Chapter 2 Game Analytics – the Basics
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Cows, Clicks, Ciphers, and Satire
This is a repository copy of Cows, Clicks, Ciphers, and Satire. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/90362/ Version: Accepted Version Article: Tyler, TRJ (2015) Cows, Clicks, Ciphers, and Satire. NECSUS : European Journal of Media Studies, 4 (1). ISSN 2213-0217 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Cows, Clicks, Ciphers and Satire Farmville, launched in 2009, is a social game developed by Zynga that can be played on Facebook. The game is, as its name suggests, a farming simulation which allows players to grow crops, raise animals, and produce a variety of goods. Gameplay involves clicking on land tiles in order to plough, plant and then harvest maize, carrots, cabbages or any of a huge variety of crops, both real and fantastic, as well as clicking on cows, sheep, chickens and the like to generate milk, wool, eggs and other products, all of which generates virtual income. -
Intercultural Perspective on Impact of Video Games on Players: Insights from a Systematic Review of Recent Literature
EDUCATIONAL SCIENCES: THEORY & PRACTICE eISSN: 2148-7561, ISSN: 2630-5984 Received: 28 November 2019 Revision received: 16 December 2019 Copyright © 2020 JESTP Accepted: 20 January 2020 www.jestp.com DOI 10.12738/jestp.2020.1.004 ⬧ January 2020 ⬧ 20(1) ⬧ 40-58 Review article Intercultural Perspective on Impact of Video Games on Players: Insights from a Systematic Review of Recent Literature Elena Shliakhovchuk Adolfo Muñoz García Universitat Politècnica de València, Spain Universitat Politècnica de València, Spain Abstract The video-game industry has become a significant force in the business and entertainment world. Video games have become so widespread and pervasive that they are now considered a part of the mass media, a common method of storytelling and representation. Despite the massive popularity of video games, their increasing variety, and the diversification of the player base, until very recently little attention was devoted to understanding how playing video games affects the way people think and collaborate across cultures. This paper examines the recent literature regarding the impact of video games on players from an intercultural perspective. Sixty-two studies are identified whose aim is to analyze behavioral-change, content understanding, knowledge acquisition, and perceptional impacts. Their findings suggest that video games have the potential to help to acquire cultural knowledge and develop intercultural literacy, socio-cultural literacy, cultural awareness, self-awareness, and the cultural understanding of different geopolitical spaces, to reinforce or weaken stereotypes, and to some extent also facilitate the development of intercultural skills. The paper provides valuable insights to the scholars, teachers, and practitioners of cultural studies, education, social studies, as well as to the researchers, pointing out areas for future research. -
Informa 2018 Full Year Results Statement
Informa LEI: 5493006VM2LKUPSEDU20 Press Release 7 March 2019 Informa PLC Results for 12 Months to 31 December 2018 2018: Combination & Creation 2019: Performance & Growth KEY FINANCIAL AND OPERATING HIGHLIGHTS1 • Strong Revenue Growth: +3.7% underlying and +34.9% reported to £2,369.5m, including six months of UBM (2017: £1,756.8m) • Higher Adjusted Operating Profit: +2.3% underlying and +34.4% reported to £732.1m (2017: £544.9m) • Improved Statutory Operating Profit: £363.2m (2017: £344.7m) • Increased Adjusted Diluted Earnings per Share: +7.0% to 49.2p (2017: 46.0p); Statutory EPS of 19.7p (2017: 37.6p), with prior year including non-cash credit from US tax reforms • Attractive Free Cash Flow: £503.2m and £600m+ including a full year of UBM (2017: £400.9m) • Robust Balance Sheet, in line with plan: Net debt/EBITDA1 at 2.9x (2017: 2.5x) • Enhanced Dividend: up 7.1% to 21.90p (2017: 20.45p) London: Informa (LSE: INF.L), the International Exhibitions, Events, Information Services and Scholarly Research Group, today published its financial results for the 12 months to 31 December 2018, reporting a further period of operational progress and improving financial performance. Stephen A. Carter, Group Chief Executive, said: “In 2018, the Informa Group delivered a fifth consecutive year of improving growth, increasing adjusted profits, adjusted earnings per share, cashflow and dividends.” He added: “In 2019, our focus is on continuing Performance and Growth as we consolidate our market positions and further reduce complexity. This will enable -
Griefing, Massacres, Discrimination, and Art: the Limits of Overlapping Rule Sets in Online Games Sal Humphreys University of Adelaide (Australia)
