March 2008 Overclocked a History of Violence Preview at My Middle School, Students Were Required to Submit a Project During the Spring Semester of Each Year
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Navigating the Videogame
From above, from below: navigating the videogame A thesis presented by Daniel Golding 228306 to The School of Culture and Communication in partial fulfilment of the requirements for the degree of Bachelor of Arts (Honours) in the field of Cultural Studies in the School of Culture and Communication The University of Melbourne Supervisor: Dr. Fran Martin October 2008 ABSTRACT The study of videogames is still evolving. While many theorists have accurately described aspects of the medium, this thesis seeks to move the study of videogames away from previously formal approaches and towards a holistic method of engagement with the experience of playing videogames. Therefore, I propose that videogames are best conceptualised as navigable, spatial texts. This approach, based on Michel de Certeau’s concept of strategies and tactics, illuminates both the textual structure of videogames and the immediate experience of playing them. I also regard videogame space as paramount. My close analysis of Portal (Valve Corporation, 2007) demonstrates that a designer can choose to communicate rules and fiction, and attempt to influence the behaviour of players through strategies of space. Therefore, I aim to plot the relationship between designer and player through the power structures of the videogame, as conceived through this new lens. ii TABLE OF CONTENTS ABSTRACT ii ACKNOWLEDGEMENTS iv CHAPTER ONE: Introduction 1 AN EVOLVING FIELD 2 LUDOLOGY AND NARRATOLOGY 3 DEFINITIONS, AND THE NAVIGABLE TEXT 6 PLAYER EXPERIENCE AND VIDEOGAME SPACE 11 MARGINS OF DISCUSSION 13 CHAPTER TWO: The videogame from above: the designer as strategist 18 PSYCHOGEOGRAPHY 18 PORTAL AND THE STRATEGIES OF DESIGN 20 STRUCTURES OF POWER 27 RAILS 29 CHAPTER THREE: The videogame from below: the player as tactician 34 THE PLAYER AS NAVIGATOR 36 THE PLAYER AS SUBJECT 38 THE PLAYER AS BRICOLEUR 40 THE PLAYER AS GUERRILLA 43 CHAPTER FOUR: Conclusion 48 BIBLIOGRAPHY 50 iii ACKNOWLEDGEMENTS I would like to thank my supervisor, Dr. -
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. -
Established in 1998 Sumthing Else Music Works Is the Industry Leader
SUMTHING ELSE MUSIC WORKS’ SOUNDTRACKS HONORED AT 6TH ANNUAL GAME AUDIO NETWORK GUILD AWARDS Halo 3, Mass Effect, Red Steel Nominated for “Best Original Soundtrack Album” Halo 3 and Mass Effect Nominated for “Audio of the Year” New York – February 7th, 2008 – The Game Audio Network Guild (G.A.N.G.), the non-profit organization dedicated to the advancement and recognition of game audio, recently announced the finalists for the 6th Annual G.A.N.G. Awards to honor outstanding creative, technical and artistic audio achievement in the world of interactive entertainment. Of the 20 entries in the top 4 Award categories, 7 are on the Sumthing Else Music Works (SEMW) Label. These include 3 of the 5 nominees in “Best Original Soundtrack Album” and 2 of the 5 for “Audio of the Year.” Winners will be announced at the 6th Annual G.A.N.G. Awards ceremony being held on Thursday, February 21st, 2008 in San Francisco, CA during the Game Developers Conference. The show will take place in the North Hall of the Moscone Center (Room 134) and will include live video game music performances throughout the evening. SEMW finalists in the 6th Annual G.A.N.G. Awards are highlighted below. AUDIO OF THE YEAR BioShock Call of Duty 4: Modern Warfare God of War II Halo 3 Mass Effect MUSIC OF THE YEAR Assassin’s Creed BioShock God of War II Halo 3 The Golden Compass SOUND DESIGN OF THE YEAR BioShock Call of Duty 4: Modern Warfare Crysis The Orange Box Uncharted: Drake’s Fortune BEST ORIGINAL SOUNDTRACK ALBUM Dead Head Fred God of War II Halo 3 Mass Effect Red Steel BEST -
