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Dead Space 2: the Sublime, Uncanny and Abject in Survival Horror Games
Dead Space 2: The Sublime, Uncanny and Abject in Survival Horror Games Garth Mc Intosh 404209 Master of Arts by Course Work in Digital Animation 18 February 2015 Supervisor: Hanli Geyser ` 1 Figure 1. Visceral Games, Dead Space II, game cover, 2011. Copyright U.S.A. Electronic Arts. ` 2 Table of Contents INTRODUCTION ................................................................................................................................. 4 HORROR GENRE................................................................................................................................................ 5 ‘DEAD SPACE 2’ ................................................................................................................................................ 6 METHODOLOGY & STRUCTURE ...................................................................................................................... 8 CLARIFICATION OF TERMS .............................................................................................................................. 9 CHAPTER 1 SUBLIME WITHIN NARRATIVE AND MIS-EN-SCENE ....................................10 THE MARKER AND GOYA .............................................................................................................................. 11 AWAKING TO A NIGHTMARE ........................................................................................................................ 13 THE SUBLIME ................................................................................................................................................ -
EA Delivers the First Big Blockbuster Game of 2011 with Dead Space 2
EA Delivers the First Big Blockbuster Game of 2011 With Dead Space 2 The Most Unrelentingly Intense Action Horror Game Hits Retail Shelves; Downloadable Campaigns Revealed with Dead Space 2: Severed Distinctive Dead Space Experience Available for iPhone, iPad and iPod touch REDWOOD CITY, Calif.--(BUSINESS WIRE)-- The psychological thrill of deep space rises to an electrifying new level as Visceral Games™, a studio ofElectronic Arts Inc. (NASDAQ:ERTS), today announced the internationally-acclaimed action horror game Dead Space™ is2 now available at retail stores in North America and on January 28 in Europe. This highly- anticipated sequel has been heralded as one of the top games of 2011 by New York Times' Seth Schiesel and has received 25 scores of 90+ from top gaming outlets such as Official Xbox Magazine, Playstation: The Official Magazine and Game Informer. PlayStation: The Official Magazine said that "'Dead Space 2' surpasses the original in every capacity," while IGN calls it "a new gold standard" and Game Informer declares the game "a monster of a sequel, offering bigger scares and more excitement." Visceral Games also announced today Dead Space 2: Severed, an all-new digital download pack that extends the Dead Space 2 story with the addition of two standalone chapters in the single-player game. Dead Space 2: Severed will see the return of Gabe Weller and Lexine Murdock, the two main characters from the award-winning 2009 game, Dead Space Extraction. In Dead Space 2: Severed, the story of Weller and Lexine runs parallel to Isaac's blood-curdling adventure in Dead Space 2, but this time players will take on the role of Gabe Weller. -
EA Gives Gamers an Early Gift This Holiday Season with Dead Space 2 Demo
EA Gives Gamers an Early Gift This Holiday Season With Dead Space 2 Demo Experience the First Big Blockbuster of 2011 Five Weeks Before Release REDWOOD CITY, Calif.--(BUSINESS WIRE)-- Dive into engineer Isaac Clarke's blood-curdling adventure five weeks before release as Visceral Games™, a studio ofElectronic Arts Inc. (NASDAQ:ERTS) today announced a demo for the critically- acclaimed action horror game, Dead Space™2. The demo, available worldwide beginning December 21st, will allow players to discover the Church of Unitology and help Isaac defeat the Necromorph outbreak in a gruesome, unforgiving battle on The Sprawl. Winner of GameSpot's highly-coveted ‘Best Xbox 360 Game' of E3 award, Dead Space 2 will deliver the first big blockbuster title of 2011 when the title ships this January. In the Dead Space 2 demo, players will take engineer Isaac Clarke on a terrifying adventure through the Church of Unitology, an expectedly "safe" place that quickly becomes dangerous and deadly, during the Necromorph outbreak on the Sprawl. Players will also have access to a variety of new tools that Isaac can use to fight Necromorphs, including the new Javelin gun, updated stasis recharge mechanic and enhanced telekinesis ability. Players will also experience the advanced suit, equipped with jets that will allow Isaac full 3600 control in Zero-G space. "The holidays are a great time to enjoy all forms of entertainment, and we can't wait to give horror and action adventure gamers a taste of what awaits them in Dead Space 2," said Steve Papoutsis, Executive Producer of the Dead Space franchise. -
Markedness, Gender, and Death in Video Games
