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Pegi Annual Report
PEGI ANNUAL REPORT ANNUAL REPORT INTRODUCTION 2 CHAPTER 1 The PEGI system and how it functions 4 AGE CATEGORIES 5 CONTENT DESCRIPTORS 6 THE PEGI OK LABEL 7 PARENTAL CONTROL SYSTEMS IN GAMING CONSOLES 7 STEPS OF THE RATING PROCESS 9 ARCHIVE LIBRARY 9 CHAPTER 2 The PEGI Organisation 12 THE PEGI STRUCTURE 12 PEGI S.A. 12 BOARDS AND COMMITTEES 12 THE PEGI CONGRESS 12 PEGI MANAGEMENT BOARD 12 PEGI COUNCIL 12 PEGI EXPERTS GROUP 13 COMPLAINTS BOARD 13 COMPLAINTS PROCEDURE 14 THE FOUNDER: ISFE 17 THE PEGI ADMINISTRATOR: NICAM 18 THE PEGI ADMINISTRATOR: VSC 20 PEGI IN THE UK - A CASE STUDY? 21 PEGI CODERS 22 CHAPTER 3 The PEGI Online system 24 CHAPTER 4 PEGI Communication tools and activities 28 Introduction 28 Website 28 Promotional materials 29 Activities per country 29 ANNEX 1 PEGI Code of Conduct 34 ANNEX 2 PEGI Online Safety Code (POSC) 38 ANNEX 3 The PEGI Signatories 44 ANNEX 4 PEGI Assessment Form 50 ANNEX 5 PEGI Complaints 58 1 INTRODUCTION Dear reader, We all know how quickly technology moves on. Yesterday’s marvel is tomorrow’s museum piece. The same applies to games, although it is not just the core game technology that continues to develop at breakneck speed. The human machine interfaces we use to interact with games are becoming more sophisticated and at the same time, easier to use. The Wii Balance Board™ and the MotionPlus™, Microsoft’s Project Natal and Sony’s PlayStation® Eye are all reinventing how we interact with games, and in turn this is playing part in a greater shift. -
'Littlebigplanet' Wins Big at Video Game Awards 26 March 2009, by DERRIK J
'LittleBigPlanet' wins big at video game awards 26 March 2009, By DERRIK J. LANG , AP Entertainment Writer "Fallout 3" lead writer Emil Pagliarulo during his acceptance speech. "To all the nerds growing up in South Boston, don't play hockey. Don't join Little League. Stay in your room, read your Lloyd Alexander and play 'Dungeons and Dragons.' It all works out in the end." Selected by a jury of game creators, the Game Developers Choice Awards honor the best games of the past year. The lively ninth annual ceremony was hosted by "Psychonauts " and "Brutal Legend" developer Tim Schafer. The show was capped off with the debut teaser trailer for "Call of Duty: Modern Warfare 2," the upcoming sequel to the best-selling game of 2007. Other winners at the ceremony at the Moscone Video game enthusiasts attend the Game Developers Convention Center were Ubisoft Montreal's "Prince Conference Wednesday, March 25, 2009, in San of Persia" for best visual art, Ready at Dawn Francisco. (AP Photo/Ben Margot) Studios' "God of War: Chains of Olympus" for best handheld game, EA Redwood Shores' "Dead Space" for best audio and 2D Boy's "World of Goo" for best downloadable game. (AP) -- "LittleBigPlanet" sacked the competition to win four trophies at the Game Developers Choice "Video Games Live" concert series co-founder Awards. Tommy Tallarico was awarded the ambassador trophy. Alex Rigopulos and Eran Egozy, co- Developed by Media Molecule, the cutsey founders of "Rock Band" developer Harmonix, PlayStation 3 adventure game which allows received the pioneer award. "Metal Gear Solid" players to create and share their own levels was creator Hideo Kojima was bestowed with the honored for best game design, debut, technology lifetime achievement award. -
Video Games and the Mobilization of Anxiety and Desire
PLAYING THE CRISIS: VIDEO GAMES AND THE MOBILIZATION OF ANXIETY AND DESIRE BY ROBERT MEJIA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Kent A. Ono, Chair Professor John Nerone Professor Clifford Christians Professor Robert A. Brookey, Northern Illinois University ABSTRACT This is a critical cultural and political economic analysis of the video game as an engine of global anxiety and desire. Attempting to move beyond conventional studies of the video game as a thing-in-itself, relatively self-contained as a textual, ludic, or even technological (in the narrow sense of the word) phenomenon, I propose that gaming has come to operate as an epistemological imperative that extends beyond the site of gaming in