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Walking Simulators As Response to the Problem of Optimization
The Philosophy of Computer Games Conference, Copenhagen 2018 The Aesthetics of the Aesthetics of the Aesthetics of Video Games: Walking Simulators as Response to the problem of Optimization Jesper Juul: “The Aesthetics of the Aesthetics of the Aesthetics of Video Games: Walking Simulators as Response to the problem of Optimization”. 12th International Conference on the Philosophy of Computer Games Conference, Copenhagen, August 13-15, 2018. www.jesperjuul.net/text/aesthetics3 Figure 1: Dear Esther (The Chinese Room 2012). Walking a linear path, listening to the narrator. Figure 2: Proteus (Key and Kanaga 2013). Exploring a pastoral and pixelated generated island with little challenge. 1 Figure 3: Gone Home (The Fullbright Company 2013). Returning to your childhood home to learn of your sister’s life through minimal puzzles. In games, we traditionally expect that the effort we exert will influence the game state and outcome, and we expect to feel emotionally attached to this outcome (Juul 2003) such that performing well will make us happy, and performing poorly will make us unhappy. But a number of recent games, derogatorily dismissed as walking simulators, limit both our options for interacting with the game world and our feeling of responsibility for the outcome. Examples include Dear Esther (The Chinese Room 2012), Proteus (Key & Kanaga 2013), and Everybody’s Gone to the Rapture (The Chinese Room 2015), and Gone Home (The Fullbright Company 2013). “Walking simulator” is a divisive term, originally coined to dismiss these experiences as “not real games” lacking gameplay, thus only simulating “walking”. Developers are divided over whether to reject (KILL SCREEN STAFF 2016) the term or reclaim (Butler 2015 p. -
DESIGN-DRIVEN APPROACHES TOWARD MORE EXPRESSIVE STORYGAMES a Dissertation Submitted in Partial Satisfaction of the Requirements for the Degree Of
UNIVERSITY OF CALIFORNIA SANTA CRUZ CHANGEFUL TALES: DESIGN-DRIVEN APPROACHES TOWARD MORE EXPRESSIVE STORYGAMES A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in COMPUTER SCIENCE by Aaron A. Reed June 2017 The Dissertation of Aaron A. Reed is approved: Noah Wardrip-Fruin, Chair Michael Mateas Michael Chemers Dean Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright c by Aaron A. Reed 2017 Table of Contents List of Figures viii List of Tables xii Abstract xiii Acknowledgments xv Introduction 1 1 Framework 15 1.1 Vocabulary . 15 1.1.1 Foundational terms . 15 1.1.2 Storygames . 18 1.1.2.1 Adventure as prototypical storygame . 19 1.1.2.2 What Isn't a Storygame? . 21 1.1.3 Expressive Input . 24 1.1.4 Why Fiction? . 27 1.2 A Framework for Storygame Discussion . 30 1.2.1 The Slipperiness of Genre . 30 1.2.2 Inputs, Events, and Actions . 31 1.2.3 Mechanics and Dynamics . 32 1.2.4 Operational Logics . 33 1.2.5 Narrative Mechanics . 34 1.2.6 Narrative Logics . 36 1.2.7 The Choice Graph: A Standard Narrative Logic . 38 2 The Adventure Game: An Existing Storygame Mode 44 2.1 Definition . 46 2.2 Eureka Stories . 56 2.3 The Adventure Triangle and its Flaws . 60 2.3.1 Instability . 65 iii 2.4 Blue Lacuna ................................. 66 2.5 Three Design Solutions . 69 2.5.1 The Witness ............................. 70 2.5.2 Firewatch ............................... 78 2.5.3 Her Story ............................... 86 2.6 A Technological Fix? . -
Journal of Games Is Here to Ask Himself, "What Design-Focused Pre- Hideo Kojima Need an Editor?" Inferiors
