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Wetlands Mapper Frequently Asked Questions
Frequently Asked Questions: Wetlands Mapper December 2015 Mapper Content and Display How does the public access the new Mapper? The Wetlands Mapper can be found at: http://www.fws.gov/wetlands/ Does the updated mapper display all wetland polygons from the Wetlands Geodatabase? Yes. All available wetland map data both vector and raster scanned images are on the Mapper. Does the updated mapper display all wetland labels? Yes. Larger polygon labels will display right away. Smaller polygon labels will display at larger scale and appear inside the feature. At what scale do the Wetlands display on screen? Wetlands first display at 1:144,448 scale. The nominal scale for wetland data is 1:12,000 or 1:24,000 although higher resolution is possible. How is the display scale determined? Display scales are pre-determined intervals. The maximum zoom scale is 1:71. ESRI base maps will not display below 1:1,128 scale resolution for the contiguous United States and Puerto Rico, 1:9,028 for Alaska, and 1:4,514 for Hawaii, and the Pacific Trust Islands. Can I minimize the Available Layers Window? Yes. Click on minimize + or – symbol in the upper right hand corner of the Available Layers Window. Can I zoom to locations? How do I find the Pacific Trust Islands? Yes. Use the “Zoom to” tool to quickly go to Alaska, Hawaii, Puerto Rico and Virgin Islands or the Pacific Trust Islands. Enter the name, address, or zip code into the “Find Location” tool to go to a specific location. Latitude and longitude coordinates may also be entered using the format [longitude, latitude]. -
It'sallfight Onthenight
60 ............... Friday, December 18, 2015 1SM 1SM Friday, December 18, 2015 ............... 61 WE CHECK OUT THE ACTION AT CAPCOM CUP NEW TRACKLIST MUSIC By Jim Gellately It’s all fight 1. Runaway 2. Conqueror LOST IN VANCOUVER Who: Jake Morgan (vocals 3. Running With The /guitar), Connor Mckay (gui- Wolves tar), Brandon Sherrett (bass/ vocals), Tom Lawrence on the night 4. Lucky (drums). Where: Kirkcaldy/Edinburgh. 5. Winter Bird For fans of: Stereophonics, 6. I Went Too Far Catfish And The Bottlemen, Oasis. 7. Through The Eyes Jim says: Lost In Vancouver Of A Child only recently released their first couple of singles, but 8. Warrior their story goes back around 9. Murder Song (5, five years. They first got together at GLOBAL rivals in the By LEE PRICE By JACQUI SWIFT 4, 3, 2, 1) their local YMCA in Kirkcaldy, which runs a thriving youth world’s top fighting and T-shirts emblazoned A COFFEE shop in 10. Home music programme. game went toe-to- with the logos of their vari- Gatwick Airport’s 11. Under The Water Jake told me: “From the toe as they battled ous sponsors. age of 13, Brandon, Connor And the response from departures lounge 12. Black Water Lilies and myself had been getting to become Street the audience, who paid £25 is not the most guitar and song-writing les- Fighter champion. a ticket, was deafening. sons from a guy called Mark Before a sell-out crowd, At one point, the audito- glamorous setting Burdett. He got us playing in and hundreds of thousands rium chanted “USA! USA!” bands around the town.” following the action online, as a home favourite stepped to meet a fast-rising Jake and original drummer 32 gamers competed for a up, only to be silenced by James Ballingall were previ- share of £165,000 last week. -
Fighting Games, Performativity, and Social Game Play a Dissertation
The Art of War: Fighting Games, Performativity, and Social Game Play A dissertation presented to the faculty of the Scripps College of Communication of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Todd L. Harper November 2010 © 2010 Todd L. Harper. All Rights Reserved. This dissertation titled The Art of War: Fighting Games, Performativity, and Social Game Play by TODD L. HARPER has been approved for the School of Media Arts and Studies and the Scripps College of Communication by Mia L. Consalvo Associate Professor of Media Arts and Studies Gregory J. Shepherd Dean, Scripps College of Communication ii ABSTRACT HARPER, TODD L., Ph.D., November 2010, Mass Communications The Art of War: Fighting Games, Performativity, and Social