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Blast Off Broken Sword
ALL FORMATS LIFTING THE LID ON VIDEO GAMES Broken Sword blast off Revolution’s fight Create a jetpack in for survival Unreal Engine 4 Issue 15 £3 wfmag.cc TEARAWAYS joyful nostalgia and comic adventure in knights and bikes UPGRADE TO LEGENDARY AG273QCX 2560x1440 A Call For Unionisation hat’s the first thing that comes to mind we’re going to get industry-wide change is collectively, when you think of the games industry by working together to make all companies improve. and its working conditions? So what does collective action look like? It’s workers W Is it something that benefits workers, getting together within their companies to figure out or is it something that benefits the companies? what they want their workplace to be like. It’s workers When I first started working in the games industry, AUSTIN within a region deciding what their slice of the games the way I was treated wasn’t often something I thought KELMORE industry should be like. And it’s game workers uniting about. I was making games and living the dream! Austin Kelmore is across the world to push for the games industry to But after twelve years in the industry and a lot of a programmer and become what we know it can be: an industry that horrible experiences, it’s now hard for me to stop the Chair of Game welcomes everyone, treats its workers well, and thinking about our industry’s working conditions. Workers Unite UK, allows us to make the games we all love. That’s what a a branch of the It’s not a surprise anymore when news comes out Independent Workers unionised games industry would look like. -
The Burden of Queer Love
Press Start Burden of Queer Love The Burden of Queer Love Brianna Dym University of Colorado Boulder Abstract Video games are a unique narrative and interactive experience that allow players to construct their own fantasies through play. The fantastical possibilities a video game could explore are nearly limitless. However, a game’s design often precludes certain imaginative routes, shutting down one fantasy in favour of another. Games close out possibilities through actions as small as character design (gender, race, ability) and restrict imaginative interpretations to serve a narrow audience. Game developers design play that prioritizes hypermasculine narrative experiences, and players that do not align with this identity must condition themselves to play that excludes fantasies or alternate worlds that align with their experiences. This essay explores attempts by game development studio BioWare to create video games that are inclusive of gay, lesbian, and bisexual players by writing queer romantic narrative subplots into their games. While BioWare’s attempts are certainly not malicious, they fail time and time again, game after game, to break free of the hypermasculine and heterocentric culture dominant in the gaming industry. Instead, BioWare appropriates queer experiences and construes them as a burden to the player so as not to displace the fantasies of male, heterosexual gamers. Keywords LGBTQ identity; marginality; BioWare; queer game studies Press Start 2019 | Volume 5 | Issue 1 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. -
Flemeth of Dragon Age
JOURNAL OF COMPARATIVE RESEARCH IN ANTHROPOLOGY AND SOCIOLOGY Copyright © The Author, 2015 Volume 6, Number 2, Winter 2015 ISSN 2068 – 0317 http://compaso.eu Powerful elderly characters in video games: Flemeth of Dragon Age Elisabeta Toma1 Abstract As games are becoming an increasingly popular medium in various demographic and professional strata, scholars are discussing their content and how they shape society. However, despite an increase in gender analysis of video games, little has been written about orienting games towards an elderly audience, or game representations of aging and older persons. Games specifically designed for older persons are focused on improving cognitive functions, starting from the assumption that the elderly are in need of special games in order to repair age-related deficits. This repair-focused design philosophy comes at the expense of pursuing a broader understanding of quality of life and non-programmatic entertainment. Games-for-fun that also explicitly target the elderly as an audience are almost invisible. In this article we turn our attention to a powerful elderly feminine character in an AAA game designed for entertainment without a serious mission, namely Flemeth from Dragon Age. We discuss how the game depicts and models older characters: What repertoire of portraits has Flemeth as an old woman, in the Dragon Age games? How does Flemeth contribute to an enlarged repertoire of portrayals of old women in video games? We conclude that Flemeth’s gender and age displays in Dragon Age do not impoverish her portrayal but, on the contrary, turn her into a powerful and complex character, thus offering a model for game design to represent and invite older players. -
Ada: a Journal of Gender, New Media, and Technology Issue No. 1 Confronting Toxic Gamer Culture: a Challenge for Feminist Game Studies Scholars
