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Falcon 3.0 Manual
Rev 3: 12/95–js F A L C O N 3 . 0 i FLIGHT MANUAL Rev 3: 12/95–js ii F A L C O N 3 . 0 Program Credits Original Design Concept: Digital Actors: Gilman “Chopstick” Louie “Smokin’ Joe” Ward Scot “Woof” Bayless Simulation Team: Russel “Blue Jay” Reiss Erick “Jetbuster” Jap Matt “Mack Daddy” Carlström Gary “RC” Stottlemyer Zachary “Defiant” Fuller Kuswara “Porkchop” Pranawahadi Tony Beccia Les “Vulture” Watts Daniel “Bullfrog” Deremiah Marisa “No. 19” Ong Interface Team: Bill Hall Scot “Woof” Bayless Elizabeth Chambers Michael “Papa Bear” Mancuso Shannon Lee Ian “Blue Macaw” Falicov Daniel “Bullfrog” Deremiah Stunt Effects: Matt “Mack Daddy” Carlström Additional Programming: Elizabeth Chambers Farah “Stinger” Soebrata Don “Blaster” Harlow World Building: Rebecca “Stormtrooper” Ang Anthony “KnötHead” Chiang Donald “Cal” Tsang Daniel “Bullfrog” Deremiah Lee “Vaporizer” Powell “Smokin’ Joe” Ward Peter “Bandit” Ward Product Manager: Eric “Violator” Grotke Scot “Woof” Bayless Bradd “Bluto” Huddle Art: Sound and Music: Matt “Mack Daddy” Carlström Paul “Moggy” Mogg Dan “Dolphin” Guerra Chuck “Bunhead” Butler Quality Assurance: Louis “Cantoni” Sremac Kurt “Goat Killer” Boutin Zachary “Defiant” Fuller Brett “Flying Crip” Amick Steve “Scorpion” Blankenship Animation Direction, Special Effects Stephen “Buster” Keith and Camera: Lawrence “Hairball” Kevin Matt “Mack Daddy” Carlström Mike “Mad Mongoose” Nebeker Zachary “Defiant” Fuller Russel “Blue Jay” Reiss Rev 3: 12/95–js F A L C O N 3 . 0 iii Additional Quality Assurance: Manual Credits Evan “Baron” Birkby Eric “Cerebus” Chin Writing: William “T-Square” Chin Robert “Spaceman” Giedt Mike “Izzy” Isgur Howard “Whiplash” Bornstein Douglas “Opus” Lin Pete “Boomer” Bonanni David “Wotan” Wessman Kyle “Bulldog” Brink “Smokin’ Joe” Ward Beta Testers: Steve “White Knight” Perrin Frank “Turk” Bartolotta Tom “KC” Basham Editing: Terry “Pinecone” Carraway Robert “Spaceman” Giedt James “Hawk” Cook Marisa “No. -
Video Game Trader Magazine & Price Guide
Winter 2009/2010 Issue #14 4 Trading Thoughts 20 Hidden Gems Blue‘s Journey (Neo Geo) Video Game Flashback Dragon‘s Lair (NES) Hidden Gems 8 NES Archives p. 20 19 Page Turners Wrecking Crew Vintage Games 9 Retro Reviews 40 Made in Japan Coin-Op.TV Volume 2 (DVD) Twinkle Star Sprites Alf (Sega Master System) VectrexMad! AutoFire Dongle (Vectrex) 41 Video Game Programming ROM Hacking Part 2 11Homebrew Reviews Ultimate Frogger Championship (NES) 42 Six Feet Under Phantasm (Atari 2600) Accessories Mad Bodies (Atari Jaguar) 44 Just 4 Qix Qix 46 Press Start Comic Michael Thomasson’s Just 4 Qix 5 Bubsy: What Could Possibly Go Wrong? p. 44 6 Spike: Alive and Well in the land of Vectors 14 Special Book Preview: Classic Home Video Games (1985-1988) 43 Token Appreciation Altered Beast 22 Prices for popular consoles from the Atari 2600 Six Feet Under to Sony PlayStation. Now includes 3DO & Complete p. 42 Game Lists! Advertise with Video Game Trader! Multiple run discounts of up to 25% apply THIS ISSUES CONTRIBUTORS: when you run your ad for consecutive Dustin Gulley Brett Weiss Ad Deadlines are 12 Noon Eastern months. Email for full details or visit our ad- Jim Combs Pat “Coldguy” December 1, 2009 (for Issue #15 Spring vertising page on videogametrader.com. Kevin H Gerard Buchko 2010) Agents J & K Dick Ward February 1, 2009(for Issue #16 Summer Video Game Trader can help create your ad- Michael Thomasson John Hancock 2010) vertisement. Email us with your requirements for a price quote. P. Ian Nicholson Peter G NEW!! Low, Full Color, Advertising Rates! -
Newagearcade.Com 5000 in One Arcade Game List!
