic articulation and public discussion of issues in economics and the sciences, identity formation and wellbeing, legal rationale and political decision-making. What Literature Knows The Editors Antje Kley is professor of American Literary Studies at FAU Erlangen-Nürnberg, Germany. Her research interests focus on aesthetic forms and cultural functions of narrative, both autobiographical and fictional, in changing media environments between the eighteenth century and the present. Kai Merten is professor of British Literature at the University of Erfurt, Germany. His research focuses on contemporary poetry in English, Romantic culture in Britain as well as on questions of mediality in British literature and Postcolonial Studies. He is also the founder of the Erfurt Network on New Materialism.
    [Show full text]
  • The History of Video Games
    The history of video games • Introduction • Arcades • Nintendo • Sega • Sony • Microsoft • PC • Conclusion • Bibliography We are going to talk about the most known gaming systems up until now. We are also going to talk about the major console-producing companies, one by one. Arcade games are coin-operated machines, usually installed in public businesses, such as restaurants. They were most popular from the late 1970s to the mid-1990s. Even though they lost popularity in the western market, they still continue strong in Asian territory such as Japan. Arcades were home to great games like: Mortal Kombat Pac-man And Donkey Kong This is one of the most well-known and prominent video game companies of all time. Although they didn’t start out with video games they had great sucess with the Nintendo Entertainment System and it’s sucessor.Until now they have released the N64, the Gamecube, the Wii and Wii U. They also released various mobile consoles like the Gameboy, Ds, 3Ds and their variants. Nintendo owns great franchises like: Mario Legend of Zelda Metroid And Pokémon SEGA is also a very important company, being the competitor of Nintendo during the 1980s. They achieved this with Sonic, the companie’s mascot. He was a platformer like Nintendo’s Mario, but instead of being an italian plumber he was a fast and “hip” blue hedgehog. In 2001, the Dreamcast (their latest console) failed and forced the company into going third-party. This means they started making games for other consoles instead of their own. They have many iconic franchises like: Crazy Taxi Sonic the Hedgehog And Super Monkey Ball As you know Sony doesn’t only produce games, but they are “big dogs” in the gaming industry.
    [Show full text]
  • The Journal of Research on Libraries and Young Adults
    The Journal of Research on Libraries and Young Adults Volume 8, No.1: July 2017 www.yalsa.ala.org/jrlya Dreaming in Color: Identifying Race and Ethnicity in YA Speculative Fiction Reviews Jewel Davis, Belk Library and Information Commons, Appalachian State University, Boone, NC Abstract Speculative fiction is a popular YA genre that has shown a lack of diversity through the years. With the most recent call for diverse youth literature, librarians and youth advocates are in need of authentic diverse speculative fiction titles to promote. This study analyzed 2,994 reviews for YA speculative fiction published between 2010 and 2015, and identified 380 titles containing racially or ethnically diverse major characters. This study reports on what racial and ethnic diversity is present in current published YA speculative fiction and addresses issues found with racial and ethnic identification in two major review sources. The data presented and calls to action included can be used to continue the discussion of authentic diverse representation in YA speculative fiction. Introduction Speculative fiction takes readers on adventures exploring imaginary worlds and ideas not yet possible in our reality. It is a genre that pushes our considerations of and answers to “What if?” to their maximum. It is a genre that creates the impossible through magic and technology, explains the peculiar using creatures from myths and legends, and chills the bones with horrors from the dark night. Through their craft, authors build worlds unlike our own that nevertheless reflect our society and human nature, mirror our fears and fantasies, and interpret our dreams and desires.
    [Show full text]
  • PORTAL 2: PLAYER IMPACT GUIDE Ages 8+ | 1-2 Hours
    Spatial Awareness PORTAL 2: PLAYER IMPACT GUIDE Ages 8+ | 1-2 Hours “There’s a lot of challenge in trying to figure out how as the player is moving through this, in terms of a story space, how can you make a gameplay space out of this so they can travel through it in an interesting way.” --Jeep Barnett, designer and engineer In Portal 2, portals are used to navigate obstacle courses filled with deadly hazards inside the mysterious Aperture Science Laboratories. To navigate the game, you must move through the space by following a simple concept: anything that enters one portal—including boxes, lasers, bridges, and you yourself—will exit the other without changing speed. In order to escape Aperture Science and defeat GLaDOS, the lab’s computerized overlord, you must think in three dimensions and use physics to solve puzzles in unusual ways. In this guide we invite you to think about the ways Portal 2 challenges players’ special awareness. As you play, reflect HOW TO on your experience. How is spatial awareness important in Portal 2? How is it important in your life? What kind of USE THIS impact does it leave on your understanding of how the world works? GUIDE Answer the questions below and add up your points when you’re finished! What is a “portal?” How do portals work? [+1] What are some tricks for using portals? What happens when you put a portal directly above you and another one directly under you? [+1] GAME What do the different types of gels do? [+1] How do the Excursion Funnels work? How are they different from Hard Light Bridges? [+2] How does the game indicate the steps you need to take when solving a puzzle? [+3] Many Portal 2 marketing materials use the tagline “Now you’re thinking with portals!” What do you think it means to “think with portals?” Do you find yourself “thinking” in this way as you play the game? [+1] What challenged you when thinking about using “space” in the game (e.g.
