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Nordic Game Is a Great Way to Do This
2 Igloos inc. / Carcajou Games / Triple Boris 2 Igloos is the result of a joint venture between Carcajou Games and Triple Boris. We decided to use the complementary strengths of both studios to create the best team needed to create this project. Once a Tale reimagines the classic tale Hansel & Gretel, with a twist. As you explore the magical forest you will discover that it is inhabited by many characters from other tales as well. Using real handmade puppets and real miniature terrains which are then 3D scanned to create a palpable, fantastic world, we are making an experience that blurs the line between video game and stop motion animated film. With a great story and stunning visuals, we want to create something truly special. Having just finished our prototype this spring, we have already been finalists for the Ubisoft Indie Serie and the Eidos Innovation Program. We want to validate our concept with the European market and Nordic Game is a great way to do this. We are looking for Publishers that yearn for great stories and games that have a deeper meaning. 2Dogs Games Ltd. Destiny’s Sword is a broad-appeal Living-Narrative Graphic Adventure where every choice matters. Players lead a squad of intergalactic peacekeepers, navigating the fallout of war and life under extreme circumstances, while exploring a breath-taking and immersive world of living, breathing, hand-painted artwork. Destiny’s Sword is filled with endless choices and unlimited possibilities—we’re taking interactive storytelling to new heights with our proprietary Insight Engine AI technology. This intricate psychology simulation provides every character with a diverse personality, backstory and desires, allowing them to respond and develop in an incredibly human fashion—generating remarkable player engagement and emotional investment, while ensuring that every playthrough is unique. -
OPERATIONAL EBIT INCREASED 217% to SEK 396 MILLION
THQ NORDIC AB (PUBL) REG NO.: 556582-6558 EXTENDED FINANCIAL YEAR REPORT • 1 JAN 2018 – 31 MAR 2019 OPERATIONAL EBIT INCREASED 217% to SEK 396 MILLION JANUARY–MARCH 2019 JANUARY 2018–MARCH 2019, 15 MONTHS (Compared to January–March 2018) (Compared to full year 2017) > Net sales increased 158% to SEK 1,630.5 m > Net sales increased to SEK 5,754.1 m (507.5). (632.9). > EBITDA increased to SEK 1,592.6 m (272.6), > EBITDA increased 174% to SEK 618.6 m (225.9), corresponding to an EBITDA margin of 28%. corresponding to an EBITDA margin of 38%. > Operational EBIT increased to SEK 897.1 m > Operational EBIT increased 217% to SEK 395.9 m (202.3) corresponding to an Operational EBIT (124.9) corresponding to an Operational EBIT margin of 16%. margin of 24%. > Cash flow from operating activities amounted > Cash flow from operating activities amounted to SEK 1,356.4 m (179.1). to SEK 777.2 m (699.8). > Earnings per share was SEK 4.68 (1.88). > Earnings per share was SEK 1.10 (1.02). > As of 31 March 2019, cash and cash equivalents were SEK 2,929.1 m. Available cash including credit facilities was SEK 4,521.1 m. KEY PERFORMANCE INDICATORS, Jan-Mar Jan-Mar Jan 2018- Jan-Dec GROUP 2019 2018 Mar 2019 2017 Net sales, SEK m 1,630.5 632.9 5,754.1 507.5 EBITDA, SEK m 618.6 225.9 1,592.6 272.6 Operational EBIT, SEK m 395.9 124.9 897.1 202.3 EBIT, SEK m 172.0 107.3 574.6 188.2 Profit after tax , SEK m 103.0 81.1 396.8 139.2 Cash flow from operating activities, SEK m 777.2 699.8 1,356.4 179.1 Sales growth, % 158 673 1,034 68 EBITDA margin, % 38 36 28 54 Operational EBIT margin, % 24 20 16 40 Throughout this report, the extended financial year 1 January 2018 – 31 March 2019 is compared with the financial year 1 January – 31 December 2017. -
Microtransactions in Aaa Video Games – Are They Really Necessary?