WE’RE PROB NVENING ABLY ALL A G AND CO BOUT V ONFERRIN IDEO GA BOUT C MES ALSO A JournalThe IDLE THUMBS of Games Ultraboost Ad Est’d. 2004 TOUCHING THE INDUSTRY IN A PROVOCATIVE PLACE FUN FACTOR Sessions of Interest Former developers Game Developers Confer We read the program. sue 3D Realms Did you? Probably not. Read this instead. Computer game entreprenuers claim by Steve Gaynor and Chris Remo Duke Nukem copyright Countdown to Tears (A history of tears?) infringement Evolving Game Design: Today and Tomorrow, Eastern and Western Game Design by Chris Remo Two founders of long-defunct Goichi Suda a.k.a. SUDA51 Fumito Ueda British computer game developer Notable Industry Figure Skewered in Print Crumpetsoft Disk Systems have Emil Pagliarulo Mark MacDonald sued 3D Realms, claiming the lat- ter's hit game series Duke Nukem Wednesday, 10:30am - 11:30am infringes copyright of Crumpetsoft's Room 132, North Hall vintage game character, The Duke of industry session deemed completely unnewswor- Newcolmbe. Overview: What are the most impor- The character's first adventure, tant recent trends in modern game Yuan-Hao Chiang The Duke of Newcolmbe Finds Himself design? Where are games headed in the thy, insightful next few years? Drawing on their own in a Bit of a Spot, was the Walton-on- experiences as leading names in game the-Naze-based studio's thirty-sev- design, the panel will discuss their an- enth game title. Released in 1986 for swers to these questions, and how they the Amstrad CPC 6128, it features see them affecting the industry both in Japan and the West. -
Conference Booklet
30th Oct - 1st Nov CONFERENCE BOOKLET 1 2 3 INTRO REBOOT DEVELOP RED | 2019 y Always Outnumbered, Never Outgunned Warmest welcome to first ever Reboot Develop it! And we are here to stay. Our ambition through Red conference. Welcome to breathtaking Banff the next few years is to turn Reboot Develop National Park and welcome to iconic Fairmont Red not just in one the best and biggest annual Banff Springs. It all feels a bit like history repeating games industry and game developers conferences to me. When we were starting our European older in Canada and North America, but in the world! sister, Reboot Develop Blue conference, everybody We are committed to stay at this beautiful venue was full of doubts on why somebody would ever and in this incredible nature and astonishing choose a beautiful yet a bit remote place to host surroundings for the next few forthcoming years one of the biggest worldwide gatherings of the and make it THE annual key gathering spot of the international games industry. In the end, it turned international games industry. We will need all of into one of the biggest and highest-rated games your help and support on the way! industry conferences in the world. And here we are yet again at the beginning, in one of the most Thank you from the bottom of the heart for all beautiful and serene places on Earth, at one of the the support shown so far, and even more for the most unique and luxurious venues as well, and in forthcoming one! the company of some of the greatest minds that the games industry has to offer! _Damir Durovic -
British Academy of Film and Television Arts Annual Report & Accounts 2017
BRITISH ACADEMY OF FILM AND TELEVISION ARTS ANNUAL REPORT & ACCOUNTS 2017 SECTION HEADER 1 CONTENTS Chair’s Statement 03 5 STRUCTURE, GOVERNANCE BRITISH ACADEMY OF FILM AND MANAGEMENT 29 AND TELEVISION ARTS Trustees’ Report 2017 03 5.1 The organisational structure 29 ANNUAL REPORT & ACCOUNTS 2017 1 WHO WE ARE AND WHAT WE DO / 5.2 Governance of BAFTA 29 2017 OBJECTIVES 04 British Academy of Film and Television Arts 5.3 Management of BAFTA 30 195 Piccadilly 2 STRATEGIC REPORT 2017 05 5.4 Funds held as custodian 30 London w1j 9ln 2.1 A year in review 06 6 REFERENCE AND Tel: 020 7734 0022 2.1a BAFTA 195 Piccadilly 07 ADMINISTRATIVE DETAILS www.bafta.org 2.1b Public engagement and appreciation 08 OF THE CHARITY, ITS TRUSTEES AND ADVISERS 31 Company Registration no. 00617869 2.1c Industry relevance 12 Charity no. 216726 6.1 Charity details 31 2.1d New talent 14 6.2 Committees 31 BAFTA companies: 2.1e International recognition 17 British Academy of Film and Television Arts 6.3 Council of management 32 2.1f Financial stability 19 BAFTA Management Limited 6.4 Register of interests 32 BAFTA Media Technology Limited 2.2 Funding our aims 20 195 Piccadilly Limited 6.5 BAFTA advisers 32 2.2a Fundraising 21 6.6 Auditors 32 2.2b Partnerships 22 6.7 Sponsors, partners and donors 32 2.2c Membership 22 7 STATEMENT OF TRUSTEES’ 3 FUTURE PLANS 23 RESPONSIBILITIES 34 ANNUAL ACCOUNTS 2017 35 4 FINANCIAL REVIEW 24 Independent auditor’s report 35 4.1 Review of the financial position 25 Opposite: The artwork for our Awards campaigns in 2017, as featured Consolidated statement of 4.2 Principal risks and uncertainties 26 in our marketing, social media posts and on the ceremony brochure financial activities 37 covers, were developed with creative agency AKQA with the aim of 4.3 Financial policies 28 turning BAFTA’s vision of creative excellence for the moving image into Consolidated and charity balance sheets 39 a deeper conversation with the public and industry practitioners alike. -
