Understanding the Player-Game Relationship Through Challenges and Cognitive & Motor Abilities
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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. -
Squeeze More Fun out of the Last Week of Summer with Majesco's Phineas and Ferb: Quest for Cool Stuff Available Now
August 13, 2013 Squeeze More Fun Out of the Last Week of Summer With Majesco's Phineas and Ferb: Quest for Cool Stuff Available Now Join the Creative Stepbrothers on a Treasure Hunting Adventure on Xbox 360, Wii U, Wii, Nintendo 3DS and Nintendo DS EDISON, NJ -- (Marketwired) -- 08/13/13 -- Majesco Entertainment Company (NASDAQ: COOL), an innovative provider of games for the mass market, along with Disney Interactive, announced today that Phineas and Ferb: Quest for Cool Stuff is available now in North America. Based on the top-rated Emmy Award-winning hit series, Phineas and Ferb: Quest for Cool Stuff brings outrageous fun and adventure to the Xbox 360® games and entertainment system from Microsoft, Wii U™ system, Wii™ system, Nintendo DS™ hand- held system and Nintendo 3DS™ hand-held system. Majesco will also release Agent P Doofendash later this fall, a unique Phineas and Ferb smartphone and tablet game. Featuring Agent P and the top agents of the O.W.C.A. (Organization Without a Cool Acronym), our teal-toned hero must save the Tri-State Area once again from the evil Dr. Doofenshmirtz. Download new Phineas and Ferb: Quest for Cool Stuff assets HERE. "Phineas and Ferb: Quest for Cool Stuff encompasses all the action, humor and imagination inherent in the Disney hit series," said Jesse Sutton, Chief Executive Officer, Majesco Entertainment. "We are excited to bring this multiplatform experience to kids and families who will enjoy the outlandish adventures playing as Phineas, Ferb and Agent P." Join the clever stepbrothers, Phineas and Ferb, as they travel to out-of-this-world places in their latest invention, the A.T.T. -
Silent Hill Le Moteur De La Terreur
Bernard Perron SILENT HILL le moteur de la terreur Traduit de l’anglais (Canada) par Claire Reach L>P / QUESTIONS THÉORIQUES L’auteur emploie le titre Silent Hill pour désigner l’ensemble de la série. À la mémoire de Shantal Robert, Silent Hill (sans italiques) désigne la ville éponyme. lumière dans l’obscurité Et pour chaque jeu en particulier, les abréviations suivantes : SH1 Silent Hill (PS1), Konami/Konami (1999). SH2 Silent Hill 2 (PS2/PC), Konami/Konami (2001). SH3 Silent Hill 3 (PS2/PC), Konami/Konami (2003). SH4 Silent Hill 4: The Room (PS2/Xbox/PC), Konami/Konami (2004). SH: 0rigins Silent Hill: 0rigins (PSP/PS2), Konami/Konami (2007). SH: Homecoming Silent Hill: Homecoming (PS3/Xbox 360/PC), Double Helix Games/ Konami (2008). SH: Shattered Memories Silent Hill: Shattered Memories (Wii/PS2/PSP), Climax Studios/Konami (2009). SH: Downpour Silent Hill: Downpour (PS3/ Xbox 360), Vatra Games/Konami (2012). INTRODUCTION Le chemin est le but. Proverbe bouddhiste theravada Toute discussion sur Silent Hill débute immanquable- ment par une comparaison avec Resident Evil. Cette série de jeux sur console très populaire de Capcom (1996) ayant été lancée avant le Silent Hill (SH1) (1999) de Konami, elle était et demeure à ce jour la référence obligée. Toutefois, comme le soulignait l’Official U.S. PlayStation Magazine en couver- ture de son numéro de mars 1999, SH1 était « plus qu’un simple clone de Resident Evil 1 ». On a d’abord remarqué les progrès techniques et esthétiques. Les arrière-plans réa listes et pré calculés en 2D de Raccoon City cédaient la place aux environnements en 3D et en temps réel de Silent Hill. -
The Videogame Style Guide and Reference Manual
