SFA's Summer 2020 Recommendation List
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The Resurrection of Permadeath: an Analysis of the Sustainability of Permadeath Use in Video Games
The Resurrection of Permadeath: An analysis of the sustainability of Permadeath use in Video Games. Hugh Ruddy A research paper submitted to the University of Dublin, in partial fulfilment of the requirements for the degree of Master of Science Interactive Digital Media 2014 Declaration I declare that the work described in this research paper is, except where otherwise stated, entirely my own work and has not been submitted as an exercise for a degree at this or any other university. Signed: ___________________ Hugh Ruddy 28th February 2014 Permission to lend and/or copy I agree that Trinity College Library may lend or copy this research Paper upon request. Signed: ___________________ Hugh Ruddy 28th February 2014 Abstract The purpose of this research paper is to study the the past, present and future use of Permadeath in video games. The emergence of Permadeath games in recent months has exposed the mainstream gaming population to the concept of the permanent death of the game avatar, a notion that has been vehemently avoided by game developers in the past. The paper discusses the many incarnations of Permadeath that have been implemented since the dawn of video games, and uses examples to illustrate how gamers are crying out for games to challenge them in a unique way. The aims of this are to highlight the potential that Permadeath has in the gaming world to become a genre by itself, as well as to give insights into the ways in which gamers play Permadeath games at the present. To carry out this research, the paper examines the motivation players have to play games from a theoretical standpoint, and investigates how the possibilty of failure in video games should not be something gamers stay away from. -
Juho Kahilaa, Satu Piispa-Hakalaa, Sanni Kahilaa, Teemu Valtonena, Henriikka Vartiainena and Matti Tedrea
Juho Kahilaa, Satu Piispa-Hakalaa, Sanni Kahilaa, Teemu Valtonena, Henriikka Vartiainena and Matti Tedrea a University of Eastern Finland / IT Services, P.O. Box 111, 80101 Joensuu, Finland manifestations of their content analysis. The results show that children explain their own in-game failures, incompetence of teammates, and technical problems as the main reasons for their gamer rage, and they express their rage verbally, physically, and by quitting. This article is the first attempt general. digital games, gamer rage, rage quitting, self-regulation, emotions concern, as some studies have found children playing digital games to behave more aggressively than their peers [10]. Aggressive Digital games, as an affective media, can behavior has often been associated with violent make players feel and generate various game content [11], although, according to emotional responses [1]. Games have been Ferguson [12], those results remain debatable. extensively studied from the perspective of Conversely, playing digital games has also emotions [2], and they have been shown to been suggested to support the development of provide positive emotions such as enjoyment self-regulating skills [13], and digital games and pleasure [3, 1], tools for mood management have been used as a tool for learning emotion [4], and meaningful experiences for their regulation skills [14]. Also, children themselves players [5]. Meaningful gaming experiences are have reported improved self-regulation skills, sought, for example, in games evoking strong such as frustration tolerance, by playing digital and intensive emotions, such as horror games games [15]. Rage induced by digital games, [6] and permadeath games, in which in-game gamer rage, has also become entertainment in death of a playable character is permanent [7, itself. -
Permadeath in Dayz
Fear, Loss and Meaningful Play: Permadeath in DayZ Marcus Carter, Digital Cultures Research Group, The University of Sydney; Fraser Allison, Microsoft Research Centre for Social NUI, The University of Melbourne Abstract This article interrogates player experiences with permadeath in the massively multiplayer online first-person shooter DayZ. Through analysing the differences between ‘good’ and ‘bad’ instances of permadeath, we argue that meaningfulness – in accordance with Salen & Zimmerman’s (2003) concept of meaningful play – is a critical requirement for positive experiences with permadeath. In doing so, this article suggests new ontologies for meaningfulness in play, and demonstrates how meaningfulness can be a useful lens through which to understand player experiences with negatively valanced play. We conclude by relating the appeal of permadeath to the excitation transfer effect (Zillmann 1971), drawing parallels between the appeal of DayZ and fear-inducing horror games such as Silent Hill and gratuitously violent and gory games such as Mortal Kombat. Keywords DayZ, virtual