UC Irvine Law Review Volume 2 Issue 2 Governing the Magic Circle: Regulation of Article 3 Virtual Worlds 6-2012 Griefing, Massacres, Discrimination, and Art: The Limits of Overlapping Rule Sets in Online Games Sal Humphreys University of Adelaide (Australia) Follow this and additional works at: https://scholarship.law.uci.edu/ucilr Part of the Contracts Commons, Internet Law Commons, and the Rule of Law Commons Recommended Citation Sal Humphreys, Griefing, Massacres, Discrimination, and Art: The Limits of Overlapping Rule Sets in Online Games, 2 U.C. Irvine L. Rev. 507 (2012). Available at: https://scholarship.law.uci.edu/ucilr/vol2/iss2/3 This Article is brought to you for free and open access by UCI Law Scholarly Commons. It has been accepted for inclusion in UC Irvine Law Review by an authorized editor of UCI Law Scholarly Commons. UCILR V2I2 Assembled v4 (Do Not Delete) 7/14/2012 2:14 PM Griefing, Massacres, Discrimination, and Art: The Limits of Overlapping Rule Sets in Online Games Sal Humphreys* and Melissa de Zwart** Introduction ..................................................................................................................... 507 I. Game Rules, the Magic Circle, and Heterotopias .................................................. 510 II. End User License Agreements ................................................................................ 515 III. Breaking the Rules ................................................................................................... 516 IV. Griefing ..................................................................................................................... -
1 Fully Optimized: the (Post)Human Art of Speedrunning Like Their Cognate Forms of New Media, the Everyday Ubiquity of Video
Fully Optimized: The (Post)human Art of Speedrunning Item Type Article Authors Hay, Jonathan Citation Hay, J. (2020). Fully Optimized: The (Post)human Art of Speedrunning. Journal of Posthuman Studies: Philosophy, Technology, Media, 4(1), 5 - 24. Publisher Penn State University Press Journal Journal of Posthuman Studies Download date 01/10/2021 15:57:06 Item License https://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://hdl.handle.net/10034/623585 Fully Optimized: The (post)human art of speedrunning Like their cognate forms of new media, the everyday ubiquity of video games in contemporary Western cultures is symptomatic of the always-already “(post)human” (Hayles 1999, 246) character of the mundane lifeworlds of those members of our species who live in such technologically saturated societies. This article therefore takes as its theoretical basis N. Katherine Hayles’ proposal that our species presently inhabits an intermediary stage between being human and posthuman; that we are currently (post)human, engaged in a process of constantly becoming posthuman. In the space of an entirely unremarkable hour, we might very conceivably interface with our mobile phone in order to access and interpret GPS data, stream a newly released album of music, phone a family member who is physically separated from us by many miles, pass time playing a clicker game, and then absentmindedly catch up on breaking news from across the globe. In this context, video games are merely one cultural practice through which we regularly interface with technology, and hence, are merely one constituent aspect of the consummate inundation of technologies into the everyday lives of (post)humans. -
Cruising Game Space
CRUISING GAME SPACE Game Level Design, Gay Cruising and the Queer Gothic in The Rawlings By Tommy Ting A thesis exhibition presented to OCAD University in partial fulfillment of the requirements for the degree of Master of Fine Arts in Digital Futures Toronto Media Arts Centre 32 Lisgar Street., April 12, 13, 14 Toronto, Ontario, Canada April 2019 Tommy Ting 2019 This work is licensed under the Creative Commons Attribution-Non Commercial-ShareAlike 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc- sa/4.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. Copyright Notice Author’s Declaration This work is licensed under the Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/4.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. You are free to: Share – copy and redistribute the material in any medium or format Adapt – remix, transform, and build upon the material The licensor cannot revoke these freedoms as long as you follow the license terms. Under the follower terms: Attribution – You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. NonCommericial – You may not use the material for commercial purposes. ShareAlike – If you remix, transform, or build upon the material, you must distribute you contributions under the same license as the original. -
Ocarina of Time World Record