Participatory Gaming Culture
Master thesis Participatory gaming culture: Indie game design as dialogue between player & creator Martijn van Best student ID: 3175421 [email protected] New Media Studies Faculty of Humanities UTRECHT UNIVERSITY Course code: 200700088 THE-Scriptie / MA NMDC Supervisor: Erna Kotkamp Second reader: René Glas DATE: March 28th, 2011 1 To Mieke 2 Abstract In this thesis I argue that the current dichotomy between indie game design and mainstream design based on commercial appeal versus creative audacity is non-constructive. Instead, I wish to investigate to what extent indie game designers are able to establish a personal dialogue with their audience through their game. I frame independent game design as a participatory culture in which indies alter and modify existing game design conventions through a practice called abusive game design. This is a concept developed by Douglas Wilson and Miguel Sicart. Players who wish to master (partially) abusive games, need to learn about the designer's intentions rather than the game system. I argue that a designer's visibility in this way allows for a dialogue between creator and player. However, in a case study of indie title Super Crate Box (2010), it appears that in order to maintain a sense of fun, certain conventions of mainstream game design need to be adhered to. Indie designers, who often have the most visible and personal relationship with their audience, need to navigate between their wish for a personal connection with players and user friendly, but 'faceless' design. Scaling the tipping point too much to the abusive side instead of the conventional one, may be counter to designers' wishes to create an enjoyable game. -
The Discourse of Digital Dispossession
Article Games and Culture 2018, Vol. 13(7) 690-707 ª The Author(s) 2018 The Discourse of Article reuse guidelines: sagepub.com/journals-permissions DOI: 10.1177/1555412018756488 Digital Dispossession: journals.sagepub.com/home/gac Paid Modifications and Community Crisis on Steam Daniel James Joseph1 Abstract This article is a chronicle and analysis of a community crisis in digital space that took place on Valve Corporation’s digital distribution platform, Steam. When Valve and Bethesda (publisher and developer of Skyrim) decided to allow mods to be sold by mod makers themselves, there ensued a community revolt against the commodifi- cation of leisure and play. I put this crisis of play and work in dialogue with Harvey’s concept of “accumulation by dispossession,” firmly placing it within a longer history of disruptive capital accumulation strategies. I then conduct a discourse analysis of community members on reddit, as they make sense of and come to terms with this process of dispossession. Arising in the discourse was not class consciousness per se, but instead a pervasive feeling of helplessness and frustration as games, play, and leisure began to feel like work. Keywords digitallabor,play,Steam,platformstudies, digital distribution, game studies, discourse analysis 1 University of Toronto, Mississauga, Canada Corresponding Author: Daniel James Joseph, University of Toronto, 3359 Mississauga Rd., Mississauga, Canada L5L 1C6. Email: [email protected] Joseph 691 On April 23, 2015, the digital game developer and production company, Valve Corporation, announced through their digital distribution platform Steam the intro- duction of buying and selling of “mods, maps, and all kinds of items that you’ve created.” They continued, saying that “with a new, streamlined process for listing and selling your creations, the Steam Workshop now supports buying mods directly from the Workshop, to be immediately usable in game” (Valve Corporation, 2015). -
Sony Computer Entertainment America Announces PLAYSTATION(R)
