How Blockchain Technology Could Transform the Online Gaming Industry
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What Motivates the Authors of Video Game Walkthroughs and Faqs? a Study of Six Gamefaqs Contributors Michael Hughes Trinity University, [email protected]
Trinity University Digital Commons @ Trinity Library Faculty Research Coates Library 1-1-2018 What Motivates the Authors of Video Game Walkthroughs and FAQs? A Study of Six GameFAQs Contributors Michael Hughes Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/lib_faculty Part of the Library and Information Science Commons Repository Citation Hughes, M.J. (2018). What motivates the authors of video game walkthroughs and FAQs? A study of six GameFAQs contributors. First Monday, 23(1), 1-13. doi: 10.5210/fm.v23i1.7925 This Article is brought to you for free and open access by the Coates Library at Digital Commons @ Trinity. It has been accepted for inclusion in Library Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. First Monday, Volume 23, Number 1 - 1 January 2018 Walkthroughs, also known as FAQs or strategy guides, are player-authored documents that provide step-by-step instructions on how to play and what to do in order to finish a given video game. Exegetical in their length and detail, walkthroughs require hours of exacting labor to complete. Yet authors are rarely compensated for work that markedly differs from other kinds of fan creativity. To understand their motivations, I interviewed six veteran GameFAQs authors, then inductively analyzed the transcripts. Open coding surfaced five themes attributable to each participant. Together, these themes constitute a shifting mix of motivations, including altruism, community belonging, self-expression, and recognition — primarily in the form of feedback and appreciation but also from compensation. -
Last Line of Defence Cyber Security of Industrial Control Sys- Tems
Last line of defence Cyber security of industrial control sys- tems M. Luchs Delft University of Technology LASTLINEOFDEFENCE CYBER SECURITY OF INDUSTRIAL CONTROL SYSTEMS by M. Luchs in partial fulfillment of the requirements for the degree of Master of Science in Offshore and Dredging Engineering at the Delft University of Technology, to be defended publicly on Wednesday October 26th, 2016 at 14:00 PM. Supervisor: dr. ir. C. Doerr Thesis committee: Prof. dr. C. van Rhee, TU Delft dr. ir. S. A. Miedema, TU Delft Ir. F.van der Heijden, Heerema Fabrication Group An electronic version of this thesis is available at http://repository.tudelft.nl/. PREFACE Before you lies the thesis "Last line of defence: Cyber security of industrial control systems". This work in- vestigates the state of cyber security within the offshore and dredging industry, the result of which has led to the proposal of a novel intrusion detection system for industrial control systems. It is written to complete the graduation requirements of the MSc program Offshore and Dredging Engineering at the Delft University of Technology. The project has been undertaken in collaboration with Heerema Fabrication Group whom where looking to increase their awareness on cyber security. Investigating the state of cyber security within the offshore and dredging industry has led to the research question, which was formulated together with my supervisor from the TU-Delft, Christian Doerr. The work has proven challenging at times, in part because the subject is fairly unexplored terrain, and also my missing of a background in cyber security and computer networks. Nonethe- less it has provided me with many avenues for growth and learning, especially since both the TU-Delft as HFG provided me the option to freely explore and thus gain insights broader then in one area of focus alone. -
Hydrax-Manual
BCI The game "Hydrax" is a new concept in Adventure Games. It seeks to combine the best features of an Adventure Game with the action and graphics of an Arcade Game. As an adventurer you will be required to solve puzzles and riddles while exploring a vast underground world in your quest to find and defeat Hydrax. As an arcader you will use a joystick to control the hero and to fight various unfriendly creatures which inhabit the cave. The game is played in two ways, by means of the joystick, when fast action to defeat an enemy is required, and by typed commands if a more thoughtful solution is required. Pressing the space bar on the computer will freeze all action and allow you to type in a command. Commands may be single words or sentences. e.g. (i) LOOK-will tell you about the room (ii) OFFER 10 GOLD PIECES TO WITCH SOME USE.FUL COMMANDS INVENTORY - tells what you are currently carrying and how many life points you have left. SAVE GAME - saves game to disk (see note). EXITS FROM CAVERN The exits are left, right, back, front, up, and down. A cavern may have only one exit or any combination of six. All exits are normally visible on the screen except the front. The joystick can be used to walk through a left or right exit. JOYSTICK The joystick is used for walking, jumping, ducking, swimming and fighting. To fight you must carry a sword. Press fire button and direction of the joystick will point the sword. -
Download a PDF Version of the Official