Publicidad Tridimensional En Videojuegos De Realidad Aumentada
UNIVERSIDAD DE GRANADA MÁSTER EN GESTION Y TECNOLOGIA DE PROCESOS DE NEGOCIOS TRABAJO FIN DE MÁSTER Publicidad tridimensional en videojuegos de realidad aumentada. Presentado por: D. Adam Abdelkhaliki Tutor: Dr. German Arroyo Curso académico 2014 / 2015 - 1 - TRABAJO FIN DE GRADO realizado bajo la dirección de JUAN JOSE DOMENECH, profesor/es del Departamento Economia Aplicada de la Facultad de Ciencias Sociales, presentada por ADAM ABDELKHALIKI, con D.N.I. número SW472321 y dirección de correo electrónico [email protected] dentro del Grado en Administracion y dirección de empesas de la Universidad de Granada. El estudiante asume la originalidad del trabajo, entendida en el sentido de que no ha utilizado fuentes sin citarlas debidamente, permitiendo la publicación o divulgación de este documento bajo su autoría. Fdo.: ADAM ABDELKHALIKI Vº Bº Director/es del TFG Fdo. D. …. Fdo. Dr. D. ……. - 2 - - 3 - ÍNDICE DE CONTENIDO Capitulo 1: Un breve paseo por la historia. 1.1 Introducción…………………………………………………………………….1 1.2 Los videojuegos…………………………………………………………………1 1.2.1 Introducción a los soportes para videojuego…………………………....1 1.2.2 Un repaso de la historia de soportes para videojuegos………………...4 1.3 La publicidad en videojuegos………………………………………………...10 1.3.1 Introducción……………………………………………………………..10 1.3.2 Historia de la publicidad en videojuegos……………………………....11 1.3.3 Tipos de publicidad en videojuegos……………………………………14 1.3.3.1 Advergaming……………………………………………………..14 1.3.3.2 Virtual Advertising……………………………………………….14 1.3.3.3 Virtual Adverworlds…………………………………………...…14 1.3.3.4 Publicidad en el juego………………………………………...…14 1.3.3.5 Publicidad encima del videojuego…………………………...…15 1.3.3.6 Publicidad debajo del videojuego. -
Press Release
PRESS RELEASE High-resolution documents and images: https://www.cccb.org/en/services/press/gameplay/232580 CCCB Press Department Mònica Muñoz-Castanyer | Rosa Puig T. 93 306 41 23 | [email protected] 1 Produced by With the support of Collaborating media The CCCB is a consortium formed by 2 INDEX 01.- INTRODUCTION ............................................................................................................... 4 02.- EXHIBITION TEXTS .......................................................................................................... 7 INTRODUCTION ................................................................................................................... 7 LEVEL 1: REPLAY. THE ORIGINS OF VIDEO GAMES ....................................................... 7 LEVEL 2: LIQUID NARRATIVES ........................................................................................... 8 LEVEL 3: ART AND THE GAMING ESSAY ....................................................................... 10 LEVEL 4: BREAKING THE MAGIC CIRCLE ...................................................................... 11 LEVEL 5: LUDOPOLIS. GAMIFIED LIVES ........................................................................ 13 03.- GAME POINTS ................................................................................................................ 14 04.- ARTISTIC INSTALLATIONS ............................................................................................ 17 05.- CURATOR BIOS ............................................................................................................ -
John Carmack Archive - Interviews