Game Play (244 pp.) Director of Dissertation: Mia L. Consalvo This dissertation draws on feminist theory – specifically, performance and performativity – to explore how digital game players construct the game experience and social play. Scholarship in game studies has established the formal aspects of a game as being a combination of its rules and the fiction or narrative that contextualizes those rules. The question remains, how do the ways people play games influence what makes up a game, and how those players understand themselves as players and as social actors through the gaming experience? Taking a qualitative approach, this study explored players of fighting games: competitive games of one-on-one combat. Specifically, it combined observations at the Evolution fighting game tournament in July, 2009 and in-depth interviews with fighting game enthusiasts. In addition, three groups of college students with varying histories and experiences with games were observed playing both competitive and cooperative games together. -
The Tragedy of the Gamer: a Dramatistic Study of Gamergate By
The Tragedy of the Gamer: A Dramatistic Study of GamerGate by Mason Stephen Langenbach A thesis submitted to the Graduate Faculty of Auburn University in partial fulfillment of the requirements for the Degree of Master of Arts Auburn, Alabama May 5, 2019 Keywords: dramatism, scapegoat, mortification, GamerGate Copyright 2019 by Mason Stephen Langenbach Approved by Michael Milford, Chair, Professor of Communication Andrea Kelley, Professor of Media Studies Elizabeth Larson, Professor of Communication Abstract In August 2014, a small but active group of gamers began a relentless online harassment campaign against notable women in the videogame industry in a controversy known as GamerGate. In response, game journalists from several prominent gaming websites published op-eds condemning the incident and declared that “gamers are dead.” Using Burke’s dramatistic method, this thesis will examine these articles as operating within the genre of tragedy, outlining the journalists’ efforts to scapegoat the gamer. It will argue that game journalists simultaneously engaged in mortification not to purge the guilt within themselves but to further the scapegoating process. An extension of dramatistic theory will be offered which asserts that mortification can be appropriated by rhetors seeking to ascend within their social order’s hierarchy. ii Acknowledgments This project was long and arduous, and I would not have been able to complete it without the help of several individuals. First, I would like to thank all of my graduate professors who have given me the gift of education and knowledge throughout these past two years. To the members of my committee, Dr. Milford, Dr. Kelley, and Dr. -
Writing “Gamers”: the Gendered Construction of Gamer Identity in Nintendo Power (1994-1999) Amanda C
Running head: WRITING GAMERS Writing “Gamers”: The Gendered Construction of Gamer Identity in Nintendo Power (1994-1999) Amanda C. Cote This is an Accepted Manuscript of an article published by Sage in Games and Culture on July 1, 2018, available online: https://journals.sagepub.com/doi/10.1177/1555412015624742. Abstract In the mid-1990s, a small group of video game designers attempted to lessen gaming’s gender gap by creating software targeting girls. By 1999, however, these attempts collapsed, and video games remained a masculinized technology. To help understand why this movement failed, this article addresses the unexplored role of consumer press in defining “gamers” as male. A detailed content analysis of Nintendo Power issues published from 1994-1999 shows that mainstream companies largely ignored the girls’ games movement, instead targeting male audiences through player representations, sexualized female characters, magazine covers featuring men, and predominantly male authors. Given the mutually constitutive nature of representation and reality, the lack of women in consumer press then affected girls’ ability to identify as gamers and enter the gaming community. This shows that, even as gaming audiences diversify, inclusive representations are also needed to redefine “gamer” as more than just “male”. Keywords: media history, video games, gender, consumer press, critical content analysis WRITING GAMERS Introduction Following the success of the Nintendo Wii in the mid-2000s and the subsequent spread of mobile gaming, popular and industry media have paid significant attention to casual games’ potential to broaden the video game audience (Mindlin 2006, Kane 2009, “U-Turn” 2012). Played frequently or even primarily by women, casual and mobile offerings break the stereotypical view of games as a masculinized technology primarily consumed by men and boys. -