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 10-2-2020 1:00 PM Exquisite Corpses: Markedness, Gender, and Death in Video Games Meghan Blythe Adams, The University of Western Ontario Supervisor: Boulter, Jonathan, The University of Western Ontario : Faflak, Joel, The University of Western Ontario A thesis submitted in partial fulfillment of the equirr ements for the Doctor of Philosophy degree in English © Meghan Blythe Adams 2020 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Film and Media Studies Commons Recommended Citation Adams, Meghan Blythe, "Exquisite Corpses: Markedness, Gender, and Death in Video Games" (2020). Electronic Thesis and Dissertation Repository. 7414. https://ir.lib.uwo.ca/etd/7414 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This dissertation analyzes gendered death animations in video games and the way games thematize death to remarginalize marked characters, including women. This project combines Georg Wilhelm Friedrich Hegel’s work on the human subjection to death and Georges Bataille’s characterization of sacrifice to explore how death in games stages markedness. Markedness articulates how a culture treats normative identities as unproblematic while marking non-normative identities as deviant. Chapter One characterizes play as a form of death-deferral, which culminates in the spectacle of player-character death. I argue that death in games can facilitate what Hegel calls tarrying with death, embracing our subjection to mortality. -
Carry the White Man's Burden to Outer Space – The
Mission Objective: 157 Carry the White Man’s Burden to Outer Space – The Gamification of Colonization in Dead Space Andrei NAE Mission Objective: Carry the White Man’s Burden to Outer Space – The Gamification of Colonization in Dead Space Abstract: Survival horror video games were recognized in the late nineteen-nineties for their cumbersome gameplay determined by complicated controls and inefficient core mechanics. After 2005, survival horror games started to move away from their traditional game design and to show more openness to the dominant game design norms of the action genre. The new survival horror games sought to eliminate the hypermedial elements that had characterized their predecessors and offer gamers an immersive gameplay experience similar to that of AAA1 action games. In this article I look at the survival horror game Dead Space (EA, 2008) and analyse the way in which the game naturalizes its ludic functions in order to strengthen the illusion of immersion and how the illusion of immersion strengthens the ideology of white supremacy embedded in the remediated colonial discourse of the game. In keeping with Jesper Juul’s approach (“On Absent Carrot Sticks”) to the relation between the game’s fiction and the game’s rules, I show that in the case of Dead Space traditionally antimimetic elements of video games such as the heads-up display are implemented into the fictional text-actual-world. As a result, conventionally extradiegetic game mechanics such as the inventory now become intradiegetic elements that no longer draw the player away from the storyworld.2 The realism of the storyworld works in favour of a naturalization of the colonial tropes that the video game remediates. -
PUC-SP Grazielle De Lima Cianfa a Física Básica Nos
PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO – PUC-SP Grazielle de Lima Cianfa A física básica nos jogos digitais Mestrado em Tecnologias da Inteligência e Design Digital São Paulo/2014 Página | 2 Página | 3 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO – PUC-SP Grazielle de Lima Cianfa A física básica nos jogos digitais Dissertação apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de MESTRE em Tecnologias da Inteligência e Design Digital, sob a orientação do Prof. Dr. Nelson Brissac Peixoto. Mestrado em Tecnologias da Inteligência e Design Digital São Paulo/2014 Página | 4 Página | 5 Banca Examinadora ____________________________________________ ____________________________________________ ____________________________________________ Página | 6 Página | 7 Agradecimentos Agradeço à minha família por toda a motivação e compreensão! Agradeço ao meu orientador Prof Dr Nelson Brissac pela paciência e dedicação. Agradeço aos amigos por todo o apoio. Agradeço a PUC-SP e a CAPES pela oportunidade a mim concedida. Página | 8 Página | 9 “O importante é não parar de questionar” Albert Einstein Página | 10 Página | 11 Resumo A presente pesquisa trata sobre a física básica nos jogos digitais. Apresentamos o processo de como ela chega até ao jogador, mas sem nos apegarmos aos códigos de programação ou softwares específicos. Nosso foco foi descobrir se a física que vemos nos jogos digitais é real ou não e como ela atinge o jogador, através da análise da física básica nos jogos. Como existem diversos jogos e o campo de estudo da Física é amplo, selecionamos um jogo e um fenômeno físico para analisar. O jogo chama-se Dead Space 1 e nele verificamos o fenômeno da gravidade. -
Thesis Template