John Carmack Archive - Interviews http://www.team5150.com/~andrew/carmack August 2, 2008 Contents 1 John Carmack Interview5 2 John Carmack - The Boot Interview 12 2.1 Page 1............................... 13 2.2 Page 2............................... 14 2.3 Page 3............................... 16 2.4 Page 4............................... 18 2.5 Page 5............................... 21 2.6 Page 6............................... 22 2.7 Page 7............................... 24 2.8 Page 8............................... 25 3 John Carmack - The Boot Interview (Outtakes) 28 4 John Carmack (of id Software) interview 48 5 Interview with John Carmack 59 6 Carmack Q&A on Q3A changes 67 1 John Carmack Archive 2 Interviews 7 Carmack responds to FS Suggestions 70 8 Slashdot asks, John Carmack Answers 74 9 John Carmack Interview 86 9.1 The Man Behind the Phenomenon.............. 87 9.2 Carmack on Money....................... 89 9.3 Focus and Inspiration...................... 90 9.4 Epiphanies............................ 92 9.5 On Open Source......................... 94 9.6 More on Linux.......................... 95 9.7 Carmack the Student...................... 97 9.8 Quake and Simplicity...................... 98 9.9 The Next id Game........................ 100 9.10 On the Gaming Industry.................... 101 9.11 id is not a publisher....................... 103 9.12 The Trinity Thing........................ 105 9.13 Voxels and Curves........................ 106 9.14 Looking at the Competition.................. 108 9.15 Carmack’s Research...................... -
Three Studies on Cultural Entrepreneurship and Crowdfunding: We’Ve Got Your Back, the Legitimacy Threshold Revisited, and Four Pathways Towards Cultural Resonance
Three Studies on Cultural Entrepreneurship and Crowdfunding: We’ve Got Your Back, The Legitimacy Threshold Revisited, and Four Pathways Towards Cultural Resonance by Jean-François Soublière A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Strategic Management and Organization Faculty of Business University of Alberta © Jean-François Soublière, 2019 ABSTRACT The primary goal of this doctoral thesis is to advance knowledge on the processes by which entrepreneurial actors gain and maintain the support of their audiences, such as resource providers. Theoretically, my research contributes to the growing body of work on the cultural dynamics of entrepreneurship and strategic innovation. Empirically, my work focuses on the dynamic interplay between actors and their audience of backers on the Kickstarter crowdfunding platform. The three studies presented in this thesis all tackle this same theme in unique ways. In the first study, I ask, how do actors maintain the support of their audiences when they encounter important setbacks, and what role do their audiences play in shaping the support that actors receive? Using an in-depth, qualitative case study methodology, I retrace the journey of the very first major crowdfunding success story. Whereas prior studies suggest that audiences merely assess actors’ attempts to (re)gain their support, I suggest that audiences actively participate, too, offering accounts of what transpired to shape how others respond to setbacks. This study contributes by offering a fuller conceptualization of audiences in entrepreneurial processes, by illuminating the role of emotions in shaping the support that endeavors receive, and by providing rich and detailed insights into the emergence of crowdfunding platforms. -
GAME DEVELOPER | AUGUST 2010 Power up Your Game with Advanced Pathfi Nding and Movement – Done by the Experts
IF I SHOULD DIE TODAY AN ÉRIC CHAHI INTERVIEW sf_gd_june10.pdf 1 4/29/2010 5:46:05 PM C M Y CM MY CY CMY K Create animated 3D interfaces using Scaleform GFx 3.2 CONTENTS.0810 VOLUME 17 NUMBER 7 POSTMORTEM 20 ACCESS GAMES’ DEADLY PREMONITION Access Games’ DEADLY PREMONITION had a long and difficult DEPARTMENTS development period that was beset by technical problems. The game was dragged from the precipice of cancellation several times and 2 GAME PLAN By Brandon Sheffield [EDITORIAL] ultimately persevered to become an underground hit. In this candid Constrained Design postmortem, the staff of Access Games describes how a passionate commitment to their game saw them through the production’s highs 4 HEADS UP DISPLAY [NEWS] and many lows. By SWERY and the staff of Access Games The link between review scores and sales, the Indie Fund, Fantastic Fest game festival, and more. FEATURES 34 TOOL BOX By Matthew Burns [REVIEW] 7 MAKE IT FAST! Unity