Hellblade Pc System Requirements
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Links to the Past User Research Rage 2
ALL FORMATS LIFTING THE LID ON VIDEO GAMES User Research Links to Game design’s the past best-kept secret? The art of making great Zelda-likes Issue 9 £3 wfmag.cc 09 Rage 2 72000 Playtesting the 16 neon apocalypse 7263 97 Sea Change Rhianna Pratchett rewrites the adventure game in Lost Words Subscribe today 12 weeks for £12* Visit: wfmag.cc/12weeks to order UK Price. 6 issue introductory offer The future of games: subscription-based? ow many subscription services are you upfront, would be devastating for video games. Triple-A shelling out for each month? Spotify and titles still dominate the market in terms of raw sales and Apple Music provide the tunes while we player numbers, so while the largest publishers may H work; perhaps a bit of TV drama on the prosper in a Spotify world, all your favourite indie and lunch break via Now TV or ITV Player; then back home mid-tier developers would no doubt ounder. to watch a movie in the evening, courtesy of etix, MIKE ROSE Put it this way: if Spotify is currently paying artists 1 Amazon Video, Hulu… per 20,000 listens, what sort of terrible deal are game Mike Rose is the The way we consume entertainment has shifted developers working from their bedroom going to get? founder of No More dramatically in the last several years, and it’s becoming Robots, the publishing And before you think to yourself, “This would never increasingly the case that the average person doesn’t label behind titles happen – it already is. -
EXTENDED FICTION in GAME DESIGN Austin Anderson (Michael Young) Department of Computer Science
University of Utah UNDERGRADUATE RESEARCH JOURNAL UNMASKING THE PLAYER: EXTENDED FICTION IN GAME DESIGN Austin Anderson (Michael Young) Department of Computer Science INTRODUCTION In any story, an element being diegetic means that it is an element of the story that the characters of the fiction can sense. The simplest example is that of music in a movie; if there is a radio playing music in the scene, that music is diegetic. If a musical soundtrack plays over the scene but is something the characters cannot hear, it is non-diegetic(DIEGETIC). The border between the diegetic and non-diegetic is most commonly referred to as “the fourth wall” (Webster), in reference to the imaginary fourth wall of a play set, where the sides and back of the room that events are taking place in are fully represented on the theater stage, but the opening through which the audience observes the events of the play is an imaginary barrier. This barrier isn’t just literally a completion of the four walls in a traditional room of a building, but also metaphorically separates the reality from the fiction, quarantining both from each other as to not interfere. The problem with this boundary is that it can’t fully encompass the medium of video games. Video games, at their very essence, are an interactive medium. They require some breach of the fourth wall for them to function, as the game could not proceed to tell its story without a player’s input, which is an addressing of the audience due to the necessity of their action. -
Graph-Based Generation of Action-Adventure Dungeon Levels Using Answer Set Programming
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Bath Research Portal Citation for published version: Smith, T, Padget, J & Vidler, A 2018, Graph-based Generation of Action-Adventure Dungeon Levels using Answer Set Programming. in S Deterding, M Khandaker, S Risi, J Font, S Dahlskog, C Salge & CM Olsson (eds), Proceedings of the 13th International Conference on the Foundations of Digital Games., 52, Proceedings of the International Conference on the Foundations of Digital Games, Association for Computing Machinery, pp. 52:1-52:10, Foundations of Digital Games 2018, Malmö, Sweden, 7/08/18. https://doi.org/10.1145/3235765.3235817 DOI: 10.1145/3235765.3235817 Publication date: 2018 Document Version Publisher's PDF, also known as Version of record Link to publication Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for components of this work owned by others than ACM must be honored. Abstracting with credit is permitted. To copy otherwise, or republish, to post on servers or to redistribute to lists, requires prior specific permission and/or a fee. Request permissions from [email protected]. University of Bath General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. -
Vulnerability and Growth in Video Game Narratives 2019