itself. Play and pleasure have come to affect sites of culture and the structural formation of various populations beyond those conceived of as belonging to conventional gaming populations: the workplace, consumer experiences, education, warfare, and even the practice of politics itself, amongst other domains. Indeed, the central claim of this dissertation is that the video game operates with the same political and cultural gravity as that ascribed to the prison by Michel Foucault. That is, just as the prison operated as the discursive site wherein the disciplinary imaginary was honed, so too does digital play operate as that discursive site wherein the ludic imperative has emerged. To make this claim, I have had to move beyond the conventional theoretical frameworks utilized in the analysis of video games. -
Art Worlds for Art Games Edited
Loading… The Journal of the Canadian Game Studies Association Vol 7(11): 41-60 http://loading.gamestudies.ca An Art World for Artgames Felan Parker York University [email protected] Abstract Drawing together the insights of game studies, aesthetics, and the sociology of art, this article examines the legitimation of ‘artgames’ as a category of indie games with particularly high cultural and artistic status. Passage (PC, Mac, Linux, iOS, 2007) serves as a case study, demonstrating how a diverse range of factors and processes, including a conducive ‘opportunity space’, changes in independent game production, distribution, and reception, and the emergence of a critical discourse, collectively produce an assemblage or ‘art world’ (Baumann, 2007a; 2007b) that constitutes artgames as legitimate art. Author Keywords Artgames; legitimation; art world; indie games; critical discourse; authorship; Passage; Rohrer Introduction The seemingly meteoric rise to widespread recognition of ‘indie’ digital games in recent years is the product of a much longer process made up of many diverse elements. It is generally accepted as a given that indie games now play an important role in the industry and culture of digital games, but just over a decade ago there was no such category in popular discourse – independent game production went by other names (freeware, shareware, amateur, bedroom) and took place in insular, autonomous communities of practice focused on particular game-creation tools or genres, with their own distribution networks, audiences, and systems of evaluation, only occasionally connected with a larger marketplace. Even five years ago, the idea of indie games was still burgeoning and becoming stable, and it is the historical moment around 2007 that I will address in this article. -
Zeit Für Zombies!
Zeit für Zombies! Digitales | Games: Killing Floor 2 Längst gehören Zombies zum guten Ton der digitalen Gesellschaft und sind Grundbausteine vieler Spiele. Filme und Serien schildern die lebenden Toten oft als böse, postapokalyptische Ungeheuer, vor denen es selten ein Entrinnen gibt. Gamer greifen stattdessen zur Gegenwehr. Von LINH NGUYEN. Jedes Jahr versuchen sie, beim Zombiespektakel in ›Call of Duty‹ im Kooperationsspiel so viele Beißer wie möglich zu erlegen. Obwohl Zombie-Spiele stetig aus dem Boden sprießen, scheint der Markt noch nicht übersättigt. Das amerikanische Studio Tripwire Interactive wirft nun das Zombie Survival Koop-Spiel ›Killing Floor 2‹ auf den Markt. Bevor ihr das Spiel startet, steht euch eine Reihe von Klassen zur Verfügung, zwischen denen ihr wählen könnt. Dabei besitzt jede Klasse besondere Fertigkeiten, mit denen ihr euch und eure bis zu fünf Mitspieler supporten könnt. Während der Sanitäter schneller heilen kann, übernimmt der Unterstützer die Aufgabe eure Freunde mit Munition für den Kampf ums Überleben zu versorgen. Der Beserker ist Spezialist für Nahkampfwaffen und kann aus kurzer Distanz, vor allem bei Tunneln oder engen Gassen geeignet, den Gegnern fernhalten. Klassenkampf mit Zombies Insgesamt stehen euch 10 Klassen zur Verfügung, die ihr nicht nur in jedem Spiel, sondern bei jeder Angriffswelle wechseln könnt. In Bezug auf Waffen hat jede Klasse seine eigene Vorliebe. Zwar könnt ihr nach jeder Angriffswelle, sofern ihr genug Geld habt, eure Waffe frei wählen, allerdings gibt es die sogenannten Vorteilswaffen, die bei eurer ausgewählten Klasse – wie der Name schon verrät – Vorteile wie besseren Schaden oder erhöhte Nachladegeschwindigkeit verschaffen. Wenn die Unterstützer-Klasse also Waffen für kurze Distanzen, wie etwa Shotguns, bevorzugt, solltet ihr diese Waffe wegen diverser Vorteile auch nehmen. -