Confronting toxic gamer culture: A challenge for feminist game studies scholars Author(s): Mia Consalvo DOI: 10.7264/N33X84KH URL: http://adanewmedia.org/2012/11/issue1-consalvo Published: 15 November 2012 Copyright © 2012. This work is licensed under a Creative Commons Attribution- NonCommercial-NoDerivs 3.0 Unported License. Ada: A Journal of Gender, New Media, and Technology ISSN 2325-0496 Ada: A Journal of Gender, New Media, and Technology Issue no. 1 Confronting toxic gamer culture: A challenge for feminist game studies scholars Mia Consalvo Concordia University With increasing frequency the ugliness of gamer culture is being put on display for the wider world to see. While I was writing this piece, for example, a Canadian blogger created a game where one can punch and bruise the face of Anita Sarkeesian, creator of the popular website Feminist Frequency: Conversations with Pop Culture (Spurr, 2012). The game was in response to news of her Kickstarter campaign, where she proposed investigating portrayals of women in videogames over the past few decades. The game was only the latest in a string of attacks on Sarkeesian for her proposed project: she also received death threats, had her Wikipedia page defaced with pornographic imagery, and was repeatedly harassed on the Kickstarter page and elsewhere. About a month prior to that, in June 2012 a controversy erupted about Lara Croft’s alleged past in the latest Tomb Raider game, where sexual assault had helped form her character according to one of the game’s developers (Schreier, 2012). In May, the annual videogame expo E3 became the topic of controversy when multiple sources declared it a space hostile to women and juvenile in its approach to games (Alexander, 2012; Williams, 2012). -
Rewriting the Story: Videogames Within the Post-Gamergate Society
Jones 1 Abigail Jones English 4995 Joanna Hearne Rewriting the Story: Videogames within the Post-Gamergate Society “Begin like this: If photographs are images, and films are moving images, then video games are actions.” - Gaming: Essays on Algorithmic Culture, Alexander Galloway Staring through the scope in Call of Duty Modern Warfare (2007), as you navigate through the boggy swamps of some exotic jungle, there is never any doubt that you are in control. The operator’s thumbs roll over the toggles of the controller signaling to the consul how the character on screen must move. By enacting actions within the real world, players affect the actions of the avatar within the game world. To any well-versed videogame player, this is common knowledge; when one plays a videogame it is to be engaged within the world of the game and to ultimately achieve the programmed goal of the game. Up until the creation of the videogame, mediums of entertainment were largely spectator based. While reading a book you may turn the page, but you do not affect the ending of the book. When viewing a movie you may be actively watching, but you are not able to change the ending of the movie. But when playing a videogame the decisions made within the game determine whether the goal is reached, or if it is not: game over. In Alexander Galloway’s essay, “Gaming: Essays on Algorithmic Culture,” he defines videogames as a medium based upon action; “There has emerged in recent years a whole new medium, computers and in particular videogames, whose foundation is not in looking and reading but in the instigation of material change through action.” It is this Jones 2 action that appeals to players--the level of interactivity and agency. -
NWN Community Expansion Project Pack V2.0
NWN Community Expansion Project Pack v2.0 Bioware-CEP forums: http://nwn.bioware.com/forums/viewforum.html?forum=83 CEP Website: http://cepteam.dyndns.org/forums/index.php Introduction Welcome to the Community Expansion Pack (CEP) version 2.0! After a long and twisted road you finally have in your hands on the most up to date collection of community work for NWN. I’m sure what you create with this content will far exceed anything we have imagined! For those of you who are new to the CEP, let me take a moment to describe its contents. This is a collection of hak packs from the previous six years of custom content, designed to work with BioWare's Neverwinter Nights. These hak packs have been grouped and modified to work together for the betterment of the NWN community as a whole. You’ll find some of the best and most popular work available for NWN. Please join me and the rest of the CEP Team in thanking every person who has created this content for the community’s use. Now, the CEP Team hasn't just sat back and mashed these haks into one huge collection of material. As you look through the content you’ll notice model, animation and texture corrections, new scripts, and completely new content unique to the CEP itself. All of this has been designed to work alongside the official content of Neverwinter Nights and all patch updates by BioWare; so you will be able to enjoy their high quality with as little fuss as possible. -
Dragon-Age-Inquisition-Manuals