Mapspain: Administrative Boundaries of Spain
Package ‘mapSpain’ September 10, 2021 Type Package Title Administrative Boundaries of Spain Version 0.3.1 Description Administrative Boundaries of Spain at several levels (CCAA, Provinces, Municipalities) based on the GISCO Eurostat database <https://ec.europa.eu/eurostat/web/gisco> and 'CartoBase SIANE' from 'Instituto Geografico Nacional' <https://www.ign.es/>. It also provides a 'leaflet' plugin and the ability of downloading and processing static tiles. License GPL-3 URL https://ropenspain.github.io/mapSpain/, https://github.com/rOpenSpain/mapSpain BugReports https://github.com/rOpenSpain/mapSpain/issues Depends R (>= 3.6.0) Imports countrycode (>= 1.2.0), giscoR (>= 0.2.4), leaflet (>= 2.0.0), png (>= 0.1-5), rappdirs (>= 0.3.0), raster (>= 3.0), sf (>= 0.9), slippymath (>= 0.3.1), utils Suggests knitr, rgdal, rmarkdown, testthat (>= 3.0.0), tibble, tmap (>= 3.0.0) VignetteBuilder knitr Config/testthat/edition 3 Encoding UTF-8 LazyData true RoxygenNote 7.1.2 X-schema.org-applicationCategory cartography X-schema.org-isPartOf https://ropenspain.es/ X-schema.org-keywords rOpenSpain, tiles, r, maps, spatial, rstats, r-package, municipalities, Spain, gisco, provinces, ign, administrative-boundaries, ccaa, static-tiles NeedsCompilation no 1 2 mapSpain-package Author Diego Hernangómez [aut, cre, cph] (<https://orcid.org/0000-0001-8457-4658>, rOpenSpain), EuroGeographics [cph] (for the administrative boundaries.), Instituto Geográfico Nacional [cph] (for the administrative boundaries.) Maintainer Diego Hernangómez <[email protected]> Repository CRAN Date/Publication 2021-09-10 12:10:06 UTC R topics documented: mapSpain-package . .2 addProviderEspTiles . .4 esp_clear_cache . .5 esp_codelist . .6 esp_dict_region_code . .8 esp_getTiles . .9 esp_get_can_box . 12 esp_get_capimun . 14 esp_get_ccaa . 17 esp_get_country . -
The Rising Esports Industry and the Need for Regulation
TIME TO BE GROWN-UPS ABOUT VIDEO GAMING: THE RISING ESPORTS INDUSTRY AND THE NEED FOR REGULATION Katherine E. Hollist* Ten years ago, eSports were an eccentric pastime primarily enjoyed in South Korea. However, in the past several years, eSports have seen meteoric growth in dozens of markets, attracting tens of millions of viewers each year in the United States, alone. Meanwhile, the players who make up the various teams that play eSports professionally enjoy few protections. The result is that many of these players— whose average ages are between 18 and 22—are experiencing health complications after practicing as much as 14 hours a day to retain their professional status. This Note will explore why traditional solutions, like existing labor laws, fail to address the problem, why unionizing is impracticable under the current model, and finally, suggest regulatory solutions to address the unique characteristics of the industry. TABLE OF CONTENTS INTRODUCTION ..................................................................................................... 824 I. WHAT ARE ESPORTS? ....................................................................................... 825 II. THE PROBLEMS PLAYERS FACE UNDER THE CURRENT MODEL ....................... 831 III. THE COMPLICATIONS WITH COLLECTIVE BARGAINING ................................. 837 IV. GETTING THE GOVERNMENT INVOLVED: THE WHY AND THE HOW .............. 839 A. Regulate the Visas ...................................................................................... 