worlds, meaningful play, player experience, excitation transfer, risk play Introduction It's truly frightening, like not game-frightening, but oh my god I'm gonna die-frightening. Your hands starts shaking, your hands gets sweaty, your heart pounds, your mind is racing and you're a wreck when it's all over. There are very few games that – by default – feature permadeath as significantly and totally as DayZ (Bohemia Interactive 2013). A new character in this massively multiplayer online first- person shooter (MMOFPS) begins with almost nothing, and must constantly scavenge from the harsh zombie-infested virtual world to survive. A persistent emotional tension accompanies the requirement to constantly find food and water, and a player will celebrate the discovery of simple items like backpacks, guns and medical supplies. -
AP Composition and College Composition Students
Reading Assignment for AP Composition and College Composition Students Over the summer, read three books of your choice from different genres: Fiction: Romance, Fantasy, comedy, epistolary, etc. Non-Fiction: Biography, historical non-fiction, short stories, etc. Because you are preparing for a "writing" course, you should answer three "writerly" questions posed by Francine Prose in her book Reading Like a Writer: #1. Why did the author use the point of view s/he did? How would the story be different if it was told from, say, 1st person perspective and not 3rd? #2. As you read, write down three great sentences--known as "purple passages." Ernest Hemingway said that an author's ambition every day is to create "one true sentence." Consequently, he "discarded unnecessary words, stripped away narrative flourishes" to create his "spare" novels. Please find a few great sentences in the works you are reading, and simply copy them down. #3. Evaluate the style. Write a complete, 150 word paragraph that evaluates the author's style. What specifically kept you interested in the story? If you were bored, why? Is there something special about the way the author writes--interesting words, wit, or wisdom? Please express your opinion and support it with insights from the book. Below are some sites with good lists and discussion groups for those books. HAVE FUN!! Reading Lists: http://www.bpl.org/kids/booksmags.htm#summer http://www.modernlibrary.com/top-100/100-best-novels/ http://home.comcast.net/~netaylor1/modlibnonfiction.html http://www.goodreads.com/group/show/21925.The_Modern_Library_100_Best_Novels_Challenge For specific suggestions, please consider these. -
Genre Bingo Myfreebingocards.Com
Genre Bingo myfreebingocards.com Safety First! Before you print all your bingo cards, please print a test page to check they come out the right size and color. Your bingo cards start on Page 3 of this PDF. If your bingo cards have words then please check the spelling carefully. If you need to make any changes go to mfbc.us/e/kbuxa2 Play Once you've checked they are printing correctly, print off your bingo cards and start playing! On the next page you will find the "Bingo Caller's Card" - this is used to call the bingo and keep track of which words have been called. Your bingo cards start on Page 3. Virtual Bingo Please do not try to split this PDF into individual bingo cards to send out to players. We have tools on our site to send out links to individual bingo cards. For help go to myfreebingocards.com/virtual-bingo. Help If you're having trouble printing your bingo cards or using the bingo card generator then please go to https://myfreebingocards.com/faq where you will find solutions to most common problems. Share Pin these bingo cards on Pinterest, share on Facebook, or post this link: mfbc.us/s/kbuxa2 Edit and Create To add more words or make changes to this set of bingo cards go to mfbc.us/e/kbuxa2 Go to myfreebingocards.com/bingo-card-generator to create a new set of bingo cards. Legal The terms of use for these printable bingo cards can be found at myfreebingocards.com/terms. -
On Videogames: Representing Narrative in an Interactive Medium
September, 2015 On Videogames: Representing Narrative in an Interactive Medium. 'This thesis is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy' Dawn Catherine Hazel Stobbart, Ba (Hons) MA Dawn Stobbart 1 Plagiarism Statement This project was written by me and in my own words, except for quotations from published and unpublished sources which are clearly indicated and acknowledged as such. I am conscious that the incorporation of material from other works or a paraphrase of such material without acknowledgement will be treated as plagiarism, subject to the custom and usage of the subject, according to the University Regulations on Conduct of Examinations. (Name) Dawn Catherine Stobbart (Signature) Dawn Stobbart 2 This thesis is formatted using the Chicago referencing system. Where possible I have collected screenshots from videogames as part of my primary playing experience, and all images should be attributed