Crash Team Racing Speedrun Guide
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Gaze and Accessibility in Gaming Lauri Immonen
Gaze and accessibility in gaming Lauri Immonen University of Tampere School of Information Sciences Interactive technology Master's thesis Supervisor: Aulikki Hyrskykari October 2014 University of Tampere School of Information Sciences Interactive technology Lauri Immonen: Gaze and accessibility in gaming Master's thesis, 74 pages, 9 appendix pages October 2014 Not all computer users are able to use conventional control methods. People with physical disabilities use various alternate control methods. One less used control method is gaze control. Entertainment is an important part of computing also for users with disabilities. Games are an essential part of digital entertainment, but they are rarely designed to be played with alternate control methods. We investigated the characteristics of game genres to assess the suitability of gaze control of the genres. We thoroughly analyzed interactions in racing games, and designed and implemented gaze controls for Super Tux Kart racing. Users with disabilities may find gaze control fatiguing. To get verification that our implementation can be used by the intended target group, we tested the implementation not only with able-bodied participants, but also with participants with muscular dystrophy. The participants performed a task of driving around a track using gaze control. We measured their performance and asked their opinions about the control method and how fatiguing they found it. We found the implemented versions of gaze control to be intuitive and easy to learn. The participants were able to play the game successfully. The results suggest that people with disabilities benefit of automating selected controls. Automating seems to equalize the difference between able-bodied players and players with disabilities. -
Black Rocket Online
Questions? Call (815) 921-3900 WHIZ KIDS • WEEK STARTING JUNE 8 1 BLACK ROCKET ONLINE The magic in every camper comes to life as never before when they are empowered to be as creative as they were all born to be! Black Rocket has over a decade of experience designing camps in the S.T.E.A.M. fields (Science-Technology-Engineering-Arts-Mathematics). Every program is powered by the camper’s innate imagination and designed to bring their ideas to life in a fun, hands-on, learning environment. From concept to creation students will demonstrate their masterpiece to the world at the end of each week! All Black Rocket programs mirror real life experiences and the collaborative nature of the design process. Students will work in pairs or teams for most of the program. Returning students can create more advanced projects that build on previous years! WEEK STARTING JUNE 8 IMPORTANT! You must have the correct tech specs prior to registering. CHECK THEM HERE: https://blackrocket.com/online-tech-specs Battle Royale: Make Your First NEW! Minecraft® Redstone Fortnite® Style Video Game Engineers (Ages 8-14) Fans of Fortnite we need you! Instead (Ages 8-14) Take the next step beyond simply “playing” of playing the game, design your own. Using a Minecraft and become a true Redstone engineer. professional 3D game development software, build Expand your Redstone knowledge by constructing levels and assets inspired by popular battle royale your own carnival with a variety of mini-games, games like Fortnite. Students can participate in eSports roller coasters, and attractions powered by Redstone. -
1 Fully Optimized: the (Post)Human Art of Speedrunning Like Their Cognate Forms of New Media, the Everyday Ubiquity of Video
Fully Optimized: The (Post)human Art of Speedrunning Item Type Article Authors Hay, Jonathan Citation Hay, J. (2020). Fully Optimized: The (Post)human Art of Speedrunning. Journal of Posthuman Studies: Philosophy, Technology, Media, 4(1), 5 - 24. Publisher Penn State University Press Journal Journal of Posthuman Studies Download date 01/10/2021 15:57:06 Item License https://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://hdl.handle.net/10034/623585 Fully Optimized: The (post)human art of speedrunning Like their cognate forms of new media, the everyday ubiquity of video games in contemporary Western cultures is symptomatic of the always-already “(post)human” (Hayles 1999, 246) character of the mundane lifeworlds of those members of our species who live in such technologically saturated societies. This article therefore takes as its theoretical basis N. Katherine Hayles’ proposal that our species presently inhabits an intermediary stage between being human and posthuman; that we are currently (post)human, engaged in a process of constantly becoming posthuman. In the space of an entirely unremarkable hour, we might very conceivably interface with our mobile phone in order to access and interpret GPS data, stream a newly released album of music, phone a family member who is physically separated from us by many miles, pass time playing a clicker game, and then absentmindedly catch up on breaking news from across the globe. In this context, video games are merely one cultural practice through which we regularly interface with technology, and hence, are merely one constituent aspect of the consummate inundation of technologies into the everyday lives of (post)humans. -
Ready Player One by Ernest Cline