842 B. Form an -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE SELF-PERCEPTION OF VIDEO GAME JOURNALISM: INTERVIEWS WITH GAMES WRITERS REGARDING THE STATE OF THE PROFESSION A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By Severin Justin Poirot Norman, Oklahoma 2019 THE SELF-PERCEPTION OF VIDEO GAME JOURNALISM: INTERVIEWS WITH GAMES WRITERS REGARDING THE STATE OF THE PROFESSION A DISSERTATION APPROVED FOR THE GAYLORD COLLEGE OF JOURNALISM AND MASS COMMUNICATION BY Dr. David Craig, Chair Dr. Eric Kramer Dr. Jill Edy Dr. Ralph Beliveau Dr. Julie Jones © Copyright by SEVERIN JUSTIN POIROT 2019 All Rights Reserved. iv Acknowledgments I’ve spent a lot of time and hand wringing wondering what I was going to say here and whom I was going to thank. First of all I’d like to thank my committee chair Dr. David Craig. Without his guidance, patience and prayers for my well-being I don’t know where I would be today. I’d like to also thank my other committee members: Dr. Eric Kramer, Dr. Julie Jones, Dr. Jill Edy, and Dr. Ralph Beliveau. I would also like to thank former member Dr. Namkee Park for making me feel normal for researching video games. Second I’d like to thank my colleagues at the University of Oklahoma who were there in the trenches with me for years: Phil Todd, David Ferman, Kenna Griffin, Anna Klueva, Christal Johnson, Jared Schroeder, Chad Nye, Katie Eaves, Erich Sommerfeldt, Aimei Yang, Josh Bentley, Tara Buehner, Yousuf Mohammad and Nur Uysal. I also want to extend a special thanks to Bryan Carr, who possibly is a bigger nerd than me and a great help to me in finishing this study. -
Emerging Leaders 2011 Team G Selection & Purchasing
Emerging Leaders 2011 Team G Selection & Purchasing Selection When selecting video games for a library collection, consider the following criteria: • Type of collection (e.g. circulating vs. non-circulating or programming collection). • Audience for collection (Is the collection for entertainment purposes or academic study? Will games be collected for children, teens, adults, or a combination of these?). • Curriculum support. • Game ratings. The Entertainment Software Rating Board (ESRB) gives each game a rating based on age appropriateness. Ratings include EC (Early Childhood), E (Everyone), E10+ (Everyone Ten and Older), T (Teen), and M (Mature). More information can be found on the ESRB website:http://www.esrb.org. • Game platforms. Games are available on many different platforms (e.g. Wii, PlayStation, etc.). Librarians will need to consider patron needs and budget constraints when considering which platform(s) to purchase for. As newer platforms are developed, consider whether to collect for these new platforms and whether it is necessary to keep games that are playable on older platforms. Conversely, platforms affect collection weeding; the Collection Maintenance section provides further details. • Collection of gaming items in addition to actual games (e.g. game consoles and accessories, game guides, gaming periodicals, and texts on the subject of games and gaming). • Reviews and recommendations for which games to purchase. • Qualities that make a game culturally significant. (See What Makes a Good Game.) The following resources -
Game Informer Magazine Celebrates 300Th Issue
Source : GameStop Corporation 07 mars 2018 08h00 HE Game Informer magazine celebrates 300th issue World’s leading video game publication has evolved over 27 years, along with its readers MINNEAPOLIS, March 07, 2018 (GLOBE NEWSWIRE) -- Game Informer, the world’s leading multi-platform video game publication, will release its 300th issue with its April 2018 edition. Distribution of the print edition will begin March 9; digital subscribers received their issue on March 3. The April edition will feature five collectible covers and the Top 300 Games of All Time list. The 27-year-old magazine is also celebrating continued circulation success, with an average circulation of more than 7.5 million monthly paid subscribers and its position as fourth-largest consumer magazine in the U.S., according to the Alliance for Audited Media. “Not only does our continued success show that magazines are still relevant today but also that they can connect with an audience that is very influential and digitally connected,” said Cathy Preston, publisher. As Game Informer’s readers have matured, so has the magazine’s content. “The average age of our reader has been steadily increasing – a recent survey of our readers showed that 91 percent are 21 or older,” said Rob Borm, associate publisher. “We’ve evolved our advertising mix to align with that older reader. Advertisers of lifestyle brands that cater to adults are drawn to our audience: primarily males who are career professionals and have interests that go far beyond gaming.” Guided by a talented team of gaming journalists, Game Informer continues to thrive as the authoritative source of video game industry news, both in print and through its digital channels. -