Annual Report2011 Web (Pdf)
ANNUAL REPORT 2 011 INTRODUCTION 3 CHAPTER 1 The PEGI system and how it functions 4 TWO LEVELS OF INFORMATION 5 GEOGRAPHY AND SCOPE 6 HOW A GAME GETS A RATINg 7 PEGI ONLINE 8 PEGI EXPRESS 9 PARENTAL CONTROL SYSTEMS 10 CHAPTER 2 Statistics 12 CHAPTER 3 The PEGI Organisation 18 THE PEGI STRUCTURE 19 PEGI s.a. 19 Boards and Committees 19 PEGI Council 20 PEGI Experts Group 21 THE FOUNDER: ISFE 22 THE PEGI ADMINISTRATORS 23 NICAM 23 VSC 23 PEGI CODERS 23 CHAPTER 4 PEGI communication tools and activities 25 INTRODUCTION 25 SOME EXAMPLES OF 2011 ACTIVITIES 25 PAN-EUROPEAN ACTIVITIES 33 PEGI iPhone/Android app 33 Website 33 ANNEXES 34 ANNEX 1 - PEGI CODE OF CONDUCT 35 ANNEX 2 - PEGI SIGNATORIES 45 ANNEX 3 - PEGI ASSESSMENT FORM 53 ANNEX 4 - PEGI COMPLAINTS 62 INTRODUCTION © Rayman Origins -Ubisoft 3 INTRODUCTION Dear reader, PEGI can look back on another successful year. The good vibes and learning points from the PEGI Congress in November 2010 were taken along into the new year and put to good use. PEGI is well established as the standard system for the “traditional” boxed game market as a trusted source of information for parents and other consumers. We have almost reached the point where PEGI is only unknown to parents if they deliberately choose to ignore video games entirely. A mistake, since practically every child or teenager in Europe enjoys video games. Promoting an active parental involvement in the gaming experiences of their children is a primary objective for PEGI, which situates itself at the heart of that. -
Unity Playground
Unity Playground Instructor: Prof Pisan [email protected] Overview Game Engine Architecture Unity's approach to creating a game engine Defining a game - components, criticism Role of Game Designer Unity Playground https://unity3d.com/learn/tutorials/s/unity-playground 2 HW1: Unity Basics Review answers Grading: #2 2pts #5 2pts #8 2pts Rest 4pts 3 Game Designer Advocate for the player See the world through the player's eyes Player experience Playtesters - providing feedback Game design as hosting a party - an interactive experience Communication - sell your game, good listener and compromiser Teamwork - personalities Process - games are fragile, prioritize goals Inspiration - world as challenges, structures and play. Money to relationships Beyond existing games Will Wright - ant colonies to SimAnt What parts of your life can be turned into games? 4 Fail and Fail Again https://officechai.com/startups/51-failed-games-rovio-created- angry-birds-now-going-public-1-billion-valuation/ Playcentric Design Process Keeping the player experience in mind and testing the gameplay with target players through every phase of development. Setting player experience goals Players have to cooperate to win, but structured so cannot trust each other Players will feel a sense of happiness and playfulness Prototyping and Playtesting Paper is easy to modify, software decisions harder to reverse Iteration Design → Test → Evaluate → Design → Test → …. 6 Game Development 1. Brainstorming 2. Physical prototype 3. Presentation (if you need $$s) 4. Software prototype 5. Design documentation - putting the notes together 6. Production 7. Quality assurance Approaches: Jump from concept to writing up design to coding. Works OK when the game is a variation of an existing game Game Jams: Tapping into community for ideas and prototypes Innovation: unique play mechniques, beyond existing genres, integrating into daily lives, taking on new business models, emotionally rich gameplay, …. -
Digital Cinema and the Legacy of George Lucas
