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Aaron Paul, Drake Promote EA Video Games at E3 10 June 2013, by Derrik J
Aaron Paul, Drake promote EA video games at E3 10 June 2013, by Derrik J. Lang adrenaline rush that puts you on the edge of your seat," Paul said while introducing footage from the movie. However, the celebrity attendees didn't receive the biggest reaction at EA's event in Los Angeles. That was reserved for the moment when "Battlefield 4" executive producer Patrick Bach revealed that 64 players were on stage behind a screen. The mob then engaged in a multiplayer match of the upcoming military shooter. "Rivals" and "Battlefield 4" are adding companion apps that allow players to affect online games from mobile devices. Attendees watch a presentation on video game Battlefield 4 at the Microsoft Xbox E3 media briefing in Electronic Arts Inc. concluded the presentation by Los Angeles, Monday, June 10, 2013. Microsoft focused revealing that it's working on a sequel to the 2008 on how cloud computing will make games for its next- free-running action game "Mirror's Edge." A video generation Xbox One console more immersive during its teased it was "coming ... when it's ready." Monday presentation at the Electronic Entertainment Expo. Microsoft announced last week that the console © 2013 The Associated Press. All rights reserved. must be connected to the Internet every 24 hours to operate, and the system would ideally always be online. (AP Photo/Jae C. Hong) Drake and Aaron Paul are bringing some star power to the Electronic Entertainment Expo. The rapper and the "Breaking Bad" co-star appeared on stage Monday at Electronic Arts' E3 presentation to promote games from the video game publisher. -
Hunting and Killing Animals in Open World Video Games Erik Van Ooijen Eludamos
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Eludamos. Journal for Computer Game Culture Vol. 9, No. 1 (2018) http://www.eludamos.org On the Brink of Virtual Extinction: Hunting and Killing Animals in Open World Video Games Erik van Ooijen Eludamos. Journal for Computer Game Culture. 2018; 9 (1), pp. 33-45 On the Brink of Virtual Extinction: Hunting and Killing Animals in Open World Video Games ERIK VAN OOIJEN The present article focuses on the ways in which games represent certain aspects of the systemic nature of violence. It seeks to shift focus from the “outrageous” representations of violence directed at human individuals that often tend to dominate debates on game violence, to rather study the, much less visible, “everyday” violence directed at animals as it is manifested by the hunting mechanics of open world games. Taking a rhetorical approach to the underlying mechanics of violence, it focuses less on shocking depictions as such than on the implicit ideological functions of procedural gameplay. The article circles around four main areas of investigation: how games represent the relationship between hunting animals and crafting animal goods; construct distinctions between human and non-human animals; separate species into juridical and ethical categories; and deal with the digital nature of representations of wildlife in games, where animals may always respawn anew, in order to present rhetorical arguments on the connection between hunting and extinction. Game Studies and Animal Violence Studies on violence against animals in games are surprisingly scarce (Sawers & Demetrious, 2010). In gaming discourse in general, accounts may be found of individual players’ reactions to shocking depictions of animal violence. -
Comparative Life Cycle Impact Assessment of Digital and Physical Distribution of Video Games in the United States
Comparative Life Cycle Impact Assessment of Digital and Physical Distribution of Video Games in the United States The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Buonocore, Cathryn E. 2016. Comparative Life Cycle Impact Assessment of Digital and Physical Distribution of Video Games in the United States. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797406 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Comparative Life Cycle Impact Assessment of Digital and Physical Distribution of Video Games in the United States Cathryn E. Buonocore A Thesis in the field of Sustainability for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2016 Copyright 2016 Cathryn E. Buonocor Abstract This study examines and compares the environmental footprint of video game distribution on last generation consoles, current generation consoles and personal computers (PC). Two different methods of delivery are compared on each platform: traditional retail on optical discs and digital downloads in the U.S. Downloading content has been growing and is used to distribute movies, music, books and video games. This technology may change the environmental footprint of entertainment media. Previous studies on books, music, movies and television shows found that digital methods of distribution reduced emissions. However, prior research on video games, looking only at previous generation consoles, found the opposite conclusion. -
Vietnam's Hit Game Developer Pulls Plug on Flappy Bird (Update) 10 February 2014, by Cat Barton