The International Game Journalists Association and Games Press Present THE VIDEOGAME STYLE GUIDE AND REFERENCE MANUAL DAVID THOMAS KYLE ORLAND SCOTT STEINBERG EDITED BY SCOTT JONES AND SHANA HERTZ THE VIDEOGAME STYLE GUIDE AND REFERENCE MANUAL All Rights Reserved © 2007 by Power Play Publishing—ISBN 978-1-4303-1305-2 No part of this book may be reproduced or transmitted in any form or by any means – graphic, electronic or mechanical – including photocopying, recording, taping or by any information storage retrieval system, without the written permission of the publisher. Disclaimer The authors of this book have made every reasonable effort to ensure the accuracy and completeness of the information contained in the guide. Due to the nature of this work, editorial decisions about proper usage may not reflect specific business or legal uses. Neither the authors nor the publisher shall be liable or responsible to any person or entity with respects to any loss or damages arising from use of this manuscript. FOR WORK-RELATED DISCUSSION, OR TO CONTRIBUTE TO FUTURE STYLE GUIDE UPDATES: WWW.IGJA.ORG TO INSTANTLY REACH 22,000+ GAME JOURNALISTS, OR CUSTOM ONLINE PRESSROOMS: WWW.GAMESPRESS.COM TO ORDER ADDITIONAL COPIES OF THE VIDEOGAME STYLE GUIDE AND REFERENCE MANUAL PLEASE VISIT: WWW.GAMESTYLEGUIDE.COM ACKNOWLEDGEMENTS Our thanks go out to the following people, without whom this book would not be possible: Matteo Bittanti, Brian Crecente, Mia Consalvo, John Davison, Libe Goad, Marc Saltzman, and Dean Takahashi for editorial review and input. Dan Hsu for the foreword. James Brightman for his support. Meghan Gallery for the front cover design. -
Inc. in the US Only. © 2011 Twentieth Century
ALVINCW 360 MANUAL-EN_. 12/13/12 9:04 PM Page 2 © 2011 Twentieth Century Fox Film Corporation and Regency Entertainment (USA), Inc. in the U.S. only. © 2011 Twentieth Century Fox Film Corporation and Monarchy Enterprises S.a.r.l. in all other territories.Alvin and the Chipmunks: Chipwrecked. Alvin and the Chipmunks, the Chipettes and Characters TM & © 2011 Bagdasarian Productions, LLC. All rights reserved. Published by Majesco Entertainment Company. Developed by Behaviour Interactive, Inc. KINECT, Xbox, Xbox 360, Xbox LIVE, and the Xbox logos are trademarks of the Microsoft group of companies and are used under license from Microsoft. ALVINCW 360 MANUAL-EN_. 12/13/12 9:04 PM Page 4 WARNING Before playing this game, read the Xbox 360® console instructions, KINECT sensor manual, and any other peripheral manuals for Table of Contents importanttant safety and health information. Keep all manuals for future reference. For replacement hardware manuals, go to wwww.xbox.com/support or call Xbox Customer Support. Controls ............................................2 ForFor additional safety information, see the inside back coveroverr.. On Screen Display ...........................2 Importanttant Health Warning About Playing Video Games PPhotosensitivehotosensitive seizurseizureses Questionnaire ..................................3 A very small percentage of people may experience a seizure when exposed to FHUWDLQYLVXDO LPDJHV LQFOXGLQJ ÁDVKLQJ OLJKWV RU SDWWHUQV WKDW PD\ DSSHDU LQ videovideo games. Even people who have no history of seizures or epilepsy may have anan undiagnosed condition that can cause these “photosensitive epileptic seizures” Main Menu ......................................3 while watching video games. These seizureess may have a variety of symptoms, including lightheadedness, altered vvision,ision, eye or face twitching, jerking or shaking of arms or legs, disorientation, Co-Op ...............................................4 confusion, or momentary loss of awareness. -
The Evolving Heroine in Nintendo Adventure Games
The Princess and the Platformer: The Evolving Heroine in Nintendo Adventure Games Katharine Phelps Humanities 497W December 15, 2007 Just remember that my being a woman doesn't make me any less important! --Faris Final Fantasy V 1 The Princess and the Platformer: The Evolving Heroine in Nintendo Adventure Games Female characters, even as a token love interest, have been a mainstay in adventure games ever since Nintendo became a household name. One of the oldest and most famous is the princess of the Super Mario games, whose only role is to be kidnapped and rescued again and again, ad infinitum. Such a character is hardly emblematic of feminism and female empowerment. Yet much has changed in video games since the early 1980s, when Mario was born. Have female characters, too, changed fundamentally? How much has feminism and changing ideas of women in Japan and the US impacted their portrayal in console games? To address these questions, I will discuss three popular female characters in Nintendo adventure game series. By examining the changes in portrayal of these characters through time and new