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EA SPORTS Madden NFL 19 Kicks Off Football Season
August 10, 2018 EA SPORTS Madden NFL 19 Kicks off Football Season Experience the Smoothest and Most Visually Compelling Madden NFL yet REDWOOD CITY, Calif.--(BUSINESS WIRE)-- Today Electronic Arts Inc. (NASDAQ: EA) launched EA SPORTS Madden NFL 19 on Origin for PC, Xbox One and PlayStation 4. This year's game delivers all-new animation and some of the smoothest gameplay ever with the introduction of Real Player Motion (RPM) Tech, along with Franchise mode enhancements that allow players to solidify their strategy and build their own NFL dynasty. The new features don't end there, as Madden Ultimate Team also offers new challenges and opportunities, while fans hoping to catch up with the lives of Devin Wade and Colt Cruise can discover the conclusion of their stories in Longshot: Homecoming. Last but not least, the Madden NFL franchise returns to PC, bringing with it unlocked frame rates, mouse and keyboard controls and more (see here for details on PC specs and requirements). Bleacher Report praises this year's edition of the game, calling it "A must-own package for fans of the sport," and "The smoothest Madden has ever felt." The world is also celebrating launch with the story of the Greatest Play Call Ever. This press release features multimedia. View the full release here: https://www.businesswire.com/news/home/20180810005075/en/ "This is my favorite time of year, since Madden NFL 19 serves as the unofficial kickoff to football season," said Roy Harvey, Executive Producer on Madden NFL 19. "The team has included many new features to gameplay, Franchise, Ultimate Team and more, all of which I believe our fans will enjoy for countless hours throughout the year." RPM Tech in Madden NFL 19 allows runners and receivers an unprecedented opportunity to make a move and burst into the open field thanks to the new One Cut mechanic, alongside other on-field features like signature player styles and user- controlled celebrations. -
Nintendo Switch?
2019/2020 tél INGYENES Mi az a Nintendo Switch? A Nintendo Switch egy játékkonzol, amivel bárhol, bármikor és bárkivel játszhatsz. A Nintendo Switch termékcsaládban két konzol elérhető Nintendo Switch - minden funkcióval ellátva otthoni és menet közbeni játékhoz Három játékmód TV mód Asztali mód Hordozható mód 6-9. oldal Nintendo Switch Lite – kézi használatra kifejlesztve 10-11. oldal Bárhol, bármikor és bárkivel. Három játékmód 1 TV mód A Nintendo Switch konzol három különböző játékmódot kínál. Dokkold a Nintendo Switch konzolt, hogy a tévéden élvezhesd a HD játékélményt. Könnyen csatlakoztatható A konzol azonnal bekapcsol, a televízióhoz mikor kiveszed a dok- Hálózati adapter kolóból. A konzolt magaddal is Nintendo Switch viheted, és hordozható módban folytathatod a játékot. HDMI kábel Egyszerűen csatlakoztasd a hálózati adaptert és a HDMI kábelt a megfelelő portokhoz (a csomag mindkettőt tartalmazza). Bárhol, bármikor és bárkivel. Három játékmód 2 Hajtsd ki a támasztót, és oszd meg a képernyőt, és ezzel együtt a mókát is, Asztali mód többszemélyes játékokban. Ha a két Joy-Con kontrollert a Joy-Con markolathoz csatlakoztatod, úgy működ- Joy-Con nek, mint egy tradicionális kontroller, de a markolat nél- A Nintendo Switch konzol mind- kül, két különálló, teljesen két oldalán van egy-egy kontroller, funkcionális kontrollerként is használhatod őket. amik együtt funkcionálnak. A Nintendo Switch konzol három különböző játékmódot kínál. Három játékmód 3 Vedd a kezedbe, és játssz úgy, hogy a két Joy-Con kontroller Hordozható mód a konzolhoz van csatlakoztatva. Nintendo Switch Lite – A Nintendo Switch Lite egy kompakt, pehelykönnyű konzol, beépített vezérlőkkel. kézi használatra kifejlesztve A Nintendo Switch Lite minden Nintendo Switch szoftvert támogat, ami játszható hordozható módban. -
Sistematización De Un Nuevo Paradigma Ontológico Del Videojuego: El Formativismo