Vietnam's hit game developer pulls plug on Flappy Bird (Update) 10 February 2014, by Cat Barton "It is not anything related to legal issues. I just cannot keep it anymore," Dong tweeted from his @dongatory handle—which has seen its follower count grow by tens of thousands in the last few days. Flappy Bird features 2D retro-style graphics. The aim of the game is to direct a flying bird between oncoming sets of pipes without touching them. Dong has said in interviews that his brainchild was pulling in as much as $50,000 per day in revenue from online advertising banners. Nguyen Ha Dong, creator of the game Flappy Bird, is pictured in Hanoi on February 5, 2014 The Vietnamese developer behind the smash-hit free game Flappy Bird has pulled his creation from online stores after announcing that its runaway success had ruined his "simple life". Technology experts say the addictive and notoriously difficult game rose from obscurity at its release last May to become one of the most downloaded free mobile games on Apple's App Store and Google's Play store. Online commentators have speculated that Nguyen Ha Dong took down Flappy Bird after being pressured by "'Flappy Bird' is a success of mine. But it also ruins Japan's Nintendo my simple life. So now I hate it," the game's creator Nguyen Ha Dong tweeted. "I am sorry 'Flappy Bird' users, 22 hours from now, The free game has been the number one app in I will take 'Flappy Bird' down. I cannot take this Apple's iOS App Store in more than 100 countries, anymore," he wrote Saturday in a message that according to An Minh Do, editor at the Tech in Asia had been retweeted nearly 140,000 times by online media company. -
Ubisoft Studios
CREATIVITY AT THE CORE UBISOFT STUDIOS With the second largest in-house development staff in the world, Ubisoft employs around 8 000 team members dedicated to video games development in 29 studios around the world. Ubisoft attracts the best and brightest from all continents because talent, creativity & innovation are at its core. UBISOFT WORLDWIDE STUDIOS OPENING/ACQUISITION TIMELINE Ubisoft Paris, France – Opened in 1992 Ubisoft Bucharest, Romania – Opened in 1992 Ubisoft Montpellier, France – Opened in 1994 Ubisoft Annecy, France – Opened in 1996 Ubisoft Shanghai, China – Opened in 1996 Ubisoft Montreal, Canada – Opened in 1997 Ubisoft Barcelona, Spain – Opened in 1998 Ubisoft Milan, Italy – Opened in 1998 Red Storm Entertainment, NC, USA – Acquired in 2000 Blue Byte, Germany – Acquired in 2001 Ubisoft Quebec, Canada – Opened in 2005 Ubisoft Sofia, Bulgaria – Opened in 2006 Reflections, United Kingdom – Acquired in 2006 Ubisoft Osaka, Japan – Acquired in 2008 Ubisoft Chengdu, China – Opened in 2008 Ubisoft Singapore – Opened in 2008 Ubisoft Pune, India – Acquired in 2008 Ubisoft Kiev, Ukraine – Opened in 2008 Massive, Sweden – Acquired in 2008 Ubisoft Toronto, Canada – Opened in 2009 Nadeo, France – Acquired in 2009 Ubisoft San Francisco, USA – Opened in 2009 Owlient, France – Acquired in 2011 RedLynx, Finland – Acquired in 2011 Ubisoft Abu Dhabi, U.A.E – Opened in 2011 Future Games of London, UK – Acquired in 2013 Ubisoft Halifax, Canada – Acquired in 2015 Ivory Tower, France – Acquired in 2015 Ubisoft Philippines – Opened in 2016 UBISOFT PaRIS Established in 1992, Ubisoft’s pioneer in-house studio is responsible for the creation of some of the most iconic Ubisoft brands such as the blockbuster franchise Rayman® as well as the worldwide Just Dance® phenomenon that has sold over 55 million copies. -
Ski Nautique 200 - Closed Bow Ski Nautique 200 - Open Bow
2018 OWNERS MANUAL SKI NAUTIQUE 200 - CLOSED BOW SKI NAUTIQUE 200 - OPEN BOW Ski_Sport_200_front matter_2018.qxp_Nautique Ski front matter.qxd 7/13/17 2:52 PM Page i Dear Nautique Owner, Welcome to the Nautique Family! For over 90 years, Nautique has been dedicated to providing our customers and their families with the finest inboard boats available. It’s our passion to create the best performing boats in the industry. Boats that allow you to escape the routine of everyday life. Our customers don’t just own a Nautique, they live the Nautique life. Your boat has been built with the best material and workmanship available, a legacy handed down from our founder. Our wealth of experience gives us the edge in innovation, quality and performance. We have the most dedicated and loyal employees in the industry. Hands down. Every day, our employees do more than just punch a clock; they take personal pride in every boat that comes down the line. Review this Owner’s Manual for your boat. We have assembled this manual to inform you about your Nautique and educate you further on boating. Please pay particular attention to the safety statements labeled as DANGER, WARNING, CAUTION and NOTICE. These statements alert you to possible safety hazards to avoid so you can have a safer boating experience. There are also many tips and tricks on care and maintenance sprinkled throughout the manual. Boating is very important to us and we would like you to enjoy many years of boating in your Nautique. By purchasing a Nautique, you have taken the first step in trading your old lifestyle for a new one. -
Flapga Mario∗ Implementing a Simple Video Game on Basys 3 FPGA Board