Newagearcade.com 5,000 In One arcade game list! 1. AAE|Armor Attack 2. AAE|Asteroids Deluxe 3. AAE|Asteroids 4. AAE|Barrier 5. AAE|Boxing Bugs 6. AAE|Black Widow 7. AAE|Battle Zone 8. AAE|Demon 9. AAE|Eliminator 10. AAE|Gravitar 11. AAE|Lunar Lander 12. AAE|Lunar Battle 13. AAE|Meteorites 14. AAE|Major Havoc 15. AAE|Omega Race 16. AAE|Quantum 17. AAE|Red Baron 18. AAE|Ripoff 19. AAE|Solar Quest 20. AAE|Space Duel 21. AAE|Space Wars 22. AAE|Space Fury 23. AAE|Speed Freak 24. AAE|Star Castle 25. AAE|Star Hawk 26. AAE|Star Trek 27. AAE|Star Wars 28. AAE|Sundance 29. AAE|Tac/Scan 30. AAE|Tailgunner 31. AAE|Tempest 32. AAE|Warrior 33. AAE|Vector Breakout 34. AAE|Vortex 35. AAE|War of the Worlds 36. AAE|Zektor 37. Classic Arcades|'88 Games 38. Classic Arcades|1 on 1 Government (Japan) 39. Classic Arcades|10-Yard Fight (World, set 1) 40. Classic Arcades|1000 Miglia: Great 1000 Miles Rally (94/07/18) 41. Classic Arcades|18 Holes Pro Golf (set 1) 42. Classic Arcades|1941: Counter Attack (World 900227) 43. Classic Arcades|1942 (Revision B) 44. Classic Arcades|1943 Kai: Midway Kaisen (Japan) 45. Classic Arcades|1943: The Battle of Midway (Euro) 46. Classic Arcades|1944: The Loop Master (USA 000620) 47. Classic Arcades|1945k III 48. Classic Arcades|19XX: The War Against Destiny (USA 951207) 49. Classic Arcades|2 On 2 Open Ice Challenge (rev 1.21) 50. Classic Arcades|2020 Super Baseball (set 1) 51. -
Thesis Final8
REFRAMING INTERACTIVE DIGITAL NARRATIVE: TOWARD AN INCLUSIVE OPEN-ENDED ITERATIVE PROCESS FOR RESEARCH AND PRACTICE A Dissertation Presented to The Academic Faculty By Hartmut Koenitz In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy in Digital Media Georgia Institute of Technology August, 2010 Copyright © Hartmut Andreas Koenitz 2010 Reframing Interactive Digital Narrative: Toward An Inclusive Open-Ended Iterative Process For Research And Practice Approved by: Dr. Janet Murray, Advisor Dr. Kenneth Knoespel School of Literature, Communication Ivan Allen College and Culture Georgia Institute of Technology Georgia Institute of Technology Dr. Mads Haahr Dr. Jay Bolter Department of Computer Science School of Literature, Communication Trinity College Dublin and Culture Georgia Institute of Technology Date Approved: June 30, 2010 Dr. Celia Pearce School of Literature, Communication and Culture Georgia Institute of Technology It is a waste of energy and resources to make applications that merely imitate media that exist in other forms, such as print, television, and film. Pamela Jennings, 1996 To my Parents ACKNOWLEDGEMENTS First and foremost I want to acknowledge the help, dedication and commitment of my advisor Janet Murray. Her relentless criticism and simultaneous encouragement sharpened both my wit and the focus of my arguments. Jay Bolter gave me the courage to start this project and provided not only lucid intellectual advice, but also a shoulder to lean on and a voice of sanity in the darkest hours of this thesis. Celia Pearce gave me a new appreciation of games and encouraged me to include installation pieces I would have otherwise overlooked. Kenneth Knoespel always took my mind to exciting and unforeseen places and made me think outside the box. -
1 22. Genre Profile: Interactive Movies