DOCTOR OF PHILOSOPHY Digital cinema and the legacy of George Lucas Willis, Daniel Award date: 2021 Awarding institution: Queen's University Belfast Link to publication Terms of use All those accessing thesis content in Queen’s University Belfast Research Portal are subject to the following terms and conditions of use • Copyright is subject to the Copyright, Designs and Patent Act 1988, or as modified by any successor legislation • Copyright and moral rights for thesis content are retained by the author and/or other copyright owners • A copy of a thesis may be downloaded for personal non-commercial research/study without the need for permission or charge • Distribution or reproduction of thesis content in any format is not permitted without the permission of the copyright holder • When citing this work, full bibliographic details should be supplied, including the author, title, awarding institution and date of thesis Take down policy A thesis can be removed from the Research Portal if there has been a breach of copyright, or a similarly robust reason. If you believe this document breaches copyright, or there is sufficient cause to take down, please contact us, citing details. Email: [email protected] Supplementary materials Where possible, we endeavour to provide supplementary materials to theses. This may include video, audio and other types of files. We endeavour to capture all content and upload as part of the Pure record for each thesis. Note, it may not be possible in all instances to convert analogue formats to usable digital formats for some supplementary materials. We exercise best efforts on our behalf and, in such instances, encourage the individual to consult the physical thesis for further information. -
Killing Floor 2, Lo Shooter Sci-Fi in Salsa Horror Arriva Anche Su Xbox One
Killing Floor 2, lo shooter sci-fi in salsa horror arriva anche su Xbox One Deep Silver e Iceberg Interactive hanno recentemente lanciato anche su Xbox One Killing Floor 2. Il famoso sparatutto co-op sci-fi horror, che era già uscito in precedenza su Pc e PlayStation 4, è disponibile quindi anche sulla piattaforma di casa Microsoft al prezzo di 39.99 euro. Se nel primo capitolo l’invasione dei terribili mostri mutati chiamati Zed era circoscritta all’inghilterra, in questo sequel lo scontro si sposta in Francia, dove, pronte ad accogliere i sopravvissuti, ci sono orde di nemici assetate di sangue. Killing Floor 2 è a tutti gli effetti uno shooter old school di stampo survival che ricorda molto alcuni titoli da sala giochi in voga negli anni passati, un titolo che mette i giocatori nei panni di alcuni bizzarri combattenti per fronteggiare numerosissime tipologie di abomini sia in single che in multyplayer. Una volta scelto il proprio eroe, dopo aver composto il team (fino ad un massimo di 6 giocatori) ed aver scelto la classe d’appartenenza, l’unico obiettivo di chi gioca è quello di sopravvivere fino all’ultima ondata di fameliche creature, al termine della quale bisognerà abbattere un boss altamente pericoloso. Alla luce di tutto questo, gli amanti del genere ritroveranno in Killing Floor 2 il giusto tasso di sfida, di divertimento e, soprattutto, di varietà. Tutto questo è possibile perché le classi a disposizione del giocatore, cosi come le tipologie di mostri da affrontare sono davvero molte. In questo nuovo capitolo della serie la cooperazione rappresenta la strategia di gioco fondamentale per poter superare in modo efficace i vari stage dalla difficoltà crescente. -
Avanquest Deutschland Gmbh Pressemappe
Avanquest Deutschland GmbH Pressemappe Pressemappe Avanquest Deutschland GmbH Pressemappe (erstellt am 26.09.2021) Erstellt am: 26.09.2021 Avanquest Deutschland GmbH Pressemappe Inhaltsverzeichnis Firmeninfo ................................................................................................................................ 3 Firmenbeschreibung/Boilerplate ........................................................................................... 3 Ansprechpartner ...................................................................................................................... 3 Übersicht der Pressemeldungen ........................................................................................... 4 Pressemeldungen .................................................................................................................... 