Galactica Media: Journal of Media Studies. 2019. No 1 Game Studies MICROTRANSACTIONS IN AAA VIDEO GAMES – ARE THEY REALLY NECESSARY? Edwin L. Phil Tan (a) (a) Limkokwing University of Creative Technology, Inovasi 1-1, Jalan Teknokrat 1/1, 63000 Cyberjaya, Selangor Darul Ehsan, Malaysia. E-mail: [email protected] Abstract Video games, unlike other forms of media, are a business; money makes the world go round. However, the video game industry is a very unstable place in the eyes of the developers. Initially starting out as low budget projects running on the most basic of hardware, the advances in technology and rising demands from gamers result in a rise in costs for development. The downside is that the price of video games have stayed stagnant throughout the years. Therefore, a switch to using microtransactions may seem like the best option, but then again it may actually have some detrimental effect on the industry and the people who play. This paper will reflect back on how microtransactions in video games came about and the backlash they have on certain AAA games. The selected AAA titles covered in this paper have been released between late 2018 and early 2019 and will look at the various monetary features that have gained criticism from journalists and fans. Keywords Microtransactions, games, computer games, video games, AAA games, in-game purchases, real world currency This work is licensed under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International License 127 Галактика медиа: журнал медиа исследований. 2019. No 1 Исследования игр 1. HISTORY OF VIDEO GAME PRODUCTION When you look at how video games got started, they were mostly cheap to make and allowed either a single or multiple people to play together on a single machine (Schultz, 2018). -
Role Playing Games Role Playing Computer Games Are a Version Of
Role Playing Games Role Playing computer games are a version of early non-computer games that used the same mechanics as many computer role playing games. The history of Role Playing Games (RPG) comes out of table-top games such as Dungeons and Dragons. These games used basic Role Playing Mechanics to create playable games for multiple players. When computers and computer games became doable one of the first games (along with Adventure games) to be implemented were Role Playing games. The core features of Role Playing games include the following features: • The game character has a set of features/skills/traits that can be changed through Experience Points (xp). • XP values are typically increased by playing the game. As the player does things in the game (killing monsters, completing quests, etc) the player earns XP. • Player progression is defined by Levels in which the player acquires or refines skills/traits. • Game structure is typically open-world or has open-world features. • Narrative and progress is normally done by completing Quests. • Game Narrative is typically presented in a non-linear quests or exploration. Narrative can also be presented as environmental narrative (found tapes, etc), or through other non-linear methods. • In some cases, the initial game character can be defined by the player and the initial mix of skills/traits/classes chosen by the player. • Many RPGs require a number of hours to complete. • Progression in the game is typically done through player quests, which can be done in different order. • In Action RPGs combat is real-time and in turn-based RPGs the combat is turn-based. -
Sparking a Steam Revolution: Examining the Evolution and Impact of Digital Distribution in Gaming
Sparking a Steam Revolution: Examining the Evolution and Impact of Digital Distribution in Gaming by Robert C. Hoile At this moment there’s a Renaissance taking place in games, in the breadth of genres and the range of emotional territory they cover. I’d hate to see this wither on the vine because the cultural conversation never caught up to what was going on. We need to be able to talk about art games and ‘indie’ games the ways we do about art and indie film. (Isbister xvii) The thought of a videogame Renaissance, as suggested by Katherine Isbister, is both appealing and reasonable, yet she uses the term Renaissance rather casually in her introduction to How Games Move Us (2016). She is right to assert that there is diversity in the genres being covered and invented and to point out the effectiveness of games to reach substantive emotional levels in players. As a revival of something in the past, a Renaissance signifies change based on revision, revitalization, and rediscovery. For this term to apply to games then, there would need to be a radical change based not necessarily on rediscovery of, but inspired/incited by something perceived to be from a better time. In this regard the videogame industry shows signs of being in a Renaissance. Videogame developers have been attempting to innovate and push the industry forward for years, yet people still widely regard classics, like Nintendo’s Legend of Zelda: Ocarina of Time (1998), as the best games of all time. As with the infatuation with sequels in contemporary Hollywood cinema, game companies are often perceived as producing content only for the money while neglecting quality. -
LUDIC VISUALS the Visualizations of Game Mechanics