    [Show full text]
  • Everyman, All at Once Formatted 4.10.18
    Ben Phelan Brigham Young University, United States Everyman, All at Once Baptism and the Liberal Subject in BioShock Infinite Even as liberalism has penetrated nearly every nation on earth, its vision of human liberty seems increasingly to be a taunt rather than a promise. —Patrick J. Deneen, Why Liberalism Failed Abstract The 2013 video game BioShock Infinite stages baptism as a way to place the player within a liminal space where he or she is ostensibly a free subject, able to choose from an array of political options, but who will inevitably choose liberalism. In order to get the player to the point where they make—or rather confirm—their choice, the game must also force the player to arrive there. This conundrum mirrors the paradox of liberalism, following theorists like Patrick J. Deneen: that we supposedly choose among a realm of infinite possibly and yet those possibilities are forced upon us. This paradox is also the mode within which BioShock Infinite operates. The game uses self-referential and metatextual techniques to call attention to its gameness, and yet, it still asks the player to accept its liberal ideology. Althusser argues that the role of “Ideological State Apparatuses” (or ISAs) is to convince us that we are subjects who freely choose the dominant ideology, as opposed to any other system. ISAs do this through confirming us as subjects through rituals of ideological recognition enacted through, among other things, theatre, film, and video games. BioShock Infinite places the player in a position where they confirm that they are, indeed, a liberal subject, and then asks that liberal subject to choose the very order from which their (mis)recognition occurs.
    [Show full text]
  • 'Littlebigplanet' Wins Big at Video Game Awards 26 March 2009, by DERRIK J
    'LittleBigPlanet' wins big at video game awards 26 March 2009, By DERRIK J. LANG , AP Entertainment Writer "Fallout 3" lead writer Emil Pagliarulo during his acceptance speech. "To all the nerds growing up in South Boston, don't play hockey. Don't join Little League. Stay in your room, read your Lloyd Alexander and play 'Dungeons and Dragons.' It all works out in the end." Selected by a jury of game creators, the Game Developers Choice Awards honor the best games of the past year. The lively ninth annual ceremony was hosted by "Psychonauts " and "Brutal Legend" developer Tim Schafer. The show was capped off with the debut teaser trailer for "Call of Duty: Modern Warfare 2," the upcoming sequel to the best-selling game of 2007. Other winners at the ceremony at the Moscone Video game enthusiasts attend the Game Developers Convention Center were Ubisoft Montreal's "Prince Conference Wednesday, March 25, 2009, in San of Persia" for best visual art, Ready at Dawn Francisco. (AP Photo/Ben Margot) Studios' "God of War: Chains of Olympus" for best handheld game, EA Redwood Shores' "Dead Space" for best audio and 2D Boy's "World of Goo" for best downloadable game. (AP) -- "LittleBigPlanet" sacked the competition to win four trophies at the Game Developers Choice "Video Games Live" concert series co-founder Awards. Tommy Tallarico was awarded the ambassador trophy. Alex Rigopulos and Eran Egozy, co- Developed by Media Molecule, the cutsey founders of "Rock Band" developer Harmonix, PlayStation 3 adventure game which allows received the pioneer award. "Metal Gear Solid" players to create and share their own levels was creator Hideo Kojima was bestowed with the honored for best game design, debut, technology lifetime achievement award.
    [Show full text]
  • Playstation Fiesta Bowl and the Cactus Bowl
    #41 BEST INDIVIDUAL SPONSOR FOLLOW UP REPORT ifea submission 2018 41) BEST INDIVIDUAL SPONSOR FOLLOW-UP REPORT Overview Information Introduction and Description of Main Event The first Fiesta Bowl game was played in 1971 after much effort from a group of nine visionary business leaders who worked tirelessly to bring a post-season college football game to the state of Arizona. Since that time, the Fiesta Bowl organization has grown into much more than just one game. The Fiesta Bowl’s vision is to be a world-class community organization that executes innovative experiences, drives economic growth and champions charitable causes, inspiring pride in all Arizonans. As a nonprofit organization, we believe in the importance of fostering a culture of community outreach and service. Based in Scottsdale, the Fiesta Bowl hosts a variety of local events each year, as well as two elite bowl games – the PlayStation Fiesta Bowl and the Cactus Bowl. Together, these two events generate $170 million in economic impact for the State of Arizona.* In 2014, the Fiesta Bowl became a part of the College Football Playoff along with five other storied Bowl Games, collectively “The New Year’s Six.” Each season, the Fiesta Bowl matchup is determined by an independent selection committee tasked with ranking the top 25 teams in the nation, placing the top four teams in designated Semifinal games and the remaining eight teams in the “Host Bowls.” The Fiesta Bowl is a College Football Playoff Semifinal game every three years, beginning in 2016 and again in 2019. The Fiesta Bowl is played at University of Phoenix Stadium in Glendale, Arizona with a stadium capacity of 68,000+.
    [Show full text]