FlaPGA Mario∗ Implementing a simple video game on Basys 3 FPGA board Liu Haohua June, 2018 Contents 1 Introduction 2 1.1 Background . .2 1.2 Drawing the blueprint . .2 1.3 System architecture . .3 2 Fundamentals 4 2.1 VGA Module . .4 2.1.1 Basys 3 VGA port specs . .4 2.1.2 VGA Timing . .4 2.2 ROMs . .6 2.2.1 Accessing the pixels . .6 2.2.2 Writing data to the board . .6 2.3 RAMs . .6 3 Graphics Engine 7 3.1 Displaying images . .7 3.2 Sprites . .7 3.3 Background Engine . .7 3.4 Object Engine . .8 3.5 Layers blending . .8 4 Audio Engine 8 4.1 Sine wave generator . .8 4.2 Music data . 10 5 Game Logic 11 5.1 Mario . 11 5.2 Pipes and coins . 11 5.2.1 Pipes and coin generation . 11 5.3 Collision detection . 12 5.4 Scrolling . 12 5.4.1 Split scrolling . 12 5.4.2 Parallax scrolling effect . 13 ∗The full code can be obtained at https://github.com/howardlau1999/flapga-mario 1 5.5 Data writing arrangement . 13 5.6 Game status . 14 6 Conclusion 14 6.1 Screenshots . 14 6.2 My feelings . 15 6.3 Possible improvements . 15 7 References 16 8 Acknowledgement 16 9 Appendix 16 9.1 Resources convertion . 16 9.1.1 Image data convertion . 16 9.1.2 Music data convertion . 16 1 Introduction 1.1 Background Early in my childhood had I the first contact with video game consoles and I have been long fascinated by the virtual world that games create. -
How to Get Minecraft on Chromebook for Free
How To Get Minecraft On Chromebook For Free How To Get Minecraft On Chromebook For Free CLICK HERE TO ACCESS MINECRAFT GENERATOR Best Mods For The Survival Mode When you look at why people might want to use mods over more new content, it's because they like adding new things and making their experience better. These mods improve upon what already exists in Minecraft which is why everyone likes them so much. More Info Download: MINECRAFT MODS", As you can see, the different kinds of mods differ in many ways. Knowing them is important because you will be able to identify each of them when you are browsing for a mod.", Minecraft Bedrock Edition offers a much more convenient way to play Minecraft and it's compatible with iOS, Android and Windows 10 devices. You don't need any special hardware or software in order to use your server. All you need is a mobile device to connect to it and you're ready to go. The process of starting your server is very simple and anyone can do it, so you'll be playing in no time! You can also make purchases with in- game currency for extra characters, skins and other stuff from the Minecraft Marketplace, so if you decide to buy something from there you won't have any problems or issues at all.", "Rust" takes place in a post-apocalyptic world where climate change has reportedly caused most animals (including humans) to become extinct. A player begins their journey by choosing to build themselves a shelter or start mining and gather resources as soon as possible for crafting valuable items which can be sold for money. -
Single Player Orientation
Single Player Orientation Minecraft for mobile Singleplayer orientation This document is for teachers. New words and phrases Singleplayer mode is a way of playing Minecraft on one device. Pupils can only see themselves in the Minecraft world. Multiplayer mode can have up to five pupils working together over the local network. This makes collaboration an option. See the CCEA Multiplayer resource for more information. Game modes: Creative In creative mode, the only task you have is to build things. You will have access to all the resources in your inventory. Survival When you are in survival mode you must find food to survive and/or farm resources to craft and build items. If you die, you respawn and carry on. Adventure Adventure mode is a game mode intended for player-created maps, limiting some of the gameplay in Minecraft. In this mode, you cannot directly destroy any blocks with any tools or place any blocks, in order to avoid spoiling adventure maps. Approximate times are given for each step throughout the resource. 1 Single Player Orientation Learning outcomes When pupils have completed Activity: Singleplayer creative mode they will have: Created an avatar; Created a new world in singleplayer mode, named the world and set the game mode to creative; Explored the world in creative mode, using the inventory and hotbar; Created a small shelter in creative mode; Documented their build by taking a snapshot; and Helped fellow pupils through the steps, where appropriate. When pupils have completed Activity: Singleplayer survival mode they will have: Set the game mode to survival; Explored the world in survival mode; Completed a selection of Recipes in survival mode; Documented their crafting activities by taking a series of snapshots; and Helped fellow pupils through the steps, where appropriate. -
The Minecraft Session Table of Contents