LUDIC VISUALS The Visualizations of Game Mechanics Laura Laakso Master’s Thesis Master of Arts in New Media New Media: Game Design and Production Department of Media School of Arts, Design and Architecture Aalto University 2019 P.O. BOX 31000, 00076 AALTO www.aalto.fi Master of Arts thesis abstract Author Laura Laakso Title of thesis Ludic Visuals: The Visualizations of Game Mechanics Advisor Laura Valojärvi Supervisor Miikka Junnila Department Department of Media Degree program New Media: Game Design and Production Year 2019 Number of pages 167 Language English BSTRACT A There is a lot of systemic information in games, but its visual expression has been a relatively under-researched phenomenon. Earlier research tends to pair the visual presentation of games together with the game narrative. However, game mechanics can also be expressed visually. In this thesis, game mechanics are the parts that form the game system such as the rules, the events, and the pieces of a game. This thesis studies how game mechanics are visualized. My research hypothesis suggests that there are components that consist of both game- mechanical and visual aspects. I have named them ludic visuals. This research identifies and explores the presence of ludic visuals in games from the perspective of what is available for a player. This thesis is largely based on previous game research and various theories of perception and experiencing. The experience of being inside a gameworld is deemed similar to the experience of being inside the real world, which made it possible to approach ludic visuals as functional parts of gameworlds. -
On the Evolution of Narrative Mechanics in Open-World Games
On the Evolution of Narrative Mechanics in Open-World Games Ulrich Götz SAME MESSAGE, DIFFERENT BOTTLE Experiencing and propagating narratives is an essential component of cultural history. Although this process has changed over the course of centuries, its basic principles persist. Regardless of eras or means of transmission, it is a primordial human instinct to want to communicate real or imagined experiences, and expe- rience them oneself. How deeply rooted this can be is reflected in a wide variety of social endeavors, demands and circumstances, which underscore the central importance of storytelling to our social fabric. The value of narrative and per- formative acts manifests itself in the layout of human settlements, which are ori- ented towards meaningful landmarks. New narrative styles intertwine them- selves closely with the most advanced technologies, which they either advance as a driving force, or rapidly incorporate. The communication of narrative content may have altered its external ap- pearance, but its essence has been preserved. Printing made it possible to repli- cate texts, replacing the oral transmission of poems, songs or performances. Contemporary technological innovations further expanded narrative possibili- ties: today, these range from audiovisual compositions and three-dimensional projections to hybrid performances that fuse real and virtual space. This change of narrative modes distills existing methods down to their core and creates new genres, until they, too, are subject to this process of reduction. At the heart of these continuing cyclical mechanisms lies the moment of narrative transfer. What was once conveyed through interpersonal contact is now amplified by highly diverse forms of media and performative practices. -
Video Games As Free Speech
The University of Maine DigitalCommons@UMaine Honors College 5-2014 Video Games as Free Speech Benjamin Cirrinone University of Maine - Main Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Political Theory Commons Recommended Citation Cirrinone, Benjamin, "Video Games as Free Speech" (2014). Honors College. 162. https://digitalcommons.library.umaine.edu/honors/162 This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. VIDEO GAMES AS FREE SPEECH by Benjamin S. Cirrinone A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Political Science) The Honors College University of Maine May 2014 Advisory Committee: James E.Gallagher, Associate Professor of Sociology Emeritus & Honors Faculty Mark D. Brewer, Associate Professor of Political Science Richard J. Powell, Associate Professor, Department of Political Science/Leadership Studies Sol Goldman, Adjunct Assistant Professor of Political Science Mark Haggerty, Rezendes Professor for Civic Engagement, Honors College Copyright © 2014 Benjamin Cirrinone All rights reserved. This work shall not be reproduced in any form, except for the inclusion of brief quotations in review, without permission in written form from the author. Abstract The prevalence of video game violence remains a concern for members of the mass media as well as political actors, especially in light of recent shootings. However, many individuals who criticize the industry for influencing real-world violence have not played games extensively nor are they aware of the gaming community as a whole. -
Integrating Visual Effects Into 2D Platformer Games to Enhance Play Experiences
Integrating Visual Effects into 2D Platformer Games to Enhance Play Experiences Hao Tian Game Science and Design Northeastern University [email protected] Thesis Presented by Hao Tian to the Department of Art + Design In Partial Fulfillment of the Requirements for the Degree of Master of Science in Game Science and Design in the Graduate School of the College of Arts, Media and Design Northeastern University Boston, Massachusetts May, 2020 Abstract This paper offers an experimental result of how to design visual effects in the 2D game to enhance play experience by offering visually appealing graphics and helping players understand the game. Visual effects in the video game industry were used as set decoration because they can attract players from an aesthetic aspect and even help players understand the game better. More than just making the game visually appealing, they can also be used to guide the players on how a game's mechanics should work without using text-based instructions. By integrating appropriate visual effects into a 2D platformer game, the game mechanics become easily understood by the player, and the appropriate visual effects can also help players immerse into the game from both narrative perspective and interactive perspective. In this research project, the development team applied game design concepts and art knowledge to design visual effects based on the principle making them appealing and informative. The visual effects are applied to the game objects or shown with other elements. This paper uses the data collected from the playtest to iterate the design. The result from playtests shows the game designers and graphics designers need to relate visual effects to core game mechanics to help players to understand the game mechanics and the game theme, which can help players to be more engaged in the game. -
