From Rogue to Lootboxes: Two Faces of Randomness in Computer Games
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Asian Stereotypes in Games
ASIAN STEREOTYPES in VIDEO GAMES BY YICHEN SHOU STEREOTYPE ster·e·o·type noun a widely held but fixed and oversimplified image or idea of a particular type of person or thing. Major Asian Stereotypes 1. Charlie Chan: Emasculated, weak and obedient, characters of this “good” Asian-male stereotype are often non-threatening and exist only to foil the superiority of the protagonist. 2. Fu Manchu: Cunning, cruel and grotesque, this Asian-male stereotype embodies the fear of the “Yellow Peril” and is usually revealed to be the evil mastermind behind plots to destroy the West. 3. China Doll: Weak, submissive and hyper-sexualized, this “good” Asian-female stereotype often plays the role of romanic interests needing rescue and are easily replaced by non-Asian romantic interests. 4. KungFu Master: Despite being strong and capable, this character is often a desexualized sidekick whose martial arts expertise is only justified by their (usually Chinese) heritage. 5. Samurai/Ninja: A stereotype mainly reserved for the Japanese, these katana/ninja-star wielding characters are emotionless, fearless, fanatically loyal to their masters, and obsessed with the concept of honor. 6. Dragon Lady: The “evil” counterpart of the China Doll, these hyper-sexualized Asian-females are temptresses who use deception and sex appeal to further their evil plans. Gender Nature Characteristic Stereotype Character (Non-Playable) Character (Playable) Chen Lin Jin Jie Tong Si Hung Bo’ Rai Cho Bioshock: Innite Battleeld 4 Deus Ex: Human Revolution Mortal Kombat Cheng Lorck Raymond -
The Development and Validation of the Game User Experience Satisfaction Scale (Guess)
THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) A Dissertation by Mikki Hoang Phan Master of Arts, Wichita State University, 2012 Bachelor of Arts, Wichita State University, 2008 Submitted to the Department of Psychology and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2015 © Copyright 2015 by Mikki Phan All Rights Reserved THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) The following faculty members have examined the final copy of this dissertation for form and content, and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy with a major in Psychology. _____________________________________ Barbara S. Chaparro, Committee Chair _____________________________________ Joseph Keebler, Committee Member _____________________________________ Jibo He, Committee Member _____________________________________ Darwin Dorr, Committee Member _____________________________________ Jodie Hertzog, Committee Member Accepted for the College of Liberal Arts and Sciences _____________________________________ Ronald Matson, Dean Accepted for the Graduate School _____________________________________ Abu S. Masud, Interim Dean iii DEDICATION To my parents for their love and support, and all that they have sacrificed so that my siblings and I can have a better future iv Video games open worlds. — Jon-Paul Dyson v ACKNOWLEDGEMENTS Althea Gibson once said, “No matter what accomplishments you make, somebody helped you.” Thus, completing this long and winding Ph.D. journey would not have been possible without a village of support and help. While words could not adequately sum up how thankful I am, I would like to start off by thanking my dissertation chair and advisor, Dr. -
The Effect of Dynamic Music in Video Games an Overview of Current Research
The Effect of Dynamic Music in Video Games An Overview of Current Research Department of Game Design Author: Léo F. Smith Bachelor’s Thesis in Game Design, 15 c Program: Game Design and Project Management Supervisors: Mikael Fridenfalk, Hans Svensson Examiner: Masaki Hayashi May 2020 Abstract Historically, game audio has been a peripheral feature in game development that has significantly evolved in recent years. Music as a meaningful emotional and narrative conveyor has become a central element in contemporary video games. Dynamic music, sound that is able to flexibly and smoothly adapt to the game state and interact with the player’s in-game actions, is at the forefront of a new era of music composition in games. This survey paper examines the experiential nature of games and the effect of dynamic music on the player’s audial experience. It looks at game design theory, immersion, the function of game music, sound perception, and the challenges of game music. Then, it presents compositional methods of dynamic music and practical insights on FMOD Studio as a middleware. Furthermore, current research on how dynamic music affects the player experience and future adaptations are explored. It concludes that the increasing need of dynamic music producers will precipitate innovation and research in novel domains such as biometric feedback systems and augmented/virtual reality. As dynamic music expands outside of the gaming sphere, it is likely to become a ubiquitous form of media that we will interact with in the future. Keywords: interactive music, adaptive music, dynamic music, emotion, game music, generative music, music, player experience, video games. -
Gaming Systems and Features of Discovery Centre Station 1