9 18.12.2020 - Audials One: Digitaler Staubsauger für Internet-Inhalte ............................................ 9 09.12.2020 - Avanquest liefert Spiele-Nachschub für den Lockdown .......................................... 15 30.07.2020 - Alle Treiber immer aktuell – dank Driver Genius 20 ............................................... 22 29.11.2019 - Avanquest veröffentlicht Expert PDF .................................................................... 27 12.08.2019 - Gamescom 2019 - Avanquest präsentiert Spiele und Software mit CAD-Schwerpunkt .... 32 29.04.2019 - Fotos veredeln per Mausklick – mit inPixio Photo Clip 9 ......................................... 36 15.04.2019 - Alle Treiber -
No Tricks, Just Treats Illustration by Kyle Tumulak the Summit Staff
GROSSMONT COLLEGE’S STUDENT NEWS MEDIA | OCTOBER 2016 NO TRICKS, JUST TREATS ILLUSTRATION BY KYLE TUMULAK THE SUMMIT STAFF A publication of Grossmont College’s Media Communications Department. Vol. 43 | Issue 2 | October 2016 SUMMIT STAFF Editor-in-Chief: Alyssa Blackhurst Deputy Editor: Ryan Grow MICHELLE DAVIS ALYSSA BLACKHURST Staff Reporters Kyle Cascante, Michelle Davis, Symon Goro, Brandon Sumrow, Kristelle Villa, Daniel Zaragoza Senior Editors Sheridan Martinez, Ashley Stout Designers Batoul Rubaie, Regina Rubaie Adviser: Jeanette Calo KYLE CASCANTE, SYMON GORO, DANIEL ZARAGOZA & RYAN GROW GROSSMONT-CUYAMACA COMMUNITY COLLEGE DISTRICT 8800 Grossmont College Drive El Cajon, CA 92020 619-644-7454 | grossmont.edu Governing Board Members Greg Barr, Bill Garrett, Edwin Hiel, Debbie Johnson, Mary Kay Rosinski KRISTELLE VILLA Student Members Sebastian Caparelli, Evan Esparza Chancellor : Dr. Cindy Miles, Ph.D. President: Dr. Nabil Abu-Ghazaleh, Ed.D. Contact us at [email protected] SHERIDAN MARTINEZ BRANDON SUMROW @gcsummit_ /gcsummit Can you match the staff members with their favorite scary movies? [ ANSWERS ON PAGE 19 ] A. American Psycho D. Halloweentown G. Return of the Living Dead B. The Conjuring E. I Know What You H. Se7en C. Evil Dead Did Last Summer I. Silence of the Lambs F. Predator VISIT US ONLINE GCSUMMIT.COM 2 | THE SUMMIT | OCTOBER 2016 TABLE OF CONTENTS 4 Glam Attack 14 Education and the Election Dress up your face this Halloween. It may not be the hottest topic, but the cost of education 5 Putting on the Spook needs to be considered in this presidential race. When it comes to costumes, should you rent, buy or DIY? 15 What’s In A Prop? 6 Get Spooked November’s ballot contains more than just a presidential Celebrate the thrills and chills of the season with these flicks. -
A Guide to the Videogame System
SYSTEM AND EXPERIENCE A Guide to the Videogame as a Complex System to Create an Experience for the Player A Master’s Thesis by Víctor Navarro Remesal Tutor: Asunción Huertas Roig Department of Communication Rovira i Virgili University (2009) © Víctor Navarro Remesal This Master’s Thesis was finished in September, 2009. All the graphic material belongs to its respective authors, and is shown here solely to illustrate the discourse. 1 ACKNOWLEDGEMENTS I would like to thank my tutor for her support, advice and interest in such a new and different topic. Gonzalo Frasca and Jesper Juul kindly answered my e-mails when I first found about ludology and started considering writing this thesis: thanks a lot. I also have to thank all the good people I met at the ECREA 2008 Summer School in Tartu, for giving me helpful advices and helping me to get used to the academic world. And, above all, for being such great folks. My friends, family and specially my girlfriend (thank you, Ariadna) have suffered my constant updates on the state of this thesis and my rants about all things academic. I am sure they missed me during my months of seclusion, though, so they should be the ones I thanked the most. Thanks, mates. Last but not least, I want to thank every game creator cited directly or indirectly in this work, particularly Ron Gilbert, Dave Grossman and Tim Schafer for Monkey Island, Fumito Ueda for Ico and Shadow of the Colossus and Hideo Kojima for the Metal Gear series. I would not have written this thesis if it were not for videogames like these.