“To Open Minds, To Educate Intelligence, To Inform Decisions” The International Academic Forum provides new perspectives to the thought-leaders and decision-makers of today and tomorrow by offering constructive environments for dialogue and interchange at the intersections of nation, culture, and discipline. Headquartered in Nagoya, Japan, and registered as a Non-Profit Organization 一般社( 団法人) , IAFOR is an independent think tank committed to the deeper understanding of contemporary geo-political transformation, particularly in the Asia Pacific Region. INTERNATIONAL INTERCULTURAL INTERDISCIPLINARY iafor The Executive Council of the International Advisory Board Mr Mitsumasa Aoyama Professor June Henton Professor Baden Offord Director, The Yufuku Gallery, Tokyo, Japan Dean, College of Human Sciences, Auburn University, Professor of Cultural Studies and Human Rights & Co- USA Director of the Centre for Peace and Social Justice Southern Cross University, Australia Lord Charles Bruce Professor Michael Hudson Lord Lieutenant of Fife President of The Institute for the Study of Long-Term Professor Frank S. Ravitch Chairman of the Patrons of the National Galleries of Economic Trends (ISLET) Professor of Law & Walter H. Stowers Chair in Law Scotland Distinguished Research Professor of Economics, The and Religion, Michigan State University College of Law Trustee of the Historic Scotland Foundation, UK University of Missouri, Kansas City Professor Richard Roth Professor Donald E. Hall Professor Koichi Iwabuchi Senior Associate Dean, Medill School of Journalism, Herbert J. and Ann L. Siegel Dean Professor of Media and Cultural Studies & Director of Northwestern University, Qatar Lehigh University, USA the Monash Asia Institute, Monash University, Australia Former Jackson Distinguished Professor of English Professor Monty P. -
Virtual Parentalism Joshua A.T
Washington and Lee Law Review Volume 66 | Issue 3 Article 11 Summer 6-1-2009 Virtual Parentalism Joshua A.T. Fairfield Washington and Lee University School of Law, [email protected] Follow this and additional works at: https://scholarlycommons.law.wlu.edu/wlulr Part of the Family Law Commons, and the Internet Law Commons Recommended Citation Joshua A.T. Fairfield, Virtual Parentalism, 66 Wash. & Lee L. Rev. 1215 (2009), https://scholarlycommons.law.wlu.edu/wlulr/vol66/iss3/11 This Article is brought to you for free and open access by the Washington and Lee Law Review at Washington & Lee University School of Law Scholarly Commons. It has been accepted for inclusion in Washington and Lee Law Review by an authorized editor of Washington & Lee University School of Law Scholarly Commons. For more information, please contact [email protected]. Virtual Parentalism Joshua A.T. Fairfield* Abstract Parents,not laws, ultimately protect children both online and offline. If legislationplaces adults at legal risk because of the presence of children in virtualworlds, adults will exit those worlds, and children will be isolated into separatespaces. This will not improve safetyfor children. Instead,this Article suggests that Congressenact measuresthat encouragefiltering technology and parentaltools that will both protect children in virtualworlds, andprotectfree speech online. Table of Contents I. Introduction ................................................................................ 12 16 II. Parentalism and Cyberbalkanization .......................................... -
Quake Manual
The Story QUAKE Background: You get the phone call at 4 a.m. By 5:30 you're in the secret installation. The commander explains tersely, "It's about the Slipgate device. Once we perfect these, we'll be able to use them to transport people and cargo from one place to another instantly. "An enemy codenamed Quake, is using his own slipgates to insert death squads inside our bases to kill, steal, and kidnap. "The hell of it is we have no idea where he's from. Our top scientists think Quake's not from Earth, but another dimension. They say Quake's preparing to unleash his real army, whatever that is. "You're our best man. This is Operation Counterstrike and you're in charge. Find Quake, and stop him ... or it ... You have full authority to requisition anything you need. If the eggheads are right, all our lives are expendable." Prelude to Destruction: While scouting the neighborhood, you hear shots back at the base. Damn, that Quake bastard works fast! He heard about Operation Counterstrike, and hit first. Racing back, you see the place is overrun. You are almost certainly the only survivor. Operation Counterstrike is over. Except for you. You know that the heart of the installation holds a slipgate. Since Quake's killers came through, it is still set to his dimension. You can use it to get loose in his hometown. Maybe you can get to the asshole personally. You pump a round into your shotgun, and get moving. System Requirements General Quake System Requirements IBM PC and Compatible Computers Pentium 75 MHz processor or better (absolutely must have a Math Co-Processor!) VGA Compatible Display or better Windows 95 Operation: 16MB RAM minimum, 24MB+ recommended CD-ROM drive required Hard Drive Space Needed: 80 MB Specialized Requirements For WinQuake (WINQUAKE.EXE): Windows 95/98/ME/NT/2000 For GLQuake (GLQUAKE.EXE): Windows 95/98/ME/NT/2000 Open GL Compatible Video Card GLQUAKE supports most 100% fully OpenGL compliant 3D accelerator cards. -