Inari Turja The effects of visual aesthetics and functionality in user interface design and perception Bachelor’s thesis Bachelor’s Degree in Game Design 2020 Author (authors) Degree Time Inari Turja Bachelor of Culture April 2020 and Arts Thesis title 64 pages The effects of visual aesthetics and functionality in user 4 pages of appendices interface design and perception Commissioned by South-Eastern Finland University of Applied Sciences Supervisor Suvi Pylvänen Abstract The objective of this Thesis was to study how the functionality and visual design of video game user interfaces can affect perception, and the different factors that may have further influence the viewer’s attention and user experience. As such, the Thesis goes over the different aspects of the design process of both user interfaces and user experience, and what elements should be considered in order to achieve a comprehensive unit. The methods used to study this involved a screening where the participants were directed to observe three different versions of a prototype that all have unique design choices. In order to examine their perception, the participants used an eye tracker to record the movement of their eyes during the screening. The records were then further analyzed to study such factors as what the viewers observed first, how long did it take for them to notice the user interface, and if there were other aspects of the design that influenced their perception. The results also helped to determine which prototype version worked the best. After the screening, the participants were then asked several questions regarding the experience. In order to acquire more extensive results, the prototype screening would have required more participants and a better testing environment. -
EA and Anchor Bay Entertainment Join Forces Again to Release Dead Space Animated Movie on January 25
EA and Anchor Bay Entertainment Join Forces Again to Release Dead Space Animated Movie on January 25 REDWOOD CITY, Calif. & BEVERLY HILLS, Calif.--(BUSINESS WIRE)-- Electronic Arts Inc. (NASDAQ:ERTS) and Anchor Bay Entertainment today announced that a new Dead Space™animated movie, Dead Space™ Aftermath will be available on January 25 to coincide with the release of the highly anticipated videogame, Dead Space 2. Coming from the award-winning game development team and the 2008 animated feature production company, Dead Space Aftermath will feature several internationally renowned animation directors that use their unique and bold visions to explain what happened during the first- responder mission to Aegis VII. The directors will do this through the perspective of four survivors in this fast-paced horrifying thrill ride that stretches the limits of time and space. In Dead Space Aftermath, the year is 2509 and not only has Earth lost contact with the USG Ishimura and Isaac Clarke, but also the USG O'Bannon, which is the first responder ship sent to rescue them. Four crew members of the O'Bannon have survived, but no one knows what happened to the rest of the crew, what they were doing, or what secrets they may be holding. All will be revealed...in the Aftermath! Making a return from the first Dead Space animated feature film is producer Joe Goyette and supervising director Mike Disa. Dead Space Aftermath will also be produced and animated by Film Roman ("The Simpsons," "King of the Hill"), and boasts a stellar voice cast led by Christopher Judge ("Stargate: SG-1"), Peter Woodward ("Babylon 5," "Charmed"), Graham McTavish (upcoming theatrical release of The Hobbit), Ricardo Chavira ("Desperate Housewives") and Gwendoline Yeo ("Star Wars: The Clone Wars"). -
'Dead Space 3' a Less Scary, Solid Shooter 7 February 2013, by Dirk Lammers
Review: 'Dead Space 3' a less scary, solid shooter 7 February 2013, by Dirk Lammers Other opportunities to float in zero gravity and rappel down a rocky cliff provide welcome diversions to cramped hallways. The game's biggest improvement is the new weapon crafting system, which can be used at any workbench in the game's 19 chapters. Bring the right parts and you can concoct thousands of customized weapons with different combinations of frames, engines and tips. Your creations can be further enhanced with acid-coated or electrified projectiles as well as circuits, which can improve damage, reload speed, clip size or This video game image released by Electronic Arts rate of fire. The goal here is to have a secondary shows a scene from "Dead Space 3." (AP weapon, such as an electric charge to stun or Photo/Electronic Arts) freeze the monsters, and a fast-shooting primary weapon like a pulse rifle to finish them off. Thankfully, "Dead Space 3" didn't change what has Isaac Clarke has grown over the first two "Dead worked. Kinesis often comes in handy, allowing you Space" games from a troubled systems engineer to pick an object from a distance and toss it toward into a full-fledged action hero, so it would be naive a necromorph. Who says you have to fight fairly? to think that the series would not morph alongside its protagonist. Color-coded meters for health and stasis, Clarke's special ability to slow down the necromorphs, "Dead Space 3" (Electronic Arts, for the Xbox 360, remain on his backpack, negating the need for the PlayStation 3 and PC, $59.99) has blossomed into kind of heads-up display that too often clutters a a more polished third-person sci-fi shooter, but it game's screen. -