1 Forthcoming in WOLF, Mark J.P. (ed.). Video Game History: From Bouncing Blocks to a Global Industry, Greenwood Press, Westport, Conn. 22. Genre Profile: Interactive Movies Bernard Perron The interactive movie as a genre holds a place in the history of video games for one main reason: its well-know failure. Made possible by the increased storage capacity of laserdisc and CD-ROM, the idea was to take “video game” literally by combining full-motion video of live-action footage and cinematic techniques with a gaming experience. Considered to be at the cutting edge of technology at the beginning of the 1990s and seen as the future of the industry (mainly by those who were making them), interactive movies were no longer made by the end of the decade, despite the introduction of DVDs, which had greater storage capacity greatly and improved the use of movie clips. They came to have a very bad reputation due to the limited possibilities of their branching structures, their lack of interactivity, the bad acting of their cast, and, in the case of the earlier interactive movies, their low resolution pictures and the dismal quality of their playback. Yet despite such a general discredit, we should not overlook this phenomenon. Since we are referring to movies, it is in the genre’s best interest to be viewed in the light of the “cinema of attractions”, a concept introduced to better understand the specificity of the early cinema by comparison with the institutional narrative cinema that we are more familiar with.1 The term “cinema of attractions” refers to the exhibitionist nature of early cinema, a cinema willing to display its visibility and to rupture the self-enclosed fictional world to get the attention of the spectator or, in this case, of the gamer. -
The Hollywood Cinema Industry's Coming of Digital Age: The
The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication. -
Sega Cd Price Guide
Website GameValueNow.com Console Sega Cd Last Updated 2018-09-30 07:06:24.0 Sega Cd Price Guide # Title Loose Price Complete Price New Price VGA Price 1. 3 Ninjas Kick Back / Hook NA $75.08 $127.61 NA 2. A/X-101 $31.83 $34.32 $84.88 NA 3. Advanced Dungeons & Dragons: Eye of the Beholder $10.17 $23.26 $33.95 NA 4. Adventures of Batman & Robin $17.51 $31.72 $96.55 $119.50 5. Adventures of Willy Beamish $6.20 $15.73 $51.86 NA 6. After Burner III $5.21 $18.56 $55.07 NA 7. AH-3 Thunderstrike $3.34 $7.66 $28.25 NA 8. Amazing Spider-Man vs. the Kingpin $16.08 $31.88 $99.51 NA 9. Android Assault: The Revenge of Bari-Arm $36.67 $73.64 $175.50 $112.84 10. Batman Returns $14.81 $20.68 $101.16 NA 11. Battlecorps $3.70 $15.50 $39.41 NA 12. BC Racers $13.56 $63.71 $96.92 NA 13. Bill Walsh College Football $2.49 $5.65 $12.98 NA 14. Black Hole Assault $5.35 $7.49 $74.11 NA 15. Bouncers $6.83 $17.49 NA NA 16. Bram Stoker's Dracula $4.25 $7.99 $26.73 NA 17. Brutal: Paws of Fury $5.93 $12.41 $33.98 NA 18. Cadillacs and Dinosaurs $14.72 $46.69 $156.50 NA 19. CD Backup RAM Cart $37.04 $47.28 $65.98 NA 20. Championship Soccer 94 $33.86 $68.25 $82.80 NA 21. -
NA EU Art Alive! Western Technologies •Segana/EU/JP Buck
688 Attack Sub Electronic Arts Sega NA EU NA EU Art Alive! Western Technologies •SegaNA/EU/JP NAJP BREU Buck Rogers: Countdown to Doomsday Strategic Simulations •Electronic ArtsNA/EU NABR EU California Games •EpyxOriginal design •SegaNA/EU BR Centurion: Defender of Rome •Bits of Magic Electronic Arts NA EU Divine Sealing (Unlicensed) Studio Fazzy CYX JP Hardball! Accolade Ballistic NA EU NA EU James Pond: Underwater Agent •Millennium Interactive •Electronic ArtsNA/EU BR John Madden Football '92 Electronic Arts EASN NA EU M-1 Abrams Battle Tank Dynamix Electronic Arts/Sega NA EU NA EU Marble Madness Atari Electronic Arts JP Mario Lemieux Hockey Ringler Studios Sega NA EU NA EU Marvel Land Namco Namco JP Master of Monsters Systemsoft Renovation Products NA JP Master of Weapon Taito