to the game designers and publishers. Dawn Stobbart 3 Acknowledgements There are a number of people who have been instrumental in the production of this thesis, and without whom I would not have made it to the end. Firstly, I would like to thank my supervisor, Professor Kamilla Elliott, for her continuous and unwavering support of my Ph.D study and related research, for her patience, motivation, and commitment. Her guidance helped me throughout all the time I have been researching and writing of this thesis. When I have faltered, she has been steadfast in my ability. I could not have imagined a better advisor and mentor. I would not be working in English if it were not for the support of my Secondary school teacher Mrs Lishman, who gave me a love of the written word. -
8 Guilt in Dayz Marcus Carter and Fraser Allison Guilt in Dayz
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sydney eScholarship FOR REPOSITORY USE ONLY DO NOT DISTRIBUTE 8 Guilt in DayZ Marcus Carter and Fraser Allison Guilt in DayZ Marcus Carter and Fraser Allison © Massachusetts Institute of Technology All Rights Reserved I get a sick feeling in my stomach when I kill someone. —Player #1431’s response to the question “Do you ever feel bad killing another player in DayZ ?” Death in most games is simply a metaphor for failure (Bartle 2010). Killing another player in a first-person shooter (FPS) game such as Call of Duty (Infinity Ward 2003) is generally considered to be as transgressive as taking an opponent’s pawn in chess. In an early exploratory study of players’ experiences and processing of violence in digital videogames, Christoph Klimmt and his colleagues concluded that “moral man- agement does not apply to multiplayer combat games” (2006, 325). In other words, player killing is not a violation of moral codes or a source of moral concern for players. Subsequent studies of player experiences of guilt and moral concern in violent video- games (Hartmann, Toz, and Brandon 2010; Hartmann and Vorderer 2010; Gollwitzer and Melzer 2012) have consequently focused on the moral experiences associated with single-player games and the engagement with transgressive fictional, virtual narrative content. This is not the case, however, for DayZ (Bohemia Interactive 2017), a zombie- themed FPS survival game in which players experience levels of moral concern and anguish that might be considered extreme for a multiplayer digital game. -
Organizer of the 54Th Karlovy Vary IFF 2019: Film Servis Festival Karlovy Vary, A.S
Organizer of the 54th Karlovy Vary IFF 2019: Film Servis Festival Karlovy Vary, a.s. Organizers of the 54th Karlovy Vary IFF thank to all partners which help to organize the festival. 54th Karlovy Vary IFF is supported by: Ministry of Culture Czech Republic Main partners: Vodafone Czech Republic a.s. innogy MALL.cz Accolade City of Karlovy Vary Karlovy Vary Region Partners: UniCredit Bank Czech Republic and Slovakia, a.s. UNIPETROL SAZKA Group the Europe’s largest lottery company DHL Express (Czech Republic), s.r.o. Philip Morris ČR, a.s. CZECH FUND – Czech investment funds Official car: BMW Official fashion partner: Pietro Filipi Official coffee: Nespresso Supported by: CZ - Česká zbrojovka a.s. Supported by: construction group EUROVIA CS Supported by: CZECHOSLOVAK GROUP Partner of the People Next Door section: Sirius Foundation Official non-profit partner: Patron dětí Film Servis Festival Karlovy Vary, Panská 1, 110 00 Praha 1, Czech Republic Tel. +420 221 411 011, 221 411 022 www.kviff.com Official beverage: Karlovarská Korunní Official beauty partner: Dermacol Official champagne: Moët & Chandon Official beer: Pilsner Urquell Official drink: Becherovka Main media partners: Czech Television Czech Radio Radiožurnál PRÁVO Novinky.cz REFLEX Media partners: BigBoard Praha PLC ELLE Magazine magazine TV Star Festival awards supplier: Moser Glassworks Software solutions: Microsoft Consumer electronics supplier: LG Electronics Partner of the festival Instagram: PROFIMED Main hotel partners: SPA HOTEL THERMAL Grandhotel Pupp Four Seasons Hotel Prague Partner of the No Barriers Project: innogy Energie Wine supplier: Víno Marcinčák Mikulov - organic winery GPS technology supplier: ECS Invention spol. s r.o. -
Universal Music Group's Profit Margins Grew in 2020, Despite
BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayMARCH 3, 2021 Page 1 of 31 Leader; Travis Denning Makes History INSIDE Universal Music Group’s Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music Group Nashville), debuts at No.Profit 1 on Billboard’s lion audienceMargins impressions, up 16%).Grew Top• Country TuneCore Albums Unveils chart dated April 18. In its first week (ending April 9), it earnedRewards 46,000 Program equivalent album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cordingas Indie to Nielsen Distributors Music/MRC Data. in 2020, Despiteand total Country Airplay No.Pandemic 1 as “Catch” (Big Machine Label Group) ascends SouthsideFend Off marks Major Hunt’s second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chartLabels: and fourth Exclusive top 10. It follows freshman LP BY ED CHRISTMAN Young’s first of six chart entries, “Sleep With- Montevallo, which arrived at the summit in No - out You,” reached No. 2 in December 2016. He • David Crosby Sells vember 2014 and reigned for nineEven weeks. in Toa nearly date, year-long economic downturn, the hit 1.487 billionfollowed euros with ($1.68 the multiweek billion), orNo. a 1s20% “In Casemargin. -