CONTENTS GETTING STARTED ............ 2 MASTERING COMBAT ........ 7 INTRODUCTION ................ 3 YOUR INQUISITOR’S STARTING YOUR JOURNEY .......................... 11 ADVENTURE ..................... 3 MULTIPLAYER ................... 15 CONTROLS ....................... 6 NEED HELP? ..................... 16 See important health and safety warnings in the system Settings menu. GETTING STARTED PLAYSTATION®4 system Starting a game: Before use, carefully read the instructions supplied with the PS4™ computer entertainment system. The documentation contains information on setting up and using your system as well as important safety information. Touch the (power) button of the PS4™ system to turn the system on. The power indicator blinks in blue, and then lights up in white. Insert the Dragon Age™: Inquisition disc with the label facing up into the disc slot. The game appears in the content area of the home screen. Select the software title in the PS4™ system’s home screen, and then press the S button. Refer to this manual for information on using the software. Quitting a game: Press and hold the p button, and then select [Close Application] on the screen that is displayed. Returning to the home screen from a game: To return to the home screen without quitting a game, press the p button. To resume playing the game select it from the content area. Removing a disc: Touch the (eject) button after quitting the game. Trophies: Earn, compare and share trophies that you earn by making specific in-game accomplishments. Trophies access requires a Sony Entertainment Network account. 2 INTRODUCTION Chaos threatens the land of Thedas. Nations clash, dragons conquer the skies, and a civil war is brewing between mages and the templars who have appointed themselves the mages’ watchers. -
Dice 2011 Keynote Panel Announced
2011 D.I.C.E. SUMMIT KEYNOTE TO FEATURE A PANEL OF AIAS HALL OF FAMERS Renowned Gaming Journalist Seth Schiesel of the New York Times to Moderate CALABASAS, Calif. – January 27, 2011 – The Academy of Interactive Arts & Sciences (AIAS) today announced that their distinguished Hall of Famers’ from the past four years – Mike Morhaime, Bruce Shelley, Mark Cerny, Dr. Ray Muzyka and Dr. Greg Zeschuk - will participate in the keynote panel for the 2011 D.I.C.E. (Design, Innovate, Communicate and Entertain) Summit at the Red Rock Resort in Las Vegas on the evening of Wednesday, February 9, 2011. These five video game luminaries will be conducting a lively discussion, debate and predict the next frontier of interactive entertainment. The keynote panel will be moderated by Seth Schiesel, long time video games journalist for The New York Times. “We are looking forward to putting these five video game legends on stage to open the 10th iteration of the D.I.C.E. Summit – it is the first time the Academy has endeavored to create a presentation of this kind,” said Martin Rae, president, Academy of Interactive Arts & Sciences. “These men have individually put deep marks and shaped the industry in very different ways – hearing their thoughts on the future of this industry will exemplify the best aspects of the Summit and we’re confident that our attendees anticipate this dialogue as much as we do.” The keynote panel will showcase: 2008 Hall of Fame - Mike Morhaime, President, CEO and Co-Founder of Blizzard Entertainment, and highly regarded for his contributions to the one of the world’s most popular and enduring games, World of Warcraft. -
Enabling the Localization of Large Role-Playing Games Four Recorded Languages: French, Italian, Ger- Is to Put Together As Complete a Localization Man and Polish)
In order to achieve total immersion in the game world, TRANS · núm. 15 · 2011 DOSSIER · 39-51 increasing therefore player’ satisfaction, localization should ideally aim at creating complete suspension of disbelief. However, time constraints and constant design and script changes mean that localisation is sometimes forced to trade quality in favor of speed, because missing release dates can mean multimillion losses. This article explains the strategies BioWare has developed internally to counteract the problems provoked by long-established game development practices with the ultimate goal of supporting quality localization from the start, and so guaranteeing players’ suspension of disbelief whatever the language version they play. key words: multiplayer, localization, role-playing, video game, online, MMO, RPG Enabling the Localization of Large Role-Playing Games Facilitando la localización de videojuegos de rol masivos Con el objeto de lograr la inmersión absoluta en el mundo virtual del videojuego, aumentando así la satisfacción del jugador, la localización debe conseguir el ideal de la total suspensión de la incredulidad. Sin embargo, los cortos pla- zos así como cambios constantes de diseño y guión a veces obligan a que la localización tenga que cambiar calidad por velocidad, porque el cambio de las fechas de lanzamiento suele provocar pérdidas multimillonarias. Este artículo explica las estrategias que BioWare ha desarrollado inter- hris hristou C C namente para contrarrestar los problemas provocados por Lead Localization Tools Programmer, BioWare las prácticas tradicionales en la industria del videojuego. Jenny MCKearney El objetivo es facilitar un proceso de localización de alta Localization Producer, BioWare calidad desde el principio del desarrollo, de modo que se ryan warden garantice la suspensión de la incredulidad de los jugadores independientemente de la lengua en la que estén jugando. -
It Is in the Area Properties That You Can Customize an Area