Ocarina Of Time World Record Unforsaken and unsectarian Pip total her attribution niches sortes and faces heedfully. Manish niggardized his Ernyguillemot unhumanising catnapped cheerily irresolutely, and valvedbut quadratic his sacramental Roberto never swift anddoubts starchily. so abloom. Phantasmagorial and sunray Since OOT is a famous game you can find a speedrun of OOT on SDA or on the youtube channel that uses the same glitches. After breaking through the spider web and reaching the lower floor of the Great Deku Tree, turn back and look at the vines leading up. Please stop for the regret of God. Get bill of Hollywood. Celeste speedrunning career so far off. Over the years, speedrunners have discovered multiple glitches that shave time off the Ocarina of Time world record, and now, that world record has fallen below ten minutes! Remove pump inner leader and padding in Firefox. Attack benefit from behind! Pero antes de morir nos pidió que fueramos al castillo de Hyrule. Our situation has made easy would use online tool can convert row data. Not knowing the technical details of what just happened, it looks like he just dicked around for ten minutes and then Ganondorf gave up. Link getting packages available now find more about is usually they must have taken on page in our ocarinas. Iron boots on ocarina time he runs. With a time of ocarina of quality that is what does not necessary. Castle: Theoretically, one could warp from the starting dungeon all the way past Ganondorf, to fight Ganon and beat the game. We chatted with one of the top Ocarina of Time speedrunners in the world. -
What We Talk About When We Talk About Game Aesthetics Simon Niedenthal Malmö University School of Arts and Communication Malmö, Sweden [email protected]
What We Talk About When We Talk About Game Aesthetics Simon Niedenthal Malmö University School of Arts and Communication Malmö, Sweden [email protected] ABSTRACT well under 4% in both 2005 and 2007. Game industry Digital games are commonly described as phenomena that discomfort with aesthetic questions is expressed in a combine aesthetic, social and technological elements, yet different manner. “Here we go again” was the resigned our understanding of the aesthetic element of games and response of one interviewee in a recent Gamasutra.com play is perhaps the least developed of all. All too often, an article on the question “Are games art?” [34]. Are we to aesthetics perspective within game studies and design conclude that an aesthetics perspective on digital games has discourses is relegated to a marginal role, by conflating fallen upon tough times? Hardly. Although the term game aesthetics with graphics and “eye candy,” or by “aesthetics” (and the implicit and explicit attitudes limiting aesthetic discussion to graphic style analysis or associated with it) needs to be critically reexamined within debates on the question “are games art?” Changing game a game studies context, changes in game technologies, as technologies, as well as arguments from within philosophy, well as arguments drawing upon philosophy, psychology, psychology, interaction design theory and cultural theory, interaction design theory and cultural studies suggest that call for us to examine the implicit and explicit assumptions an aesthetics perspective can contribute greatly to research we make when we write about aesthetics within game discourses on gaming as an embodied and pleasurable studies research, as a prelude to reclaiming a perspective experience, and can give rise to new ways of thinking about that will allow us to better understand the way in which game design. -
Cutscene List – Prague
25-Jun-21 Cutscene-FULL-LIST-PRAGUE-v11 CUTSCENE LIST – PRAGUE SCENE 8 THE CRIME SCENE AT VASILEY’S. POINT 8.1: HIGH PRIORITY IG-ANIM - Lara pulls into a backtstreet in the borrowed vehicle, she gets out ….says “Great, another cold, dark city.” Cut to ingame. POINT 8.3: IG CONV - Luddick, a news reporter is staking out Vasiley’s shop. He sits in the warmth of his car that is parked across the square. Lara can talk to him but he will only give info if she has money to barter with. He lets her get into the car when she waves some cash at him. He tells Lara that he’s been following Vasiley for months and is convinced Vasiley was connected to the Mafia in some way. Now he’s been murdered it all points to a Mafia killing. All evidence has been cleared away. Lara has to keep prompting him with cash. He shows her some files on the main ‘Mafia’ members and others including Bouchard. He might be able to get her a passcode into the Strahov, their centre of operations. The outcome later will vary depending on whether Lara is predominantly FRIENDLY or UNFRIENDLY. Lara leaves and heads for Vasiley’s premises – the crimescene. SEE DIALOGUE TOM-LUDDICK-CAR. They have the conversation outside the car. No anims required. POINT 8.11: HIGH PRIORITY - MODIFIED IG_ANIM - Lara comes across Bouchard inside Vasiley’s premises. She sneaks up behind him and holds a gun to his head. He turns round and she hits him with the butt of the gun…black. -
Cutscenes, Agency and Innovation Ben Browning a Thesis In