Super ACRONYM - Round 5
Super ACRONYM - Round 5 1. After retiring, this athlete founded the Crest Computer Supply Company and served as the athletic director of Southern Illinois University. This player claimed to only need "18 inches of daylight" and led the NFL in the majority of both rushing and kick return categories in 1966. This Wichita-born athlete was often called the (*) "Kansas Comet." This man's autobiography I Am Third detailed his close relationship with his roommate of a different race, which was adapted into a film in which this man was played by Billy Dee Williams. The late Brian Piccolo was a dear friend of, for 10 points, what Bears running back? ANSWER: Gale (Eugene) Sayers <Nelson> 2. The Tiny Desk, a prototype devised by this character, allows people to alleviate stress by flipping their office desks without creating a huge mess. This man sings about a "Leprechaun on the lawn at Boston Common" and a creature "the size of (*) Luxembourg" as part of a "Kaiju Rap" inspired by the film Reptilicus. This character is tormented by Max, an assistant played by Patton Oswalt, and Kinga, played by Felicia Day. For 10 points, name this "mug in a yellow jumpsuit" who is trapped "on the dark side of the moon" in the revival of Mystery Science Theater 3000 and is played by a namesake comedian with the surname Ray. ANSWER: Jonah Heston (accept either underlined portion; do not accept or prompt on "(Jonah) Ray") <Vopava> 3. After the Creolettes were renamed for these things, they recorded the song "The Wallflower (Dance With Me Henry)" with Etta James. -
Fanfiction and Imaginative Reading a Dissertation
"I Opened a Book and in I Strode": Fanfiction and Imaginative Reading A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Ashley J. Barner April 2016 © 2016 Ashley J. Barner. All Rights Reserved. 2 This dissertation titled "I Opened a Book and in I Strode": Fanfiction and Imaginative Reading by ASHLEY J. BARNER has been approved for the Department of English and the College of Arts and Sciences by Robert Miklitsch Professor of English Robert Frank Dean, College of Arts and Sciences 3 ABSTRACT BARNER, ASHLEY J., Ph.D., April 2016, English "I Opened a Book and in I Strode": Fanfiction and Imaginative Reading Director of Dissertation: Robert Miklitsch This dissertation studies imaginative reading and its relationship to fanfiction. Imaginative reading is a practice that involves engaging the imagination while reading, mentally constructing a picture of the characters and settings described in the text. Readers may imaginatively watch and listen to the narrated action, using imagination to recreate the characters’ sensations and emotions. To those who frequently read this way, imagining readers, the text can become, through the work of imagination, a play or film visualized or entered. The readers find themselves inside the world of the text, as if transported to foreign lands and foreign eras, as if they have been many different people, embodied in many different fictional characters. By engaging imaginatively and emotionally with the text, the readers can enter into the fictional world: the settings seem to them like locations they can visit, the many characters like roles they can inhabit or like real people with whom they can interact as imaginary friends and lovers. -
Myfff2017 the One & Only Online French Film Festival Is Back!
PRESENTS MY FRENCH FILM FESTIVAL .COM JAN 19 - FEB 19, 2018 8TH EDITION É DITORIAUX / E DITORIALS P.4 & 6 M Y F R E NCH F IL M F E ST I VA L P.8 P RIX D É C E RN É S / A WARDS P.10 PLATefORmeS PARTENAIRES / PARTNER PLATFORMS P.12 J URYS / J URI E S P.14 I LS AI me NT L E fe ST I VA L / T H E Y LIK E TH E fe ST I VA L P.18 I ND E X D E S F IL M S / M OVI E IND E X P.19 L A S É L E CTION / T H E S E L E CTION WTF...RENCH!? P.20 HIT THE ROAD! P.32 TEEN STORIES P.38 FRENCH & FURIOUS P.46 LOVE "À LA FRANÇAISE" P.56 NEW HORIZONS P.64 J URYS P R É C É D E NTS / P R E VIOUS J URI E S P.71 U NI F RANC E P.73 P ART E NAIR E S / P ARTN E RS P.74 3 PAOLO SORRENTINO, PRÉSIDENT DU JURY DE MYFRENCHFILMFESTIVAL « Le cinéma français est un point de repère pour les cinéastes du monde entier. Il a toujours été marqué par sa capacité d’expérimentation et de renouveau, et par le soutien qu’il a donné au travail des auteurs. J’aime le cinéma français, surtout celui de François Truffaut : son idée du cinéma a toujours été une source d’inspiration pour moi.