Master's thesis Thomas Fusdahl Vulnerability and Growth in Video Game Narratives 2019 Master's thesis Approaches to Storytelling in Dark Souls 3 and Thomas Fusdahl Hellblade: Senua's Sacrifice NTNU May 2019 Faculty of Humanities Department of Design Norwegian University of Science and Technology Vulnerability and Growth in Video Game Narratives Approaches to Storytelling in Dark Souls 3 and Hellblade: Senua's Sacrifice Thomas Fusdahl Medievitenskap Submission date: May 2019 Supervisor: Sara Brinch Norwegian University of Science and Technology Thomas Fusdahl Vulnerability and Growth in Video Game Narratives Approaches to Storytelling in Dark Souls 3 and Hellblade: Senua's Sacrifice Master’s thesis in Medievitenskap Master’s thesis Master’s Supervisor: Sara Brinch May 2019 NTNU Faculty of Humanities Faculty of Humanities Faculty Norwegian University of Science and Technology of Science University Norwegian Thomas Fusdahl Vulnerability and Growth in Video Game Narratives Approaches to Storytelling in Dark Souls 3 and Hellblade: Senua's Sacrifice Master’s thesis in Medievitenskap Supervisor: Sara Brinch May 2019 Norwegian University of Science and Technology Faculty of Humanities Faculty of Humanities Acknowledgments: After finally finishing I want to thank the people who believed in me when I didn’t. Most of all my parents for both financial and moral support. I couldn’t have done it without you. Additionally, I want to thank my supervisor Sara Brinch for her understanding and support and helping me believe in the project. Lastly, I want to give a shout out to the Easy Allies, an online media outlet that has made it fun to stay engaged in both the culture and business of video games. -
Sony Computer Entertainment Inc. Introduces Playstation®4 (Ps4™)
FOR IMMEDIATE RELEASE SONY COMPUTER ENTERTAINMENT INC. INTRODUCES PLAYSTATION®4 (PS4™) PS4’s Powerful System Architecture, Social Integration and Intelligent Personalization, Combined with PlayStation Network with Cloud Technology, Delivers Breakthrough Gaming Experiences and Completely New Ways to Play New York City, New York, February 20, 2013 –Sony Computer Entertainment Inc. (SCEI) today introduced PlayStation®4 (PS4™), its next generation computer entertainment system that redefines rich and immersive gameplay with powerful graphics and speed, intelligent personalization, deeply integrated social capabilities, and innovative second-screen features. Combined with PlayStation®Network with cloud technology, PS4 offers an expansive gaming ecosystem that is centered on gamers, enabling them to play when, where and how they want. PS4 will be available this holiday season. Gamer Focused, Developer Inspired PS4 was designed from the ground up to ensure that the very best games and the most immersive experiences reach PlayStation gamers. PS4 accomplishes this by enabling the greatest game developers in the world to unlock their creativity and push the boundaries of play through a system that is tuned specifically to their needs. PS4 also fluidly connects players to the larger world of experiences offered by PlayStation, across the console and mobile spaces, and PlayStation® Network (PSN). The PS4 system architecture is distinguished by its high performance and ease of development. PS4 is centered around a powerful custom chip that contains eight x86-64 cores and a state of the art graphics processor. The Graphics Processing Unit (GPU) has been enhanced in a number of ways, principally to allow for easier use of the GPU for general purpose computing (GPGPU) such as physics simulation. -
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 -
Pixelated Nature: Ecocriticism, Animals, Moral Consideration, And
Pixelated nature: ecocriticism, animals, moral consideration, and degrowth in videogames Natureza pixelada: ecocrítica, animais, consideração moral e decrescimento nos videogames RESUMO ABSTRACT O campo dos game studies eco- The field of ecocritical game stud- críticos cresceu significativamente ies has grown significantly in re- nos últimos anos. O entendimento cent years. Reading videogames dos videogames através das de- through the demands of the cli- mandas da crise climática e dos mate crisis and the social debates debates sociais sobre o que signi- around what ecology and nature ficam ecologia e natureza nos aju- mean helps us assess their role in da a avaliar seu papel na cultura e culture and as culture. This paper como cultura. Este artigo combina combines the analysis of game a análise de conteúdo do jogo e content and of the ways of play- das maneiras de jogar oferecidas ing afforded by that content to de- por esse