UNIVERSIDAD DE SEVILLA DPTO. COMUNICACIÓN AUDIOVISUAL Y PUBLICIDAD TESIS DOCTORAL SISTEMATIZACIÓN DE UN NUEVO PARADIGMA ONTOLÓGICO DEL VIDEOJUEGO: EL FORMATIVISMO Juan José Vargas Iglesias Sevilla, 2015 SISTEMATIZACIÓN DE UN NUEVO PARADIGMA ONTOLÓGICO DEL VIDEOJUEGO: EL FORMATIVISMO 2 TESIS DOCTORAL Presentada por Juan José Vargas Iglesias bajo la dirección del Prof. Dr. D. Luis Navarrete Cardero SISTEMATIZACIÓN DE UN NUEVO PARADIGMA ONTOLÓGICO DEL VIDEOJUEGO: EL FORMATIVISMO Vº Bº del Director de la Tesis, Prof. Dr. D. Luis Navarrete Cardero Sevilla, a 13 de octubre de 2015 3 A mis padres. 4 Uno podría aventurar la afirmación de que una histeria es una caricatura de una creación artística; una neurosis obsesiva, de una religión; y un delirio paranoico, de un sistema filosófico. Sigmund Freud, Totem y tabú Mientras Dios juega viene a ser mundo. Martin Heidegger, La proposición del fundamento 5 Agradecimientos Agradezco, en primer lugar, a Luis por aceptar la dirección de esta tesis, por su genero- sidad, por su compromiso irreductible y por concederme el privilegio de su amistad. A mis alumnos y alumnas, porque no pasa un día sin que me enseñen algo nuevo. A mis compañeros y compañeras del Departamento, y a quienes componen y han com- puesto el Aula de Videojuegos. A Mario, por las conversaciones inagotables en la cumbre intemporal de las Abstrac- ciones, por su galvanizante entusiasmo y su brillantez inspiradora. A Alejandra, por ser capaz de redimirme con una sonrisa. Por cambiar el mundo en que vivía. Por su paciencia sin límites. Por ser Ella. A Sofi, por las horas y horas dedicadas a completar aventuras gráficas de todo pelaje cuando éramos niños. -
Identity and Identification in the Historical Video Games Set in the Middle Ages
FACTIONS AND NATIONS: IDENTITY AND IDENTIFICATION IN THE HISTORICAL VIDEO GAMES SET IN THE MIDDLE AGES JUAN FRANCISCO JIMÉNEZ ALCÁZAR UNIVERSIDAD DE MURCIA SPAIN Date of receipt: 1st of February, 2021 Date of acceptance: 9th of March, 2021 ABSTRACT Historical video games offer players the opportunity to choose different options for managing factions and nations of the past, with which they can come to identify. The interactive and immersive nature of the medium makes this possible, and the thrill of winning or losing is enhanced by this ability to assimilate. The study focuses on those set in the medieval period, where factions respond to the various historical stages that define it. In this identity process through the video game, the player assumes a virtual role in which individual or group feelings that historically define their identity are reflected. These titles, as products of cultural expression, are also manifestations of those who have designed them, and inaccuracies due to cultural clichés or factors to be more entertaining —playability— are often resolved by gamers through the mod phenomenon. KEY WORDS Historical video game, Middle Ages, Identity, Nation, Avatar. CAPITALIA VERBA Historicorum Videoludi, Medium Aevum, Identitas, Natio, Locumtenens. IMAGO TEMPORIS. MEDIUM AEVUM, XV (2021): 451-489 / ISSN 1888-3931 / DOI 10.21001/itma.2021.15.15 451 452 JUAN FRANCISCO JIMÉNEZ ALCÁZAR 1. Options1 We must not insist on the fact that video games are a reality. It is not necessary, regardless of the position one may hold in principle about this phenomenon. Video games are a medium that came to stay and their globalization is already a fact. -
Pdf (Accessed 2.10.14)
Notes 1 Introduction: Video Games and Storytelling 1. It must be noted that the term ‘Narratological’ is a rather loose application by the Ludologists and the implications of this are pointed out later in this chapter. 2. Roland Barthes states that the ‘infinity of the signifier refers not to some idea of the ineffable (the unnameable signified) but to that of a playing [ ...] theText is plural’. Source: Barthes, R., 1977. Image, Music, Text, in: Heath,S.(Tran.), Fontana Communications Series. Fontana, London. pp. 158–159. 