Welcome to the Minecraft session Table of Contents Introduction………………………………………………………………………………….Slides 3-8 Creative Mode……………………………………………………………………………… Slide 9 Survival Mode………………………………………………………………………………. Slide 10-16 Tools…………………………………………………………………………………………………… Slide 12 Difficulties…………………………………………………………………………………………. Slide 13 Monsters……………………………………………………………………………………………..Slides 14 & 15 Weapons & Armor………………………………………………………………………………. Slide 16 Hardcore Mode……………………………………………………………………………. Slide 17 Crafting……………………………………………………………………………………….. Slides 18 & 19 Controls……………………………………………………………………………………….. Slide 20 Today’s Session……………………………………………………………………………. Slide 21 What is Minecraft? Minecraft is an open world sandbox game that focuses on building, exploration, and survival. It is an independently developed (indie) game created by Markus Persson and his company Mojang. Although there is an “ending” to the game, the user sets out his/her own objectives, as each action in the game provides rewards. Background Originally known as Cave Game, the first development phase of Minecraft began on May 10th, 2009. After a short development cycle of only 6 days, the first version of the game was publicly released on the 17th of May, 2009. This phase of the game would later become known as Classic, and it can still be played to this day. Over the next couple of years, Minecraft would go through many updates and changes, before being officially released on November 18th, 2011. The Rise of Minecraft Being an indie game, Minecraft lacked a fan base upon initial release. At the time, YouTube personalities began to upload “Let’s Plays,” videos in which people would play a video game and provide live commentary of their interactions. SeaNanners and YogsCast, two successful YouTube channels (at the time roughly 200,000-400,000 subscribers each) presented their adventures in this unknown game to a large audience which multiplied as the videos were spread on social media. -
Master Thesis Marlen Komorowski
Vrije Universiteit Brussel Marlen Komorowski Faculteit Letteren en Wijsbegeerte Study Area Communication Studies Revenue and Payment Models of Digital Games The Power of Innovative Revenue Models in the Media Industry taking the Example of Massively Multiplayer Online Role-Playing Games Thesis submitted to obtain the grade of Master of Communication Studies – New Media and Society in Europe Supervisors: Dr. Valérie-Anne Bleyen & Olivier Breat Academic Year: 2012-2013 39,882 ABSTRACT Marlen Komorowski Vrije Universiteit Brussel / 2012-2013 Title: Revenue and Payment Models of Digital Games The Power of Innovative Revenue Models in the Media Industry taking the Example of Massively Multiplayer Online Role-Playing Games Supervisors: Dr. Valérie-Anne Bleyen & Olivier Breat Our economy had changed significantly through digitization bringing new business opportunities but also threats which especially influences the media industry. One possibility to deal with these new circumstances is to implement innovative online revenue models. In order to find successful revenue models the youngest media industry, the digital game industry, is in a position to show meaningful findings. The integrated online revenue models of representative massively multiplayer online role-playing games (MMORPGs), revealed that the subscription model and free-to-play model, based on freemium and micro- transactions, are crucial in this segment. Trends can be identified expressing a strong shift to free-to-play and the importance of accessibility and social interaction in MMORPGs. The free-to-play model seems to be the future not only for MMORPGs but also the whole media industry. Key Words: disruptive innovations, media products, digital game industry, massively multiplayer online role-playing games, revenue model, payment model, sustainability, subscription, free-to-play, accessibility Words: 39,884 I TABLE OF CONTENTS ABSTRACT I TABLE OF CONTENTS II LIST OF TABLES AND FIGURES IV ABBREVIATIONS V ACKNOWLEDGEMENT VII PREFACE VIII Chapter 1: Introduction of the Research 1 1.1. -
Assassin's Creed III and the Aesthetics of Disappointment
Assassin’s Creed III and the Aesthetics of Disappointment Jonathan Church Arcadia University Dept. of Sociology, Anthropology and Criminal Justice Glenside, PA 19038, USA 0012155724017 [email protected] Michael Klein Arcadia University Dept. of Sociology, Anthropology and Criminal Justice Glenside, PA 19038, USA [email protected] ABSTRACT Using a case example of the cycle of prerelease, release, and post-release commentary, criticism and reviews of Assassin’s Creed III from June 2012-January 2013, this paper examines how video game players produce a “culture of history” about the game they play through their commitment to commentary and critique mainly found in user reviews in gaming enthusiast press websites. This paper examines how an aesthetic of disappointment generates a comparative sense of gamers’ cultural present by framing aspects that should have been improved upon from the series’ past as well as in terms of expectations for the future of gaming. This paper concludes by suggesting that part of the pleasure of contemporary gaming for many self-identified “core” gamers is being able to both play games and aesthetically discuss the game being played as part of a culture of history with other gamers, a form of paidiaic play for “gaming capital”. Keywords Criticism, video games, affinity spaces, neoliberalism, paidiaic play INTRODUCTION This paper examines how video gaming enthusiast blog sites that cultivate community participation, reviews and forums, are generating affinity spaces (Gee 2005) where video game players enact their identities and construct what Suominen (2011) has called a “culture of history.” We argue that the aggregation of these sites may be thought of as a kind of neoliberal archive.