Gaming systems and features of Discovery Centre Station 1: XBox 1 with Remote The Book of Unwritten Tales 2 Wii U and Wii U Remote Braid Playstation 4 with Remote The Bridge Gaming PC with Gaming keyboard and The Cat and the Coup mouse Cave Story+ Downloaded games in station 1 include: Closure 7 Grand Steps, Step 1: What Ancients Begat Cogs 140 Coil AaAaAA!! – A Reckless Disregard for Colosse Gravity Colour Bind ABE VR Crawl Achron Cube & Star: An Arbitrary Love AltscpaceVR Dayz Amnesia: The Dark Descent Deep Under the Sky Analogue: A Hate Story Desktop Dungeons A Story About My Uncle Destinations B.U.T.T.O.N. Dinner Date Bad Hotel Dream Banished The Dream Machine Bastion The Dream Machine: Chapter 3 The Beginner’s Guide The Dream Machine: Chapter 4 Besiege The Dream Machine: Chapter 5 Between IGF Demo Dungeon of the Endless Bientôt l’été Dust: An Elysian Tail Bigscreen Beta Elegy for a Dead World BioShock Infinite Endless Legend The Binding of Isaac: Rebirth Ephemerid: A Musical Adventure BIT.TRIP RUNNER Estranged: Act 1 BlazeRush Carleton University Library and the Discovery Centre September 2019 Euro Truck Simulator 2 Interstellar Marines Evoland Intrusion 2 Evoland 2 Invisible, Inc. Fallout Jamestown Fallout 2 Joe Danger Fallout Tactics Keep Talking and Nobody Explodes Farming Simulator 17 Kentucky Route Zero Flotilla LA Cops FLY’N Legend of Dungeon The FOO show Life is Strange The Forest LIMBO Fotonica Lisa Frozen Synapse Little Inferno FTL: Faster than -
Game Developer Index 2010 Foreword
SWEDISH GAME INDUSTRY’S REPORTS 2011 Game Developer Index 2010 Foreword It’s hard to imagine an industry where change is so rapid as in the games industry. Just a few years ago massive online games like World of Warcraft dominated, then came the breakthrough for party games like Singstar and Guitar Hero. Three years ago, Nintendo turned the gaming world upside-down with the Wii and motion controls, and shortly thereafter came the Facebook games and Farmville which garnered over 100 million users. Today, apps for both the iPhone and Android dominate the evolution. Technology, business models, game design and marketing changing almost every year, and above all the public seem to quickly embrace and follow all these trends. Where will tomorrow’s earnings come from? How can one make even better games for the new platforms? How will the relationship between creator and audience change? These and many other issues are discussed intensively at conferences, forums and in specialist press. Swedish success isn’t lacking in the new channels, with Minecraft’s unprecedented success or Battlefield Heroes to name two examples. Independent Games Festival in San Francisco has had Swedish winners for four consecutive years and most recently we won eight out of 22 prizes. It has been touted for two decades that digital distribution would outsell traditional box sales and it looks like that shift is finally happening. Although approximately 85% of sales still goes through physical channels, there is now a decline for the first time since one began tracking data. The transformation of games as a product to games as a service seems to be here. -
Inside the Video Game Industry
Inside the Video Game Industry GameDevelopersTalkAbout theBusinessofPlay Judd Ethan Ruggill, Ken S. McAllister, Randy Nichols, and Ryan Kaufman Downloaded by [Pennsylvania State University] at 11:09 14 September 2017 First published by Routledge Th ird Avenue, New York, NY and by Routledge Park Square, Milton Park, Abingdon, Oxon OX RN Routledge is an imprint of the Taylor & Francis Group, an Informa business © Taylor & Francis Th e right of Judd Ethan Ruggill, Ken S. McAllister, Randy Nichols, and Ryan Kaufman to be identifi ed as authors of this work has been asserted by them in accordance with sections and of the Copyright, Designs and Patents Act . All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice : Product or corporate names may be trademarks or registered trademarks, and are used only for identifi cation and explanation without intent to infringe. Library of Congress Cataloging in Publication Data Names: Ruggill, Judd Ethan, editor. | McAllister, Ken S., – editor. | Nichols, Randall K., editor. | Kaufman, Ryan, editor. Title: Inside the video game industry : game developers talk about the business of play / edited by Judd Ethan Ruggill, Ken S. McAllister, Randy Nichols, and Ryan Kaufman. Description: New York : Routledge is an imprint of the Taylor & Francis Group, an Informa Business, [] | Includes index. Identifi ers: LCCN | ISBN (hardback) | ISBN (pbk.) | ISBN (ebk) Subjects: LCSH: Video games industry. -
Three Theories of Just War: Understanding Warfare As a Social Tool Through Comparative Analysis of Western, Chinese, and Islamic Classical Theories of War
THREE THEORIES OF JUST WAR: UNDERSTANDING WARFARE AS A SOCIAL TOOL THROUGH COMPARATIVE ANALYSIS OF WESTERN, CHINESE, AND ISLAMIC CLASSICAL THEORIES OF WAR A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILMENT OF THE REQUIREMENT FOR THE DEGREE OF MASTER OF ARTS IN PHILOSOPHY MAY 2012 By Faruk Rahmanović Thesis Committee: Tamara Albertini, Chairperson Roger T. Ames James D. Frankel Brien Hallett Keywords: War, Just War, Augustine, Sunzi, Sun Bin, Jihad, Qur’an DEDICATION To my parents, Ahmet and Nidžara Rahmanović. To my wife, Majda, who continues to put up with me. To Professor Keith W. Krasemann, for teaching me to ask the right questions. And to Professor Martin J. Tracey, for his tireless commitment to my success. 1 ABSTRACT The purpose of this analysis was to discover the extent to which dictates of war theory ideals can be considered universal, by comparing the Western (European), Classical Chinese, and Islamic models. It also examined the contextual elements that drove war theory development within each civilization, and the impact of such elements on the differences arising in war theory comparison. These theories were chosen for their differences in major contextual elements, in order to limit the impact of contextual similarities on the war theories. The results revealed a great degree of similarities in the conception of warfare as a social tool of the state, utilized as a sometimes necessary, albeit tragic, means of establishing peace justice and harmony. What differences did arise, were relatively minor, and came primarily from the differing conceptions of morality and justice within each civilization – thus indicating a great degree of universality to the conception of warfare. -