incarnations, I hope to find a kind of evolution of treatment of women and their gender roles. With such a small sample of games, this study cannot be considered definitive of adventure gaming as a whole. But by selecting several long-lasting, iconic female figures, it becomes possible to show a pertinent and specific example of how some of the ideas of women in this medium have changed over time. A premise of this paper is the idea that focusing on characters that are all created within one company can show a clearer line of evolution in the portrayal of the characters, as each heroine had her starting point in the same basic place—within Nintendo. -
Embodying the Game
Transcoding Action: Embodying the game Pedro Cardoso & Miguel Carvalhais ID+, Faculty of Fine Arts, University of Porto, Portugal. [email protected] / [email protected] Abstract this performance that is monitored and interpreted by the While playing a video game, the player-machine interaction is not game system, registering very specific data that is solely characterised by constraints determined by which sensors subordinated to the diverse kinds of input devices that are and actuators are embedded in both parties, but also by how their in current use. actions are transcoded. This paper is focused on that transcoding, By operating those input devices the player interacts with on understanding the nuances found in the articulation between the game world. In some games, for the player to be able to the player's and the system's actions, that enable a communication feedback loop to be established through acts of gameplay. This act in the game world, she needs to control an actor, an communication process is established in two directions: 1) player agent that serves as her proxy. This proxy is her actions directed at the system and, 2) system actions aimed at the representation in the game world. It is not necessarily her player. For each of these we propose four modes of transcoding representation in the story of the game. The player’s proxy that portray how the player becomes increasingly embodied in the is the game element she directly controls, and with which system, up to the moment when the player's representation in the she puts her actions into effect. -
Proposal for an Undergraduate Major in Esports and Game Studies B.S
4/16/2019 Proposal for an Undergraduate Major in Esports and Game Studies B.S. Arts and Sciences PRELMINARY PROPOSAL FOR A BACHELOR OF SCIENCE IN Esports and Game Studies I. Proposed Major This new major will be a Bachelor of Science degree through the College of Arts and Sciences in Esports and Game Studies (EGS). Initially, the major will focus on three tracks: 1.) Esports and Game Creation, 2.) Esports Management, and 3.) Application of Games in Medicine and Health. Additional concentrations and certificate programs may be proposed once the major becomes well established. II. Rationale A. Describe the rationale/purpose of the major. This new four-year Arts & Sciences major is a true collaboration between five colleges at The Ohio State University: 1) The College of Arts & Sciences, 2) The Fisher College of Business, 3) The College of Education and Human Ecology, 4) The College of Engineering, and 5) The College of Medicine. This new degree is a multidisciplinary collaboration that is driven by industry needs. The Esports and Game industry is growing at an enormous pace over the past few years. According to Newzoo’s 2018 Global Esports Market Report the global esports revenues have grown over 30% for the past three years and this rate is expected to continue beyond 2021. The revenues in the industry were $250 million in 2015 and expected to reach $1.65 billion by 2021. This growth has created a dearth of properly trained college graduates to fill industry needs. This new UG major has been created to fill the void in industry. -
TOKYO GAME SHOW 2003」Titles on Exhibit Page.1