Art Games: Performativity and Interactivity a Thesis Presented to the Faculty of the College of Fine Arts of Ohio University In
Art Games: Performativity and Interactivity A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Sarah M. Grabner May 2018 © 2018 Sarah M. Grabner. All Rights Reserved. 2 This thesis titled Art Games: Performativity and Interactivity by SARAH M. GRABNER has been approved for the School of Art + Design and the College of Fine Arts by Jennie Klein Professor of Art History Matthew R. Shaftel Dean, College of Fine Arts 3 Abstract GRABNER, SARAH M., M.A., May 2018, Art History Art Games: Performativity and Interactivity Director of Thesis: Jennie Klein This research’s intention is to define and classify what art games are and how these three particular games rely on the audience to activate the artworks, thus making the audience’s interactions essential to complete the artworks. Technology has always impacted the art world and shaped the media that artists experiment with and use. Today, there are many artists who use games as their method for conveying their ideas and messages. This paper will examine how three artists use gaming structures to critique historical and social topics through the audience’s interactions with the artworks’ gaming structures. The three case studies about Pippin Barr’s The Artist is Present, Tale of Tales’ The Path and Wafaa Bilal’s performance Domestic Tension will examine how these artworks exemplify and use the elements of the particular genre of games, art games. Through looking at research done on digital space and the case studies this paper will address how these artworks create a shift from the focus of the artwork being on the creator or artist to how the interactions and performance of the audience complete the works. -
Army-Of-Two-The-Devil-S-Cartel-Manual
WARNING: PHOTOSENSITIVITY/EPILEPSY/SEIZURES A very small percentage of individuals may experience epileptic seizures or blackouts when exposed to certain light patterns CONTENTS or flashing lights. Exposure to certain patterns or backgrounds on a television screen or when playing video games may trigger epileptic seizures or blackouts in these individuals. These conditions may trigger previously undetected epileptic symptoms or GETTING STARTED. ......................2 HEADS-Up DIspLAY (HUD). ...........10 seizures in persons who have no history of prior seizures or epilepsy. If you, or anyone in your family, has an epileptic condition or INTRODUCTION. ...........................3 GETTING INTO THE ACTION. ..........12 has had seizures of any kind, consult your physician before playing. IMMEDIATELY DISCONTINUE use and consult your physician before resuming gameplay if you or your child experience any of the following health problems or symptoms: CONTROLS. ..................................4 WORKING TOGETHER. ..................18 ` dizziness ` eye or muscle twitches ` disorientation ` any involuntary movement MAIN MENU. ...............................5 WEAPON CUSTOMIZATION. ..........20 ` altered vision ` loss of awareness ` seizures or convulsion. MIssIONS. ...................................7 NEED HELP?. ................................21 RESUME GAMEPLAY ONLY ON APPROVAL OF YOUR PHYSICIAN. PLAYING THE GAME. ....................8 This product has been rated by the Entertainment Software Rating Board. For information about the ESRB rating please UN se A D HANDling OF VIDeo GAMes TO REDUCE THE LIKelihooD OF A SEIZURE visit www.esrb.org. ` Use in a well-lit area and keep as far away as possible from the television screen. ` Avoid large screen televisions. Use the smallest television screen available. NOTICES ` Avoid prolonged use of the PlayStation®3 system. Take a 15-minute break during each hour of play. -
View the Manual
© 2011 1C Company. Developed by Digitalmindsoft. All rights reserved. This product contains technology licensed by Best Way. Index ===== Installation.....................................2 System Requirements ............................2 Installation ...................................3 Launching the Game .............................3 Profile .........................................3 Main Menu........................................3 Single Player....................................4 Game Menu ......................................6 Game Interface .................................8 1. Main Screen ...............................8 2. Minimap ...................................9 3. Squads - Panel of Quick Unit Selection ..10 4. Message History ..........................10 5. Mission Objectives .......................10 6. Control Panel ............................10 Controls........................................12 Alternate Selection ...........................13 Game Controls .................................15 Direct Control ................................19 Context Commands ..............................20 Infantry ......................................21 Vehicles ......................................22 Weapons .......................................24 Inventory .....................................26 Using Items ...................................27 Cover and Camouflage ...........................27 Other Features ................................28 Multiplayer - LAN...............................29 LAN Game Interface ............................29 -