Taito JP NA EU Mercs Capcom Capcom JP Mickey's Ultimate Challenge Designer Software Hi Tech Expressions NA Might and Magic: Gates to Another World New World Computing Electronic Arts NA EU Mike Ditka Power Football Ballistic Accolade NA Ms. Pac-Man General Computer Corp. Tengen NA EU NA EU Mystical Fighter Taito DreamWorks JP Onslaught •RealmsOriginal Design Ballistic NA NA JP Rampart •Atari GamesOriginal design •TengenNA/JP KR Rings of Power Naughty Dog Software Electronic Arts NA EU NA EU Road Rash Electronic Arts •Electronic ArtsNA/EU JP BR Saint Sword Taito Taito NA JP NA EU Shadow of the Beast Psygnosis Electronic Arts NAJP EU Space Invaders '91 Taito Taito NAJP EU Speedball 2 The Bitmap Brothers Arena Entertainment JP NA EU Spider-Man Sega Sega JP Starflight -
Paradigm Shift: How the Evolution of Two Generations of Home
PARADIGM SHIFT: HOW THE EVOLUTION OF TWO GENERATIONS OF HOME CONSOLES, ARCADES, AND COMPUTERS INFLUENCED AMERICAN CULTURE, 1985-1995 By Jason Terence Wiley A thesis submitted to the Graduate Faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS IN HISTORY University of Central Oklahoma Spring, 2016 iii Abstract Author: Jason Terence Wiley Thesis Chair: Dr. Patricia Loughlin Title of Thesis: Paradigm Shift: How the Evolution of Two Generations of Home Consoles, Arcades, and Computers Influenced American Culture, 1985-1995 Abstract: As of 2016, unlike many popular media forms found here in the United States, video games possess a unique influence, one that gained its own a large widespread appeal, but also its own distinct cultural identity created by millions of fans both here stateside and across the planet. Yet, despite its significant contributions, outside of the gaming’s arcade golden age of the early 1980s, the history of gaming post Atari shock goes rather unrepresented as many historians simply refuse to discuss the topic for trivial reasons thus leaving a rather noticeable gap within the overall history. One such important aspect not covered by the majority of the scholarship and the primary focus of thesis argues that the history of early modern video games in the North American market did not originate during the age of Atari in the 1970s and early 1980s. Instead, the real genesis of today’s market and popular gaming culture began with the creation and establishment of the third and fourth generation of video games, which firmly solidified gaming as both a multi-billion dollar industry and as an accepted form of entertainment in the United States. -
Commissioner Bios
APPENDIX F Appendix F: Commissioner Bios Dr. Eric Schmidt, Chair Dr. Eric Schmidt is an accomplished technologist, entrepreneur, and philanthropist. He joined Google in 2001 and helped grow the company from a Silicon Valley startup to a global leader in technology alongside founders Sergey Brin and Larry Page. Schmidt served as Google’s Chief Executive Officer and Chairman from 2001 to 2011, as well as Executive Chairman and Technical Advisor. Under his leadership, Google dramatically scaled its infrastructure and diversified its product offerings while maintaining a strong culture of innovation. In 2017, he co-founded Schmidt Futures, a philanthropic initiative that bets early on exceptional people making the world better. Schmidt is the host of “Reimagine with Eric Schmidt,” a podcast series of conversations with leaders to explore how society can build a brighter future after the COVID-19 pandemic. The Honorable Robert Work, Vice Chair Robert Work was the 32nd Deputy Secretary of Defense, serving alongside three Secretaries