「TOKYO GAME SHOW 2003」Titles On Exhibit Page.1 Exhibitor Game Title on Exhibit (Japanese) Game Title on Exhibit Genre Platform Price Release date OnlineGame General Area outbreak ラストウィスパー LAST WHISPER Adventure PC ¥6,800 30-May 静寂の風 Seijyaku no kaze Adventure PC ¥4,800 2-May ATLUS CO., LTD. BUSIN 0 BUSIN 0 Roll-Playing PS2 ¥6,800 13-Nov Regular ¥6,800 グローランサー4 GROWLANSER4 Roll-Playing PS2 18-Dec Deluxe ¥9,800 真・女神転生3~NOCTURNE マニアクス SHIN・MEGAMITENSEI 3~NOCTURNE MANIAKUSU Roll-Playing PS2 ¥5,800 Jan-04 九龍妖魔学園紀 KUHRONYOUMAGAKUENKI Other PS2 TBD Next Year 真・女神転生2 SHIN・MEGAMITENSEI 2 Roll-Playing GBA ¥4,800 26-Sep 真・女神転生デビルチルドレン 炎の書 SHIN・MEGAMITENSEI DEBIRUTIRUDOREN HONOWONOSYO Roll-Playing GBA ¥4,800 12-Sep 真・女神転生デビルチルドレン 氷の書 SHIN・MEGAMITENSEI DEBIRUTIRUDOREN KOORINOSYO Roll-Playing GBA ¥4,800 12-Sep 真・女神転生デビルチルドレン メシアライザー SHIN・MEGAMITENSEI Simulation・Roll-Playing GBA TBD Next Year TAKARA CO., LTD. EX人生ゲームⅡ EX JINSEI GAME Ⅱ Board Game PS2 ¥6,800 7-Nov ドリームミックスTV ワールドファイターズ DreamMix TV World Fighters Action PS2/GC TBD December デュエル・マスターズGC(仮) DUEL MASTERS VirtualCardGame GC ¥6,800 19-Dec チョロQHG4 CHORO Q HG4 Racing PS2 ¥6,800 27-Nov トランスフォーマー TRANSFORMERS Action PS2 ¥6,800 30-Oct D・N・ANGEL ~紅の翼~ D・N・ANGEL Adventure PS2 ¥6,800 25-Sep 冒険遊記プラスターワールド 伝説のプラストゲートEX PLUSTERWORLD EX Roll-Playing GBA ¥6,800 4-Dec トランスフォーマーシリーズ TRANSFORMERS Toys on display たいこでポピラ TAIKO DE POPIRA Free trials for visitors / Product Price: ¥5,980 サンダーバードシリーズ THUNDERBIRDS Toys on display KADOKAWA CO., LTD. D.C.P.S~ダ・カーポ~プラスシチュエーション D.C. -
Nintendo Wii
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Neutopiai' Lt Was a Land of Peace Dirth
...for Buying this Adranced TurboGhip wABtuiluGs I Remove the TurboChip game card from its Game Gard. "llleutopial' 'l Be power is sure turned off when chang- plastic case. ing game cards, Before using your new TurboChip game card 2 Hold the TurboChip game card with the title This is a precision please read this instruction manual carefully. 2 device and should not side up and gently slide it into the Game be used or stored under o1 Familiarize yourself with the proper use of conditions Card Port until you feel a firm click (do not your TurboGrafx-'16 Entertainment Super' excessive temperature or humidity. bend the game card or touch its metal parts Do notforcibly yourTurboChip game System, precautions concerning its use and 3 bend as this could erase the program). cards. the proper use of this TurboChip game card. 3 Slide the Control Deck Power Switch to Do not touch the inside Always operate your TurboGrafx-16 Super- 4 of the terminal the 0N position (if your game card is not System and this TurboChip game card area or expose the SuperSystem to water, inserted properly, the Power Switch will not according to instructions. Please keep this etc., as this might damage the unit. move all the way to the right). Do not wipe your manual in a safe place for future reference. 5 SuperSystem or Turbo- 4 The title screen of your particular Chip game cards with volatile liquids wonder; of swords and armor. You must con- such TurboChip game card should appear on paint quer the ultimate evil to return this once as thinner or benzene. -
Intersomatic Awareness in Game Design
The London School of Economics and Political Science Intersomatic Awareness in Game Design Siobhán Thomas A thesis submitted to the Department of Management of the London School of Economics for the degree of Doctor of Philosophy. London, June 2015 1 Declaration I certify that the thesis I have presented for examination for the PhD degree of the London School of Economics and Political Science is solely my own work. The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of 66,515 words. 2 Abstract The aim of this qualitative research study was to develop an understanding of the lived experiences of game designers from the particular vantage point of intersomatic awareness. Intersomatic awareness is an interbodily awareness based on the premise that the body of another is always understood through the body of the self. While the term intersomatics is related to intersubjectivity, intercoordination, and intercorporeality it has a specific focus on somatic relationships between lived bodies. This research examined game designers’ body-oriented design practices, finding that within design work the body is a ground of experiential knowledge which is largely untapped. To access this knowledge a hermeneutic methodology was employed. The thesis presents a functional model of intersomatic awareness comprised of four dimensions: sensory ordering, sensory intensification, somatic imprinting, and somatic marking.