Damage in Dead Space
Damage and Decorum in Dead Space Draft version May 2013 Diane Carr, Institute of Education, University of London. Keywords: Digital games, representation, ability, disability, disability theory, Dead Space, undead monsters, embodiment, horror, ‘body genres’, bodies. Introduction The undead monsters in Dead Space might pass as metaphors of scientific hubris or medical transgression, but they look like mobile wounds. Meanwhile, despite being wrapped in a high-tech second skin, the game’s protagonist Isaac Clarke has constant problems maintaining a safe distance between his insides and whatever is outside. Increasing Isaac’s survivability through the upgrading of his resources is crucial, while the player must acquire and demonstrate skills (resource management, accuracy and puzzle solving) in order to progress through the game. Dead Space mixes depictions of gore and gruesome injury with images of physical alteration (viral, medical and technological), tests of ability, monstrous resurrection and engineered restoration. This analysis of Dead Space will draw on issues raised in Snyder and Mitchell’s essay ‘Body Genres: An Anatomy of Disability in Film’ (2010) in which the authors slot a disabled body into Linda Williams’ account of body genres (1999). Williams used the term ‘body genres’ to describe film genres such as melodrama, pornography and horror that promise their audiences physical responses and sensation Dead Space is a survival horror game and it has succeeded commercially and otherwise, because it generates fear, panic and tension. Like many games, it mixes representations of damaged bodies, with repeated demonstrations of ability. This account of Dead Spaces combines structural and textual analysis undertaken from the perspective of a player-analyst. -
Sector Magazín 1/2011
SECTOR MAGAZÍN 1/2011 OBSAH Vydáva Sector s.r.o. Layout Peter Dragula (Saver) Šéfredaktor ÚVODNÍK Pavol Buday (Spacejunker) e jedno, z ktorej strany začínate čítať Sector Magazín. Prechádzate ako prvú užívateľskú sekciu, preletíte tiráž, či sa tam neobjavilo vaše Redakcia meno, názvy hier v obsahu, vyhodnocujete, čo všetko ste zmeškali alebo sa rovno púšťate do čítania toho, čo definovalo uplynulý me- Peter Dragula (Saver) J siac. Branislav Kohút (uni) Je jedno, z ktorej strany, na začiatku bude vždy úvodník otvárajúci aj v Jaroslav Otčenáš (Je2ry) poradí trináste číslo, ktoré je výnimočné – Sector Magazín začal vychádzať Vladimír Pribila (Fendi) presne pred rokom. Na obálke trónil kapitán Shephard a komandoval oval Andrej Hankes (Andrei) svoj do náruče istej smrti. Druhý ročník otvára opäť hra od EA. Matúš Štrba (matus_ace) Na obálku sa dostal fenomenálny návrat Isaaca Clarka, učebnicové pokra- Michal Korec čovanie prekonávajúce kvality originálu sa nestalo hrou čísla pre nič za Juraj Malíček (pinkie) nič. Psychologický teror a konštantné napätie, ktoré sa dá krájať ako nek- Kvetoslav Samák (quit) romorfovia rezačkami, zvýšia tep každému nebojsovi. A potom je tu uni- kátny boj v bezváhovom stave. Dead Space 2 ukážkovo otvára rok 2011.O tom, aký bude, sa na neuveriteľných ôsmich stranách rozpisuje MX-72. Dokonalý prehľad. Užívatelia v čísle Trinástka je vraj nešťastné číslo, v prípade Sector Magazínu je všetko na svojom mieste. Aj ten úvodník sa píše ako posledný, aj keď je vlastne pr- Raina Audron vý. MX-72 Je jedno, z ktorej strany -
AURAL ABJECTIONS and DANCING DYSTOPIAS: SONIC SIGNIFIERS in VIDEO GAME HORROR by ASHLEY MERRINER a THESIS Presented to the Schoo
AURAL ABJECTIONS AND DANCING DYSTOPIAS: SONIC SIGNIFIERS IN VIDEO GAME HORROR by ASHLEY MERRINER A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2017 THESIS APPROVAL PAGE Student: Ashley Merriner Title: Aural Abjections and Dancing Dystopias: Sonic Signifiers in Video Game Horror This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Music and Dance by: Marian Smith Chairperson Loren Kajikawa Member Margret Gries Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017 ii © 2017 Ashley Merriner iii THESIS ABSTRACT Ashley Merriner Master of Arts School of Music and Dance June 2017 Title: Aural Abjections and Dancing Dystopias: Sonic Signifiers in Video Game Horror For centuries, the horror genre has ensnared audiences across generations and genre lines: ballet, opera, literature, poetry, film, and, most recently, video games have all utilized the power of terror to shock, horrify, and, perhaps most disturbingly, attract. But what does fear sound like? This thesis will focus on that question as it explores both the twin worlds of Konami’s survival-horror title Silent Hill and the underwater-nightmare city of Rapture in 2KGames’ 2007 hit Bioshock . Offering a deeper understanding of the agency video game sound employs, this thesis will engage critical gender, race, and feminist theory, confront issues of social and cultural fears evoked through sound, and offer an in-depth analysis of each game’s soundscape in order to discuss the ways video game soundtracks can serve as vehicles for both signifying and unpacking complicated social and political topics that prevail in modern society.