3.In Gaming Globally: Production, Play, and Place (Huntemann and Aslinger, 2012),theeditors acknowledgethat ‘while gaming maybe global, gaming cultures and practices vary widely depending on the power and voice of var- ious stakeholders’ (p. 27). The paucity of games studies scholarship coming from some of the largest consumers of video games, such as South Korea, China and India, to name a few, is markedly noticeable. The lack of represen- tation of non-Western conceptions of play culture and storytelling traditions is similarly problematic. 4. Chapter 8 will engage with this issue in more detail. 5. ‘(W)reading’ is preferred over the more commonly used neologism ‘wread- ing’toemphasise the supplementarity of the reading and writingprocesses and also to differentiate it from earlier usage that might claim that the two processes are the same thing. 3 (W)Reading the Machinic Game-Narrative 6. For whichhe is criticisedby Hayles (see Chapter 2). 7. Landow respondstothis by rightly stating that Aarseth misreads his original comment where heclaims that ‘the reader whochooses among linksortakes advantage of Storyspace’s hypertext capabilities shares some of the power of theauthor’(Landow, p. -
Jocelyn Fung ART DIRECTION & TEAM LEADERSHIP for GAMES & DIGITAL EXPERIENCES
Jocelyn Fung ART DIRECTION & TEAM LEADERSHIP FOR GAMES & DIGITAL EXPERIENCES 533 8TH ST - APT 2L SUMMARY BROOKLYN NY - 11215 [email protected] Directed and actively participated in art asset production for 8 successful casual (929) 237-9231 game launches. Managed the execution of 100+ marketing campaigns per month for live games. Hands-on creative problem solving and team growth. KEY SKILLS Excellent with typographic layouts, eyeballing pixel nudges with eerie accuracy, and 6 YEARS as senior management balancing colour and space to optimize user experiences and marketing hooks. 20+ YEARS design experience with a focus on the aesthetics of RECENT WORK HISTORY interaction and digital products BLUEBAT GAMES | GREENTUBE-NOVOMATIC VANCOUVER, BC TECHNICAL SKILLS CREATIVE AND MARKETING DIRECTOR Photoshop / Illustrator Dec 2015 – Present Adobe XD Art Direction, Strategy, and Creative Vision. Art Process Architecture. Brand JIRA / Confluence / Airtable Consistency. Project Scoping and Management. Retention/Engagement Slack Marketing Strategy and Design Direction. Visual UX Specialist. SVN / Perforce Cross-Functional Team Communication. Presentations for External Microsoft Office 365 / G Suite Stakeholders. Outsource/Freelance Management. Maya / 3DS Max / Zbrush SENIOR ARTIST Aug 2012 - Dec 2015 EDUCATION UI Concept Design and Asset Production, Graphic Design for Marketing and Business Development, Outsource Management UNIVERSITY OF BRITISH COLUMBIA SLANT SIX GAMES 1998 – 2002 VANCOUVER, BC BACHELOR OF ARTS ARTIST | Jun 2007 - Aug 2012 Sociology and Gender Studies Graphics for SOCOM, Fire Team Bravo, Resident Evil: Operation Raccoon City ART INSTITUTE OF ELECTRONIC ARTS - BLACK BOX VANCOUVER VANCOUVER, BC 2002 – 2004 ARTIST | Sept 2004 - Jun 2007 DIPLOMA Graphics for Need for Speed Most Wanted, Need for Speed Carbon, EA Skate Game Art and Animation. -
Electronic Arts Inc
ELECTRONIC ARTS INC FORM 10-K (Annual Report) Filed 5/30/2007 For Period Ending 3/31/2007 Address 209 REDWOOD SHORES PARKWAY REDWOOD CITY, California 94065 Telephone 650-628-1500 CIK 0000712515 Industry Software & Programming Sector Technology Fiscal Year 03/31 Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 Form 10-K ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended March 31, 2007 OR TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File No. 0-17948 ELECTRONIC ARTS INC. (Exact name of registrant as specified in its charter) Delaware 94-2838567 (State or other jurisdiction of (I.R.S. Employer incorporation or organization) Identification No.) 209 Redwood Shores Parkway 94065 Redwood City, California (Zip Code) (Address of principal executive offices) Registrant’s telephone number, including area code: (650) 628-1500 Securities registered pursuant to Section 12(b) of the Act: Title of Each Class Name of Each Exchange on Which Registered Common Stock, $0.01 par value The NASDAQ Stock Market LLC Securities registered pursuant to Section 12(g) of the Act: None Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes No Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. Yes No Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. -