Technologies' Unity Pro 3 Developing a social game in less than two months presents a challenge, but only after it is launched does the real work start. In an 37 THE INNER PRODUCT By Colin Crenshaw [PROGRAMMING] inside look at Zynga’s development process, Amitt Mahajan describes Downloadable Hero how the studio uses a client-server model in order to quickly tune play mechanics, add content to games, and stay on top of the 41 PIXEL PUSHER By Steve Theodore [ART] evolving Facebook platform. By Amitt Mahajan Trust Me 13 FINDING PERSONALITY IN GAMES 44 DESIGN OF THE TIMES By Damion Schubert [DESIGN] Designing characters that players will take to heart is a tricky The Casual/Hardcore Continuum business. -
Man, Mod, and Law: Revisiting the Law of Computer Game Modifications
269 MAN, MOD, AND LAW: REVISITING THE LAW OF COMPUTER GAME MODIFICATIONS ZVI S. ROSEN CONTENTS I. Origins of the Project.............................................. 271 II. Citations .................................................................. 274 III. Changes in the Law................................................. 277 IV. Looking Back.......................................................... 281 A. Evolution of Mods Since 2005 ........................... 281 B.Unforeseen Consequences (of Mods) ..................... 286 C.Embracing Mods..................................................... 290 In late 2004, I wrote a paper for a seminar on Computer Law while a 3L at Northwestern on copyright v*.W[)* /V [/2.()W+ Tv2W 2/ZRVR[v)R/0* oU2/Z*=nj c tv* proud of the piece, and the following year it was published in the Chicago-Kent Journal of Intellectual Property Law.1 <SW )R)OW tv* 2Wv0) )/ uW v .Ovq /0 v 'W+*W V+/2 "/u {qOv09* */0T ^vTTRW9* fv+2l tR)S )SW 'W+*W UytxWOOl *SW )vOP* )/ vOO )SW *W+'v0)*i#u/() 2v0 v0Z e/Z v0Z Ovtl= tSRch I naturally 2v0TOWZ R0)/ U^/Zl ^v0l v0Z _vtj=2 The idea of the piece, in a nutshell, was that there were two different types of mods and that their differences 1 Zvi Rosen, Mod, Man, and Law: A Reexamination of the Law of Computer Game Modifications, 4 CHI.-KENT J. INTELL. PROP. 196 (2005). 2 One of the matters I hoped to remedy with this piece. Volume 59 – Number 1 270 IDEA – The Law Review of the Franklin Pierce Center for Intellectual Property resulted in different types of copyright protection.3 More specifically, I argued that a mod which rises to the level of a U)/)vO [/0'W+*R/0= 2RTS) 0/) uW v ZW+R'v)R'W t/+P /V )SW original game, but instead might be an independent work, capable of its own copyright protection without reference to the original work. -
Audio Tour Transcription
— 1 — “Hello, Two Forks tower! Two Forks Tower, this is Thorofare Tower, come in.” Firewatch was released on February 9th, 2016, which feels like simultaneously yesterday and four thousand years ago. Later, on September 21st, the game was updated to add a brand- new mode: the Firewatch Audio Tour. At the start of this mode, in the prologue’s garage, Henry was provided with a Walkman and some headphones, and his world became dotted with audio tour stations. The stations dispensed an unlimited supply of cassette tapes, each of them revealing the stories behind Firewatch’s development. Some of the stations even had connected exhibits — signs and monitors showing concept art and tests. It was really cool. Due to time and technical constraints, though, the Firewatch Audio Tour could not have subtitles, limiting its accessibility and worldwide audience. So, over the course of a few years, I’ve gradually transcribed all of the Firewatch Audio Tour tracks, and they are all collected within, for you. (My apologies in advance: there will almost certainly be typos and errors as I steamrolled towards the finish line.) Reading these words and listening to the voices of these incredibly talented people teleports me directly back to the intense, exciting, and emotional time of making Firewatch. And we were just the publisher! If I’m being honest, I miss working with these friends, but, as Firewatch itself made so incredibly clear, nothing is forever. It’s time to move on. It’s sure nice to have these memories, though. Happy 5th Anniversary, Firewatch. Thanks for everything.