FOR IMMEDIATE RELEASE Contacts: Kimberly Otzman – 650.655.7524 [email protected] Patrick Seybold – 650.655.7549 [email protected] SONY COMPUTER ENTERTAINMENT AMERICA ANNOUNCES PLAYSTATION®3 HITS ONE-MILLION MARK IN NORTH AMERICA Momentum for the PlayStation®2 Computer Entertainment System and the PSP® (PlayStation®Portable) Handheld Entertainment System Remain Strong LAS VEGAS, January 8, 2007 – At the Consumer Electronics Show (CES) 2007 in Las Vegas, Sony Computer Entertainment America (SCEA) today announced that more than one million units of its recently launched PLAYSTATION®3 (PS3™) computer entertainment system have shipped in North America to retailers. The company successfully achieved this milestone by the end of the 2006 calendar year, just six weeks after the product was introduced on November 17, 2006. PS3 has been selling-out at retail outlets across North America since it was launched. This high consumer demand drove PS3 to reach the one-million mark before its predecessors, the PlayStation®2 computer entertainment system and the original PlayStation game console – both systems combined have shipped more than 200 million units of hardware and more than two billion units of software worldwide. “SCEA went to great lengths to help meet demand for PS3, including airlifting systems into North America on a weekly basis to ensure a steady stream of units were available to consumers throughout the holiday season,” said Jack Tretton, president and CEO, SCEA. “The fact that we were able to reach the one-million mark faster than our top-selling platform, PS2, further validates the strength of the PlayStation brand and our belief that consumers are ready to experience true high-definition gaming.” -more- SCEA – PlayStation 3 Sales Top 1 Million in North America 2-2-2-2 PS3 wasn’t the only hot gift this holiday season; the PlayStation 2 computer entertainment system continues to enjoy record-breaking sales in North America. -
Copyrighted Material
Index Ace Combat, 11 audience achievements, 368–369 age of, 29 Action Cartooning (Caldwell), 84n1 control needs of, 158–159 actuators, 166–167 pitch presentation and, 417–421 Advance Wars series, 11 Auto Race, 7 aerial combat, 270 autosave, 192, 363–364 Aero the Acrobat, 52 “ah-ha!” experience, 349 background music, 397–398 “aim assist,” 173 backtracking, 228 aiming, 263–264 badass character, 86–88, 86n2 Aliens (movie), 206 bad video games, 25, 429 “alley” level design, 218–219 Band Hero, 403 Alone in the Dark, 122 Banjo-Kazooie, 190 Alphabetical Bestiary of Choices, 304–313 Batman: Arkham Asylum, 46, 50, 110, 150, 173, 177, alternate endings, 376 184, 250, 251, 277, 278, 351, 374 American Physical Therapy Association exercises/ Batman comic book, 54 advice, 159–161, 159n3 Batman TV program, 86, 146 ammunition gauge, 174 Battle of the Bands, 404 amnesia, 47, 76, 76n9 BattleTech Centers, 5–6 Animal Crossing, 117n10, 385 Battletoads, 338 animated cutscenes, 408 Battlezone, 5, 14 animatics, 74 beat chart, 74, 77–79, 214–216 anthropomorphic characters/themes, 92, 459 Beetlejuice (movie), 18 anti-hero, 86n2 beginning/middle/end (stories), 41, 50–51, 50n9, 435 anti-power-ups, 361 behavior (enemies), 284–289 appendixes (GDD), 458 Bejeweled, 41, 350, 368 armor, 259–261, 361 bi-dimensional gameplay, 127 Army of Two, 112, 113 Bilson, Danny, 3 Arnenson, Dave, 217n13, 223–229 Bioshock, 46, 46n9, 118, 208n9, 212, 214, 372 artifi cial intelligence, 13,COPYRIGHTED 42, 71, 112, 113, 293 “bite-size” MATERIAL play sessions, 46, 79 artist positions (video game industry), 13–14 Blade Runner, 397 Art of Star Wars series (Del Rey), 84n1 Blazing Angels series, 11 The Art of Game Design (Schell), 15n14 Blinx: the Time Sweeper, 26 Ashcraft, Andy, 50 blocks/parries, 258–259, 287, 300–301 Assassin’s Creed series, 21, 172 Bluth, Don, 13 Asteroids, 5 bombs, 47–48, 247, 272, 358, 381 attack matrix, 248, 267, 279 bonus materials, 373–376 Attack of the Clones (movie), 202n6 bonus materials screen, 195 attack patterns (boss attack patterns), 323 rewards and, 373–376 attacks. -