Ubisoft Game Informer Awards
GAME INFORMER MAGAZINE RECOGNIZES UBISOFT AS A TOP VIDEO GAME DEVELOPER AND PUBLISHER IN 2006 Ubisoft No. 2 Publisher and Ubisoft’s Montreal Studio No. 4 Developer in the world Paris, FRANCE – December 21, 2006 – Today Ubisoft, one of the world’s largest video game publishers, is honored to announce that Game Informer Magazine ranked Ubisoft as No. 2 video game publisher and Ubisoft’s Montreal Studio as No. 4 developer in their Top 10 Developer and Publisher rankings for 2006. According to Game Informer, “Nearly everything Montreal touches turns to gold.” With more than two million subscribers, Game Informer is the industry’s largest video game publication. Game Informer’s Top 10 Developer and Publisher awards appear in the January 2007 issue of Game Developer Magazine. “Ubisoft’s dedication to innovation and creativity has been at the core of our production values since the beginning,” said Christine Burgess-Quemard, executive director, worldwide studios of Ubisoft. “To be recognized by Game Informer is a testament that our winning strategy of internal development is acclaimed in the industry.” About Ubisoft Ubisoft is a leading producer, publisher and distributor of interactive entertainment products worldwide and has grown considerably through its strong and diversified lineup of products and partnerships. Ubisoft has offices in 22 countries and sales in more than 50 countries around the globe. It is committed to delivering high-quality, cutting-edge video game titles to consumers. Ubisoft generated revenue of 547 million Euros for the 2005-2006 fiscal year. To learn more, please visit www.ubisoftgroup.com < http://www.ubisoftgroup.com > . -
Titanfall 2 Is Now Available Worldwide
October 28, 2016 Titanfall 2 is Now Available Worldwide Respawn Entertainment Delivers Critically Acclaimed Action-Packed Single Player, Backed by Fast, Fluid Multiplayer in an Experience that is Unmatched LOS ANGELES--(BUSINESS WIRE)-- Respawn Entertainment and Electronic Arts Inc. (NASDAQ:EA) today announced that the highly anticipated Titanfall® 2 is now available in stores worldwide on Xbox One, the all-in-one games and entertainment system from Microsoft, Origin™ for PC, and for the first time in the franchise, the PlayStation®4 computer entertainment system. Winner of the Official Game Critics' Award for Best Online Multiplayer at the Electronic Entertainment Expo (E3) in June, Titanfall 2 builds on the signature Pilot and Titan combat the series is known for and provides a deeper, more robust experience that once again delivers innovative, unique, and exciting gameplay. Titanfall 2 is receiving universal praise from critics around the world, with Giant Bomb giving it a perfect 5 out of 5, calling it "fantastic", while Game Informer stated Titanfall 2 is a "must play", on their way to scoring it a 9.5 out of 10. This Smart News Release features multimedia. View the full release here: http://www.businesswire.com/news/home/20161028005199/en/ "With Titanfall 2, we built on the dynamic Pilot and Titan gameplay established with the first Titanfall to deliver an experience that is deeper, more refined, yet still as fun as ever," said Vince Zampella, CEO of Respawn Entertainment. "In single player, we've crafted something that is unlike any other campaign out there, and in multiplayer, we once again deliver gameplay that feels, plays, and looks great." Featuring the first single player campaign in the series' history, Titanfall 2 delivers a carefully crafted action-adventure experience that provides a vibrant mix of exciting, innovative gameplay that brings fresh ideas and mechanics to the shooter Titanfall 2 is Now Available Worldwide (Graphic: Business Wire) genre.