of Defense from May 2014 to July 2017. In 2001, he retired as a Colonel in the United States Marine Corps after spending 27 years on active duty. He subsequently served as Senior Fellow and Vice President and Director of Studies at the Center for Strategic and Budgetary Assessments. In January 2009, he was asked to join the Obama administration as the 31st Under Secretary of the Navy, and was confirmed in that role in May 2009. Work stepped down as the Under Secretary in March 2013 to become the Chief Executive Officer for the Center for a New American Security (CNAS). -
The Multiplayer Game: User Identity and the Meaning Of
THE MULTIPLAYER GAME: USER IDENTITY AND THE MEANING OF HOME VIDEO GAMES IN THE UNITED STATES, 1972-1994 by Kevin Donald Impellizeri A dissertation submitted to the Faculty of the University of Delaware in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History Fall 2019 Copyright 2019 Kevin Donald Impellizeri All Rights Reserved THE MULTIPLAYER GAME: USER IDENTITY AND THE MEANING OF HOME VIDEO GAMES IN THE UNITED STATES, 1972-1994 by Kevin Donald Impellizeri Approved: ______________________________________________________ Alison M. Parker, Ph.D. Chair of the Department of History Approved: ______________________________________________________ John A. Pelesko, Ph.D. Dean of the College of Arts and Sciences Approved: ______________________________________________________ Douglas J. Doren, Ph.D. Interim Vice Provost for Graduate and Professional Education and Dean of the Graduate College I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ______________________________________________________ Katherine C. Grier, Ph.D. Professor in charge of dissertation. I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ______________________________________________________ Arwen P. Mohun, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ______________________________________________________ Jonathan Russ, Ph.D. -
Interview with Kevin Klemmick – Lead Software Engineer for Falcon 4.0
Interview with Kevin Klemmick – Lead Software Engineer for Falcon 4.0 March 12th, 2011 By Giorgio Bertolone Falcon is, without any doubt, the most ambitious and realistic Air Combat Simulation ever created and, for this reason, many simmers all over the world still fly it regularly despite its aging graphics. Because of this success, I always hoped to have one day the opportunity to ask specific questions about its development. I can’t thank enough Kevin for agreeing to this interview and for answering in such a honest and professional way. This is a long interview that will reveal a lot of things that many simmers probably didn’t know. I’m proud to make it available for everyone who, like me, considers Falcon as one the best simulators out there. There is a lot to read so sit comfortably and enjoy! GENERAL NOTES FROM KEVIN: Keep in mind that all this happened about 15 years ago and my memory is definitely fuzzy. I pulled up what I could from there, but I will be the first to admit my memory isn’t always accurate. I did no actual fact-checking on myself, so take all this with a grain of salt. Let’s start from the beginning. What can you tell us about your background and how did you find yourself working for MicroProse? I had been studying Aerospace Engineering at Cal Poly when an opportunity came up to take an Internship at MicroProse (which was still Spectrum HoloByte at the time). Back in the 80s I had written several multiplayer games for a gaming BBS I ran in high school, and I found the job opportunity through those contacts.