The Future Past: Intertextuality in Contemporary Dystopian Video Games
The Future Past: Intertextuality in Contemporary Dystopian Video Games By Matthew Warren CUNY Baccalaureate for Unique and Interdisciplinary Studies Submitted to: Timothy Portlock, Advisor Hunter College Lee Quinby, Director Macaulay Honors College Thesis Colloquium 9 May 2012 Contents I. Introduction: Designing Digital Spaces II. Theoretical Framework a. Intertextuality in the visual design of video games and other media b. Examining the established visual iconography of dystopian setting II. Textual Evidence a. Retrofuturism and the Decay of Civilization in Bioshock and Fallout b. Innocence, Iteration, and Nostalgia in Team Fortress and Limbo III. Conclusion 2 “Games help those in a polarized world take a position and play out the consequences.” The Twelve Propositions from a Critical Play Perspective Mary Flanagan, 2009 3 Designing Digital Spaces In everyday life, physical space serves a primary role in orientation — it is a “container or framework where things exist” (Mark 1991) and as a concept, it can be viewed through the lense of a multitude of disciplines that often overlap, including physics, architecture, geography, and theatre. We see the function of space in visual media — in film, where the concept of physical setting can be highly choreographed and largely an unchanging variable that comprises a final static shot, and in video games, where space can be implemented in a far more complex, less linear manner that underlines participation and system-level response. The artistry behind the fields of production design and visual design, in film and in video games respectively, are exemplified in works that engage the viewer or player in a profound or novel manner. -
VIDEO GAME SUBCULTURES Playing at the Periphery of Mainstream Culture Edited by Marco Benoît Carbone & Paolo Ruffino
ISSN 2280-7705 www.gamejournal.it Published by LUDICA Issue 03, 2014 – volume 1: JOURNAL (PEER-REVIEWED) VIDEO GAME SUBCULTURES Playing at the periphery of mainstream culture Edited by Marco Benoît Carbone & Paolo Ruffino GAME JOURNAL – Peer Reviewed Section Issue 03 – 2014 GAME Journal A PROJECT BY SUPERVISING EDITORS Antioco Floris (Università di Cagliari), Roy Menarini (Università di Bologna), Peppino Ortoleva (Università di Torino), Leonardo Quaresima (Università di Udine). EDITORS WITH THE PATRONAGE OF Marco Benoît Carbone (University College London), Giovanni Caruso (Università di Udine), Riccardo Fassone (Università di Torino), Gabriele Ferri (Indiana University), Adam Gallimore (University of Warwick), Ivan Girina (University of Warwick), Federico Giordano (Università per Stranieri di Perugia), Dipartimento di Storia, Beni Culturali e Territorio Valentina Paggiarin, Justin Pickard, Paolo Ruffino (Goldsmiths, University of London), Mauro Salvador (Università Cattolica, Milano), Marco Teti (Università di Ferrara). PARTNERS ADVISORY BOARD Espen Aarseth (IT University of Copenaghen), Matteo Bittanti (California College of the Arts), Jay David Bolter (Georgia Institute of Technology), Gordon C. Calleja (IT University of Copenaghen), Gianni Canova (IULM, Milano), Antonio Catolfi (Università per Stranieri di Perugia), Mia Consalvo (Ohio University), Patrick Coppock (Università di Modena e Reggio Emilia), Ruggero Eugeni (Università Cattolica del Sacro Cuore, Milano), Roy Menarini (Università di Bologna), Enrico Menduni (Università di -
Playing Fair: Youtube, Nintendo, and the Lost Balance of Online Fair Use Natalie Marfo
Brooklyn Journal of Corporate, Financial & Commercial Law Volume 13 | Issue 2 Article 6 5-1-2019 Playing Fair: Youtube, Nintendo, and the Lost Balance of Online Fair Use Natalie Marfo Follow this and additional works at: https://brooklynworks.brooklaw.edu/bjcfcl Part of the Computer Law Commons, Entertainment, Arts, and Sports Law Commons, Gaming Law Commons, Intellectual Property Law Commons, Internet Law Commons, and the Other Law Commons Recommended Citation Natalie Marfo, Playing Fair: Youtube, Nintendo, and the Lost Balance of Online Fair Use, 13 Brook. J. Corp. Fin. & Com. L. 465 (2019). Available at: https://brooklynworks.brooklaw.edu/bjcfcl/vol13/iss2/6 This Note is brought to you for free and open access by the Law Journals at BrooklynWorks. It has been accepted for inclusion in Brooklyn Journal of Corporate, Financial & Commercial Law by an authorized editor of BrooklynWorks. PLAYING FAIR: YOUTUBE, NINTENDO, AND THE LOST BALANCE OF ONLINE FAIR USE ABSTRACT Over the past decade, YouTube saw an upsurge in the popularity of “Let’s Play” videos. While positive for YouTube, this uptick was not without controversy. Let’s Play videos use unlicensed copyrighted materials, frustrating copyright holders. YouTube attempted to curb such usages by demonetizing and removing thousands of Let’s Play videos. Let’s Play creators struck back, arguing that the fair use doctrine protects their works. An increasing number of powerful companies, like Nintendo, began exploiting the ambiguity of the fair use doctrine against the genre; forcing potentially legal works to request permission and payment for Let’s Play videos, without a determination of fair use.