Annual Report & Accounts 2020
Sumo Group Annual Report & Accounts 2020 Sumo Report & Accounts Annual Group sumogroupplc.com Annual Report & Accounts 2020 We are one of the UK’s largest providers of end-to-end creative development and co-development services to the video games and entertainment industries. We make highly innovative games for the most prestigious publishers in the world, with an increasing number of titles based on original concepts developed by Sumo. Strategic Report Governance Financial Statements At a Glance 2 Introduction to Governance 45 Independent Auditor’s report 68 Chairman’s Statement 4 Corporate Governance 46 Consolidated Income Statement 76 Business Model 6 Board of Directors 50 Consolidated Statement of Our Businesses 14 Operating Board 52 Comprehensive Income 77 Our Markets 20 Audit and Risk Committee Report 54 Consolidated Balance Sheet 78 Our Strategy 22 Directors’ Remuneration Report 56 Consolidated Statement of Chief Executive’s review 23 Directors’ Report 64 Changes in Equity 79 Group Financial Review 29 Statement of Directors’ Consolidated Cash Flow Section 172 Statement 34 Responsibilities 66 Statement 80 Environmental, Social Notes to the Group Financial and Governance 38 Statements 81 Energy and Carbon Report 40 Parent Company Balance Sheet 114 Risks & Uncertainties 41 Parent Company Statement of Changes in Equity 115 Notes to the Parent Company Financial Statements 116 Financial Calendar and Company Information 119-120 Designed and printed by Perivan STRATEGICSTRATEGIC REPORTREPORT Highlights Our vision Achieving wonder together. Revenue £68.9m 2019: £49.0m +40.7% Gross profit Our mission £31.5m 2019: £23.9m Grow a sustainable business, providing security to our +31.5% people and shareholders, whilst delivering a first-class experience to our partners and players. -
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. -
Just Cause 3 Download Mac
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GAME, Games Autonomy Motivation & Education
G.A.M.E., Games autonomy motivation & education : how autonomy-supportive game design may improve motivation to learn Citation for published version (APA): Deen, M. (2015). G.A.M.E., Games autonomy motivation & education : how autonomy-supportive game design may improve motivation to learn. Technische Universiteit Eindhoven. Document status and date: Published: 01/01/2015 Document Version: Publisher’s PDF, also known as Version of Record (includes final page, issue and volume numbers) Please check the document version of this publication: • A submitted manuscript is the version of the article upon submission and before peer-review. There can be important differences between the submitted version and the official published version of record. People interested in the research are advised to contact the author for the final version of the publication, or visit the DOI to the publisher's website. • The final author version and the galley proof are versions of the publication after peer review. • The final published version features the final layout of the paper including the volume, issue and page numbers. Link to publication 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. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal. -
Playing Video Game Ecologies
PERFORMANCE OF THE REAL James Tregonning BALANCING ACT: PLAYING VIDEO GAME ECOLOGIES ABSTRACT This paper explores the modelling and performance of ecological systems within the video game medium. Drawing on games from both the survival and management genres (Don’t Starve and Block’hood, respec- tively), I show how video games can position players in simulated ecological systems, recontextualising sustainable behaviour within a framework of ludic advantage and disadvantage. That is, in order to win the game, players must play or perform in an ecologically friendly manner, working within and alongside systems that model parts of our real-world environments. I also explore the role of genre in orienting these games towards specifc perspectives on the environment, suggesting that each game informs our perspec- tive on the environment without necessarily invalidating or causing obsolescence in the other. Neither fully eco-friendly nor total eco-hazards, games such as Don’t Starve and Block’hood strive to increase awareness of environmental issues while also struggling with the limits of their own material form. Keywords: Don’t Starve; Block’hood; Video Games; Ecology; Game Mechanics INTRODUCTION player and virtual environment, with an implicit connection back to the relationship between the Over the last twenty years, the video game player and their real environment. For example, industry has become a sizable force on the media games in the survival genre such as Don’t Starve, landscape. While the global flm industry brought Subnautica, or ARK: Survival Evolved , ask the in $41 billion at the box ofce in 2018 (Hughes player to scrounge for food and shelter in the 2018), the video game industry raked in over wilderness, foregrounding our dependence on three times that amount, at nearly $135 billion the land and our place within wider ecosystems.