Game Developer
K A B O O M ! M A K E A N E X P L O S I V E 3 D A C T I O N GAME IN UNITY! Developing the Next Generation of Innovators O ering a rigorous academic curriculum and real-life project experience in the following degree programs: Digital Art and Animation (Bachelor of Fine Arts) Game Design (Bachelor of Arts, Bachelor of Science) Computer Engineering (Bachelor of Science) Real-Time Interactive Simulation (Bachelor of Science) Computer Science (Master of Science) To explore further, visit: www.digipen.edu DigiPen Institute of Technology 9931 Willows Road, Redmond, WA USA 98052 Like us on Facebook Follow us on Twitter Phone: (866) 478-5236 [email protected] facebook.com/DigiPen.edu twitter.com/DigiPenNews DigiPen_GD_0611.indd 2 6/8/2011 9:33:16 PM CONTENTS DEPARTMENTS 2 G A M E P L A N By Brandon Sheffield [EDITORIAL] Just Do It! 4 W H O T O K N O W & W H A T T O D O [GAME DEV 101] A guide to the industry's important events and organizations 19 THE CROWDFUNDING REVOLUTION [GAME DEV 101] By R. Hunter Gough STUDENT POSTMORTEM A guide to several different crowdfunding services that can help get your game off the ground. 42 O C T O D A D OCTODAD is proof positive that passion and creativity matters 23 S A L A R Y S U R V E Y [CAREER] more than most things in games. The OCTODAD team took a bizarre By Brandon Sheffield and Ryan Newman concept, deliberately added in complicated controls, and came out A comprehensive breakdown of salaries for with something utterly charming. -
PORTAL Und PORTAL 2 – Eine Einführung 2015
Repositorium für die Medienwissenschaft Philipp Fust PORTAL und PORTAL 2 – Eine Einführung 2015 https://doi.org/10.25969/mediarep/14995 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Fust, Philipp: PORTAL und PORTAL 2 – Eine Einführung. In: Thomas Hensel, Britta Neitzel, Rolf F. Nohr (Hg.): »The cake is a lie!« Polyperspektivische Betrachtungen des Computerspiels am Beispiel von PORTAL. Münster: LIT 2015, S. 21– 28. DOI: https://doi.org/10.25969/mediarep/14995. Erstmalig hier erschienen / Initial publication here: http://nuetzliche-bilder.de/bilder/wp-content/uploads/2020/10/Hensel_Neitzel_Nohr_Portal_Onlienausgabe.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Weitergabe unter Attribution - Non Commercial - Share Alike 3.0/ License. For more gleichen Bedingungen 3.0/ Lizenz zur Verfügung gestellt. Nähere information see: Auskünfte zu dieser Lizenz finden Sie hier: http://creativecommons.org/licenses/by-nc-sa/3.0/ http://creativecommons.org/licenses/by-nc-sa/3.0/ Philipp Fust ›Portal‹ und ›Portal 2‹ – Eine Einführung Portal wurde von der amerikanischen Softwarefirma Valve Corporation ent- wickelt und als Teil der Spielsammlung Orange Box im Oktober 2007 für PC und Xbox 360 sowie über die hauseigene Internetplattform Steam als digitaler Download vertrieben. Eine Version für die PlayStation 3 erschien wenige Zeit später im Dezember. -
Narbacular Drop
Narbacular Drop Technical Design Document Nuclear Monkey Software Document Version: 1.1 All contents copyright 2004, DigiPen (USA) Corporation. All rights reserved. DigiPen Institute of Technology GAM400-B F04 November 4, 2004 Instructor: Michael Moore Table of Contents Project Overview.............................................................................................................................................. 4 Game Concept..............................................................................................................................................4 Technical Goals........................................................................................................................................... 