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. -
GAMING GLOBAL a Report for British Council Nick Webber and Paul Long with Assistance from Oliver Williams and Jerome Turner
GAMING GLOBAL A report for British Council Nick Webber and Paul Long with assistance from Oliver Williams and Jerome Turner I Executive Summary The Gaming Global report explores the games environment in: five EU countries, • Finland • France • Germany • Poland • UK three non-EU countries, • Brazil • Russia • Republic of Korea and one non-European region. • East Asia It takes a culturally-focused approach, offers examples of innovative work, and makes the case for British Council’s engagement with the games sector, both as an entertainment and leisure sector, and as a culturally-productive contributor to the arts. What does the international landscape for gaming look like? In economic terms, the international video games market was worth approximately $75.5 billion in 2013, and will grow to almost $103 billion by 2017. In the UK video games are the most valuable purchased entertainment market, outstripping cinema, recorded music and DVDs. UK developers make a significant contribution in many formats and spaces, as do developers across the EU. Beyond the EU, there are established industries in a number of countries (notably Japan, Korea, Australia, New Zealand) who access international markets, with new entrants such as China and Brazil moving in that direction. Video games are almost always categorised as part of the creative economy, situating them within the scope of investment and promotion by a number of governments. Many countries draw on UK models of policy, although different countries take games either more or less seriously in terms of their cultural significance. The games industry tends to receive innovation funding, with money available through focused programmes. -
Australia India Institute Volume 20, February 2021 Fostering
Australia India Institute Volume 20, February 2021 Fostering Opportunities in Video Games between Victoria and India Dr Jens Schroeder Fostering Opportunities in Video Games between Victoria and India The Australia India Institute, based at The University of Melbourne, is funded by Australian Government Department of Education, Skills and Employment, the State Government of Victoria and the University of Melbourne. Video games are booming all over the world, during the COVID-19 pandemic more than Summary ever. Australia and India are no exceptions. This policy brief focuses on the opportunities for both Indian and Victorian game developers and educators in the context of the Victorian government's support for its creative industries. Based on desk research and discussions at the Victoria-India Video Games Roundtable conducted on 8 December 2020 by the Australia India Institute in collaboration with Creative Victoria and Global Victoria, this report identified the following avenues for collaboration: • Access to complementary expertise and talent in both countries • Joint education programs and exchanges • Victorian game developers working with Indian partners to adapt their games to the Indian market and its complexities and challenges Video games1 are one of the world's largest and fastest-growing entertainment and media Introduction industries. In Australia, Victoria is the hotspot for game development. With 33% of all studios and 39% of all industry positions,2 more studios call Victoria home than any other state in Australia. Meanwhile, India's smartphone penetration has skyrocketed to the point where the country has become the world's most avid consumer of mobile gaming apps. This policy brief sets out to explore how Victoria-based game developers and educators can take advantage of this emerging market and the opportunities it presents. -