conteúdo para delinear lineate a draft of a map of games um rascunho de um mapa de jogos about and in defense of nature. sobre e em defesa da natureza. As The guiding questions are how questões norteadoras são: como they create their discourses and esses jogos criam seus discursos what strategies they use for that, e quais estratégias eles usam em distinguishing between represen- prol de seus objetivos, fazendo tation (or how nature appears) and a distinção entre representação ecocriticism (or what is said about (ou como a natureza aparece) e the relationship between people ecocrítica (ou o que é dito sobre and their environment), as well as a relação entre as pessoas e seu what type of player behaviour they ambiente), bem como que tipo de allow and favour. -
''My Soul Got a Little Bit Cleaner'': Art Experience in Videogames
”My Soul Got a Litle Bit Cleaner”: Art Experience in Videogames JULIA A. BOPP∗, JAN B. VORNHAGEN∗, and ELISA D. MEKLER, Aalto University Videogames receive increasing acclaim as a medium capable of artistic expression, emotional resonance, and even transformative potential. Yet while discussions concerning the status of games as art have a long history in games research, little is known about the player experience (PX) of games as art, their emotional characteristics, and what impact they may have on players. Drawing from Empirical Aesthetics, we surveyed 174 people about whether they had an art experience with videogames and what emotions they experienced. Our fndings showcase the prominence of epistemic emotions for videogame art experiences, beyond the negative and mixed emotional responses previously examined, as well as the range of personal impacts such experiences may have. These fndings are consistent with art experience phenomena characteristic of other art forms. Moreover, we discuss how our study relates to prior research on emotions and refection in PX, the importance of games’ representational qualities in art experiences, and identify lines of further inquiry. All data, study materials, and analyses are available at https://osf.io/ryvt6/. CCS Concepts: • Human-centered computing ! Empirical studies in HCI; • Applied computing ! Psychology; Arts and humanities. Additional Key Words and Phrases: player experience, emotion, art experience, videogames, empirical aesthetics ACM Reference Format: Julia A. Bopp, Jan B. Vornhagen, and Elisa D. Mekler. 2021. ”My Soul Got a Little Bit Cleaner”: Art Experience in Videogames. Proc. ACM Hum.-Comput. Interact. 5, CHIPLAY, Article 237 (September 2021), 19 pages. https://doi.org/10.1145/3474664 1 INTRODUCTION Art holds a special role in the human experience [21]: It wields the power to astonish, move, or disturb us [66] – or leave us indiferent [58]. -
Hellblade's Depiction of Mental Illness and Its Impact
To Hell and Back: Hellblade’s Depiction of Mental Illness and Its Impact Joseph Fordham Michigan State University Department of Media and Information 404 Wilson Road East Lansing, MI 48917, USA [email protected] Christopher Ball Michigan State University Department of Media and Information The United States [email protected] Keywords Hellblade, Mental Health, Controversy INTRODUCTION Hellblade: Senua’s Sacrifice is a digital game developed and independently published by Ninja Theory. In Hellblade, players take on the role of Senua, a female Pict warrior on a quest that quite literally tests her sanity. Hellblade’s presentation of Senua’s psychosis provides interesting insights into how games can depict challenging, controversial topics (Mortensen, Linderoth & Brown, 2015; Shapiro & Rotter, 2016) and the effect that these sorts of serious portrayals can have on those who play (Papoutsi & Drigas, 2016). As a result, Hellblade is a game that could contribute to numerous conversations across various fields in game studies. This paper approaches the topic of Hellblade in two ways. First, it serves as an exploration of the game’s potentially-controversial depiction of psychosis. Specifically, we examine how various frames and design choices were used to create a compelling experience related to mental illness while alleviating concerns of trivializing such a serious topic. Secondly, this paper also investigates the various reactions to Hellblade’s depiction of mental illness. Particularly, we analyze reviews and popular press coverage of the game as well as conversational threads within a Hellblade subReddit that acts as a place for players to share information and experiences related to mental illness. -
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.