THE BUILDERS PROJECT’S GUIDE TO BUILDING *** THE AURORA TOOLSET MANUAL VERSION 1.06 TABLE OF CONTENTS CHAPTER 1 USING THE TOOLSET.......................................................................................................................11 1.1 THE TOOLSET WINDOWS ....................................................................................................................... 11 1.1.1 The Module Structure Window.............................................................................................................. 11 1.1.2 The Main View Window ........................................................................................................................ 12 1.1.3 The Palette............................................................................................................................................. 13 CHAPTER 2 MODULES .............................................................................................................................................16 2.1 CREATING A NEW MODULE ................................................................................................................... 16 2.2 THE PROPERTIES OF A MODULE............................................................................................................. 20 2.2.1 The Basic Properties of a Module......................................................................................................... 20 2.2.2 The Events Properties of a Module...................................................................................................... -
Adapting a Commercial Role-Playing Game for Educational Computer Game Production
Adapting a Commercial Role-Playing Game for Educational Computer Game Production M. Carbonaroa, M. Cutumisub, H Duffa, S. Gillisc, C. Onuczkob, J. Schaefferb, A. Schumacherb, J. Siegelb, D. Szafronb, and K. Waughb aFaculty of Education, University of Alberta, Edmonton, AB, Canada T6G 2G5 bDepartment of Computing Science, University of Alberta, Edmonton, AB, Canada T6G 2E8 cEdmonton Catholic Schools, 9807 – 106 Street, Edmonton, AB, Canada T5K 1C2 a{mike.carbonaro, hduff} @ualberta.ca, b,c{meric, sgillis, onuczko, jonathan, schumach, siegel, duane, waugh}@cs.ualberta.ca KEYWORDS (1991) described as "flow." They contend that the Generative design patterns, scripting languages, code scaffolded learning principles employed in modern video generation, computer games, educational games. games create the potential for participant experiences that are personally meaningful, socially rich, essentially experiential ABSTRACT and highly epistemological (Bos, 2001; Gee, 2003; Halverson, 2003). Furthermore the design principles of Educational games have long been used in the classroom to successful video games provide a partial glimpse into add an immersive aspect to the curriculum. While the possible future educational environments that incorporate technology has a cadre of strong advocates, formal reviews what is commonly referred to as “just in time /need to know” have yielded mixed results. Two widely reported problems learning (Prensky, 2001; Gee, 2005). with educational games are poor production quality and monotonous game-play. On the other hand, commercial non- Unfortunately, educational game producers have not had educational games exhibit both high production standards much success at producing the compelling, immersive (good artwork, animation, and sound) and diversity of game- environments of successful commercial games (Gee, 2003). -
Wetenschappelijke Verhandeling
UNIVERSITEIT GENT FACULTEIT POLITIEKE EN SOCIALE WETENSCHAPPEN MACHINIMA: SITUERING EN ONDERZOEK NAAR HET EDUCATIEF POTENTIEEL Wetenschappelijke verhandeling aantal woorden: 24909 BERT BESSEMS MASTERPROEF COMMUNICATIEWETENSCHAPPEN afstudeerrichting COMMUNICATIEMANAGEMENT PROMOTOR: DR. JAN VAN LOOY COMMISSARIS: FREDERIK DHAENENS COMMISSARIS: PETER MECHANT ACADEMIEJAAR 2009 - 2010 Abstract Machinima is een nieuwemediatechniek die gebruik maakt van videogames om films te produceren. Deze methode wordt gekenmerkt doordat ze snel en goedkoop is. Dit terwijl zij visueel minder sterk is dan klassieke film en animatie. Deze masterproef begint met een situering van het begrip aan de hand van een literatuurstudie. Achtereenvolgens beschrijf ik de historiek, de thema‟s en de toekomst van machinima. Daarnaast komen een aantal deelaspecten aan bod. Het zwaartepunt van het eerste deel is de bespreking van een SWOT-analyse. Het tweede deel omvat een literatuurstudie omtrent leertheorieën. Er worden een aantal theorieën geschetst die principes bevatten waar onderwijs in machinima baat bij kan hebben. Tevens wordt machinima hier geëvalueerd in twee categorieën: enerzijds als aan te leren set vaardigheden in hoofdzakelijk interdisciplinaire studierichtingen en als ondersteunend audiovisueel medium in traditioneel onderwijs. In deel drie komt de praktijk aan bod. Door middel van diepte-interviews en inhoudsanalyse schets ik twee cases: de cursus machinima aan de universiteit van Utah en een aantal workshops in drie verschillende fasen van ontwikkeling. Dit alles met het oog op het onderzoeken of machinima de nodige opportuniteiten biedt op het vlak van onderwijs. Er kan worden gesteld dat machinima educatief potentieel bezit. Dit getuigt het stelselmatig opnemen van machinima in interdisciplinaire curricula met de focus op computerwetenschappen en een combinatie tussen kunstrichtingen (animatie en film) en mediastudies.