Playing for Keeps Enhancing Sustainability in Australia’S Interactive Entertainment Industry © Screen Australia 2011 ISBN: 978-1-920998-17-2
Playing for Keeps Enhancing sustainability in Australia’s interactive entertainment industry © Screen Australia 2011 ISBN: 978-1-920998-17-2 The text in this report is released subject to a Creative Commons BY licence (Licence). This means, in summary, that you may reproduce, transmit and distribute the text, provided that you do not do so for commercial purposes, and provided that you attribute the text as extracted from Screen Australia’s report Playing for Keeps: Enhancing Sustainability in Australia's Interactive Entertainment Industry, November 2011. You must not alter, transform or build upon the text in this report. Your rights under the Licence are in addition to any fair dealing rights which you have under the Copyright Act 1968 (Cwlth). For further terms of the Licence, please see http://creativecommons.org/licenses/by-nc-nd/3.0/. You are not licensed to reproduce, transmit or distribute any still photographs contained in this report. This report draws from a number of resources. While Screen Australia has undertaken all reasonable measures to ensure its accuracy we cannot accept responsibility for inaccuracies and omissions. www.screenaustralia.gov.au/research Cover picture: Gesundheit! Developed by Revolutionary Concepts and published by Konami Report design: Alison White Designs Pty Limited Contents EXECUTIVE SUMMARY 2 BUILDING A KNOWLEDGE BASE 4 ECOLOGY OF THE SECTOR 6 High-end console games 7 Games for digital distribution 8 Publishing and distribution 9 Creative digital services 10 Middleware and related services 11 FACTORS IMPACTING SUSTAINABILITY 13 Shifting demographics 14 Growth factors 18 Industry pressure points 20 OPTIONS TO SUPPORT SUSTAINABILITY 23 Current government support 23 Future support 24 Alternator character Courtesy: Alternator Pty Ltd 1 Executive summary The challenges facing the interactive INTERACTIVE INDUSTRY entertainment industry are intrinsically ENTERTAINMENT IS A PRESSURE POINTS linked to those of the broader screen MAINSTREAM ACTIVITY Despite growing participation, the sector. -
Building a Thriving Interactive Games Development Industry in Australia 1 Summary
A reminder to government of the value in supporting a thriving games development industry and recommendations for industry support December 2018 About IGEA The Interactive Games & Entertainment Association (IGEA) is the peak industry association representing the business and public policy interests of Australian and New Zealand companies in the computer and video games industry. Our members publish, market, develop and distribute interactive games, entertainment content and related hardware. Our mission is to create an environment that drives sustainable growth for the interactive games and entertainment industry. IGEA Suite 145, National Innovation Centre Australian Technology Park 4 Cornwallis St, Eveleigh NSW 2015 www.igea.net [email protected] @igea /igea.net CONTENTS About IGEA IFC Summary 2 Table of policy recommendations 3 Why Australia needs an interactive games industry 4 1. Game development is an innovative and future-looking creative industry 4 2. Game development will help build a modern and talented Australian workforce 5 3. Games are a valuable, IP-driven and weightless export with high global demand 7 4. We have entered an era of serious games and their uses have limitless potential 8 5. The power of games for digital inclusion and its cultural dividend for Australia 10 Blueprint for fostering a strong Australian game development industry 12 1. Provide a $40 million fund for game development 12 2. Create a 30 per cent refundable tax offset for game development 14 3. Provide strategic support for cultural, educational and serious games 16 4. Additional funding and policy support to foster a game development industry 16 The fiscal and economic case for supporting game development 18 1.