Devil May Cry 5 Days Gone
MAY 2019 ISSUE 17 TITI MAGAZINE Rage 2 Devil May Cry 5 Tom Clancy's The Division 2 Days Gone Titimag.com EDITOR Dickson Max Prince MAY 2019 ISSUE 17 CONTRIBUTORS Anita .t. Dickson Efenudu Ejiro Michael Bekesu Anthony Rage 2 Dickson Max Prince Ernest .O. Devil May Cry 5 Tom Clancy's The Division 2 PUBLISHERS Days Gone Pucutiti.Inc MECEDES GLE 2019 ACURA MDX titimag.com For more info [email protected] 12 HEALTH BENEFITS OF AVOCADOS +2348134428331 +2348089216836 Titimag.com Titi Magazine and all Titi related Sub sections are trademark of Pucutiti.inc The Pucutiti logo, Titi Magazine logo, Titi Store logo , Titi Games logo, Titi Animation logo, Titi Web Developers logo,, Titi Studios logo, Titi Messenger logo are all trade mark of Pucutiti.inc. Only Pucutiti.Inc reserve the rights to all Titi Magazine and all Titi related Subsections. Copyright © titimag May 2019 Rage 2 (stylized as RAGE 2) is an upcoming first-person shooter video game developed by Avalanche Studios in conjunction with id Soft- ware and published by Bethesda Softworks. The game is the sequel to the 2011 game Rage. The game is set to be released for Microsoft Windows, PlayStation 4and Xbox One on May 14, 2019. Gameplay The game is a first-person shooter. Players assume control of ranger Walker, who is free to explore the game's post-apocalyptic open world. Players are given control over some of Walker's attributes, such as their gender, skills, or attire. Walker is able to wield various firearms and tools to fight against enemies, including returning weapons such as the wingstick. -
Women As Video Game Consumers
Women as Video Game Consumers Hanna Kiviranta Bachelor’s Thesis Degree Programme for Multilin- gual Management Assistants May 2017 Abstract Date: 31.5.2017 Author Hanna Kiviranta Degree programme Degree Programme for Multilingual Management Assistants Report/thesis title Number of pages Women as Video Game Consumers and appendix pages 41 The purpose of this Thesis is to study women as video game consumers through the games that they play. This was done by case studies on the content of five video games from genres that statistically are popular amongst women. To introduce the topic and to build the theoretical framework, the key terms and the video game industry are introduced. The reader is acquainted with theories on consumer behav- iour, buying processes and factors that influence our consuming habits. These aspects are tied together by discussing women as consumers of technology, and the video game mar- keting specifically targeted for women. Lastly, the theoretical framework is finalised with im- portant statistics and earlier data on video game consumers, as well as the specific genres they prefer. The case study research is conducted with the research problem in mind: what video games do women play, and are there common characteristics amongst these games which could give us more insight why they prefer these games and their genres? All the games are analysed through a defined set of questions and criteria, as well as compared to their respective genres and each other. Finally, the results are analysed in relation to the theo- ries on consumer behaviour and past data on women as video game players. -
Force Awakens’ on Track for Record $215M-Plus Weekend Tar Wars” Fever Has Spread Through Movie Theaters Fan-Friendly Return Lion on Thursday
lifestyle SUNDAY, DECEMBER 20, 2015 Features ‘Force Awakens’ on track for record $215M-plus weekend tar Wars” fever has spread through movie theaters Fan-friendly return lion on Thursday. Imax and 3-D screenings are helping to propel the record around the globe, even reaching the White House, The international rollout for the film, made for about $200 While “Star Wars” helped create the summer blockbuster, gross. Disney said that 47 percent of the Thursday box office “Sas the franchise yet again began toppling box-office million, has already brought in an estimated total of $72.7 mil- “The Force Awakens” is debuting in the holiday season of came from 3-D showings and $5.7 million from Imax screens. records with waves of lightsaber-wielding fans. lion since opening in a handful of countries Wednesday. “The December, where the previous top opening was the $84.6 mil- A lot is riding on the film for Disney, which paid $4.06 billion Following a record $57 million from Thursday night show- Force Awakens” is simultaneously opening around the world lion debut of 2012’s “The Hobbit: An Unexpected Journey.” By for Lucasfilm in 2012. Sequels and spinoffs are already in ings in North America, and packed matinees on Friday, the just about everywhere but China, where it debuts in January. Disney’s estimates, “The Force Awakens” - the widest development for years to come, not to mention an entire cor- Walt Disney Co. projected that “Star Wars: The Force Awakens” It’s setting records overseas, too, including the biggest single December opening ever with 4,134 theaters - blew past that ner of Disneyland devoted to the franchise.