4 System Requirements...................................................................................................................................4 Technical Risks............................................................................................................................................5 Third Party Tools.........................................................................................................................................5 FMOD..................................................................................................................................................... 5 Worldcraft / Valve Hammer Editor.........................................................................................................5 Inno Setup.............................................................................................................................................. -
Blood Code: the History and Future of Video Game Censorship
BLOOD CODE: THE HISTORY AND FUTURE OF VIDEO GAME CENSORSHIP BY JEFFREY O’HOLLERAN* INTRODUCTION ................................................................................... 571 I. FIRST AMENDMENT BACKGROUND ....................................... 573 II. THE ANALOGOUS HISTORIES OF FILMS AND VIDEO GAMES ....................................................................................... 576 A. Film Controversy and the Formation of the MPAA ................ 576 B. Early Video Game Controversy and the Formation of the ESRB ................................................................................... 580 C. Doom and Columbine ........................................................... 584 D. Jack Thompson and Grand Theft Auto ................................... 586 III. WHY VIDEO GAMES SHOULD NOT BE TREATED DIFFERENTLY THAN FILMS .................................................... 593 A. Violent and Sexual Content in Video Games is Distinguishable from Pornography and Obscenity. .................. 594 B. Violent Game Content is Similar to Violent Film Content. ..... 596 C. Positive Social Aspects of Violent Gaming............................... 597 D. Desensitization Will Lead to a Decrease in Political Outrage. ............................................................................... 604 IV. EXISTING VIDEO GAME JURISPRUDENCE .............................. 605 V. RATINGS AND LABELS AS UNCONSTITUTIONAL CENSORSHIP.............................................................................. 607 CONCLUSION ...................................................................................... -
June/July 2008
>> PRODUCT REVIEW MUDBOX 1.0.7 JUNE/JULY 2008 THE LEADING GAME INDUSTRY MAGAZINE >> MASSIVELY MINI >> INTERVIEW >> THE GOOD FIGHT FREE-TO-PLAY EATS GRASSHOPPER'S COMBAT AI LESSONS YOUR SUBSCRIPTIONS MASAFUMI TAKADA FROM 3D BRAWLERS POSTMORTEM: SQUARE ENIX'S: FINAL FANTASY CRYSTAL CHRONICLES MY LIFE AS A KING 00806gd_cover_vIjf_tomski.indd806gd_cover_vIjf_tomski.indd 1 55/21/08/21/08 111:30:271:30:27 AAMM B:8 in T:7.75 in S:6.75 in Using Autodeskodesk® HumanIK® middle-middle- Autodesk® ware, Ubisoftoft MotionBuilder™ grounded ththee software enabled assassin inn his In Assassin’s Creed, th the assassin to 12 centuryy boots Ubisoft used and his run-time-time ® ® fl uidly jump Autodesk 3ds Max environment.nt. software to create from rooftops to a hero character so cobblestone real you can almost streets with ease. feel the coarseness of his tunic. B:10.75 in T:10.5 in T:10.5 S:9.5 in HOW UBISOFT GAVE AN ASSASSIN HIS SOUL. autodesk.com/Games IImmagge cocouru tteesyy of Ubiisofft Autodesk, MotionBuilder, HumanIK and 3ds Max are registered trademarks of Autodesk, Inc., in the USA and/or other countries. All other brand names, product names, or trademarks belong to their respective holders. © 2007 Autodesk, Inc. All rights reserved. Job # 07.M&E.131 - Mech A Description 3ds Max ad Last Modifi ed 7/11/07 5:09 PM User/Prev. User Chad Kukahiko / Noel Espiritu Fonts Location Client Autodesk Art Director D. Lee Kievit (Medium, Regular, Italic; Type 1), Helvetica (Me- WD | Chad Bleed 8 in x 10.75 in Studio Artist N.