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Concordia University Research Repository Should I Skip This?: Cutscenes, Agency and Innovation Ben Browning A Thesis in The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montreal, Quebec, Canada April 2016 © Ben Browning CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Ben Browning Entitled: Should I Skip This?: Cutscenes, Agency and Innovation and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Darren Wershler External Examiner Peter Rist Examiner Marc Steinberg Supervisor Approved by Haidee Wasson Graduate Program Director Catherine Wild Dean of the Faculty of Fine Arts Date ___________________________________ iii ABSTRACT Should I Skip This?: Cutscenes, Agency and Innovation Ben Browning The cutscene is a frequently overlooked and understudied device in video game scholarship, despite its prominence in a vast number of games. Most gaming literature and criticism concludes that cutscenes are predetermined narrative devices and nothing more. Interrogating this general critical dismissal of the cutscene, this thesis argues that it is a significant device that can be used to re-examine a number of important topics and debates in video game studies. Through an analysis of cutscenes deriving from the Metal Gear Solid (Konami, 1998) and Resident Evil (Capcom, 1996) franchises, I demonstrate the cutscene’s importance within (1) studies of video game agency and (2) video game promotion. -
Machinima As Digital Agency and Growing Commercial Incorporation
A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation 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 Megan R. Brown December 2012 © 2012 Megan R. Brown. All Rights Reserved 2 This thesis titled A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation by MEGAN R. BROWN has been approved for the School of Film and the College of Fine Arts by Louis-Georges Schwartz Associate Professor of Film Studies Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT BROWN, MEGAN R., M.A., December 2012, Film Studies A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation (128 pp.) Director of Thesis: Louis-Georges Schwartz. This thesis traces machinima, films created in real-time from videogame engines, from the exterior toward the interior, focusing on the manner in which the medium functions as a tool for marginalized expression in the face of commercial and corporate inclusion. I contextualize machinima in three distinct contexts: first, machinima as historiography, which allows its minority creators to articulate and distribute their interpretation of national and international events without mass media interference. Second, machinima as a form of fan fiction, in which filmmakers blur the line between consumers and producers, a feature which is slowly being warped as videogame studios begin to incorporate machinima into marketing techniques. Finally, the comparison between psychoanalytic film theory, which explains the psychological motivations behind cinema's appeal, applied to videogames and their resulting machinima, which knowingly disregard established theory and create agency through parody. -
A Scripting Game That Leverages Fuzzy Logic As an Engaging Game Mechanic
Fuzzy Tactics: A scripting game that leverages fuzzy logic as an engaging game mechanic ⇑ Michele Pirovano a,b, Pier Luca Lanzi a, a Dipartimento di Elettronica, Informazione e Bioingegneria Politecnico di Milano, Milano, Italy b Department of Computer Science, University of Milano, Milano, Italy 1. Introduction intelligent. The award-winning game Black & White (Lionhead Studios, 2001) leverages reinforcement learning to support the Artificial intelligence in video games aims at enhancing players’ interaction with the player’s giant pet-avatar as the main core of experience in various ways (Millington, 2006; Buckland, 2004); for the gameplay. Most of the gameplay in Black & White (Lionhead instance, by providing intelligent behaviors for non-player charac- Studios, 2001) concerns teaching what is good and what is bad ters, by implementing adaptive gameplay, by generating high- to the pet, a novel mechanic enabled by the AI. In Galactic Arms quality content (e.g. missions, meshes, textures), by controlling Race (Hastings, Guha, & Stanley, 2009), the players’ weapon prefer- complex animations, by implementing tactical and strategic plan- ences form the selection mechanism of a distributed genetic algo- ning, and by supporting on-line learning. Noticeably, artificial rithm that evolves the dynamics of the particle weapons of intelligence is typically invisible to the players who become aware spaceships. The players can experience the weapons’ evolution of its presence only when it behaves badly (as demonstrated by the based on their choices. In all these games, the underlying artificial huge amount of YouTube videos showing examples of bad artificial intelligence is the main element that permeates the whole game intelligence1).