Ready Player One by Ernest Cline Chapter 1 Everyone my age remembers where they were and what they were doing when they first heard about the contest. I was sitting in my hideout watching cartoons when the news bulletin broke in on my video feed, announcing that James Halliday had died during the night. I’d heard of Halliday, of course. Everyone had. He was the videogame designer responsible for creating the OASIS, a massively multiplayer online game that had gradually evolved into the globally networked virtual reality most of humanity now used on a daily basis. The unprecedented success of the OASIS had made Halliday one of the wealthiest people in the world. At first, I couldn’t understand why the media was making such a big deal of the billionaire’s death. After all, the people of Planet Earth had other concerns. The ongoing energy crisis. Catastrophic climate change. Widespread famine, poverty, and disease. Half a dozen wars. You know: “dogs and cats living together … mass hysteria!” Normally, the newsfeeds didn’t interrupt everyone’s interactive sitcoms and soap operas unless something really major had happened. Like the outbreak of some new killer virus, or another major city vanishing in a mushroom cloud. Big stuff like that. As famous as he was, Halliday’s death should have warranted only a brief segment on the evening news, so the unwashed masses could shake their heads in envy when the newscasters announced the obscenely large amount of money that would be doled out to the rich man’s heirs. 2 But that was the rub. -
Weigel Colostate 0053N 16148.Pdf (853.6Kb)
THESIS ONLINE SPACES: TECHNOLOGICAL, INSTITUTIONAL, AND SOCIAL PRACTICES THAT FOSTER CONNECTIONS THROUGH INSTAGRAM AND TWITCH Submitted by Taylor Weigel Department of Communication Studies In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Summer 2020 Master’s Committee: Advisor: Evan Elkins Greg Dickinson Rosa Martey Copyright by Taylor Laureen Weigel All Rights Reserved ABSTRACT ONLINE SPACES: TECHNOLOGICAL, INSTITUTIONAL, AND SOCIAL PRACTICES THAT FOSTER CONNECTIONS THROUGH INSTAGRAM AND TWITCH We are living in an increasingly digital world.1 In the past, critical scholars have focused on the inequality of access and unequal relationships between the elite, who controlled the media, and the masses, whose limited agency only allowed for alternate meanings of dominant discourse and media.2 With the rise of social networking services (SNSs) and user-generated content (UGC), critical work has shifted from relationships between the elite and the masses to questions of infrastructure, online governance, technological affordances, and cultural values and practices instilled in computer mediated communication (CMC).3 This thesis focuses specifically on technological and institutional practices of Instagram and Twitch and the social practices of users in these online spaces, using two case studies to explore the production of connection- oriented spaces through Instagram Stories and Twitch streams, which I argue are phenomenologically live media texts. In the following chapters, I answer two research questions. First, I explore the question, “Are Instagram Stories and Twitch streams fostering connections between users through institutional and technological practices of phenomenologically live texts?” and second, “If they 1 “We” in this case refers to privileged individuals from successful post-industrial societies. -
SEUM: Speedrunners from Hell Think Arcade
Warp Reference: SEUM: Speedrunners From Hell Think Arcade ----- Context ----- SEUM: Speedrunners from Hell is about a man named Marty who has his beer stolen by Satan. He proceeds to head to hell to get it back. That’s about it really. The game focuses more on gameplay, only incorporating story to give some context as to why the player is running through hell. ----- What Worked Well ----- Short, Simple Levels: Levels were, for the most part, were very lightweight and were designed to be completed in 20 seconds or less. This allowed the game to have 80+ levels in it, and it doesn’t feel exhausting to players to complete them all. In addition, levels that introduced a new power up or mechanic were extremely simple and focused solely on that new element, and allowing other levels to introduce how it mixed with other mechanics. This created a sort of modular design, where each level served a specific purpose. Also, levels were cleverly named to describe what the player was supposed to do, learn, or overcome, which at times served as a hint. Figure 1: A tutorial level 1 8/2/18 Warp Reference: SEUM: Speedrunners From Hell Think Arcade Figure 2: A slightly more complex level Figure 3: More difficult level still confined to a single tower Instant Restart: Levels load incredibly fast in SEUM, and with the press of the ‘R’ key the player instantly restarts the level back to its initial state. There’s no lengthy death sequence, and as soon as the player knows they messed up they can immediately restart and be back in the action in well under a second. -
Copyright by Kaitlin Elizabeth Hilburn 2017
Copyright by Kaitlin Elizabeth Hilburn 2017 The Report Committee for Kaitlin Elizabeth Hilburn Certifies that this is the approved version of the following report: Transformative Gameplay Practices: Speedrunning through Hyrule APPROVED BY SUPERVISING COMMITTEE: Supervisor: Suzanne Scott Kathy Fuller-Seeley Transformative Gameplay Practices: Speedrunning through Hyrule by Kaitlin Elizabeth Hilburn, B.S. Comm Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2017 Dedication Dedicated to my father, Ben Hilburn, the first gamer I ever watched. Abstract Transformative Gameplay Practices: Speedrunning Through Hyrule Kaitlin Elizabeth Hilburn, M.A. The University of Texas at Austin, 2017 Supervisor: Suzanne Scott The term “transformative” gets used in both fan studies and video game studies and gestures toward a creative productivity that goes beyond simply consuming a text. However, despite this shared term, game studies and fan studies remain fairly separate in their respective examination of fans and gamers, in part due to media differences between video games and more traditional media, like television. Bridging the gap between these two fields not only helps to better explain transformative gameplay, but also offers additional insights in how fans consume texts, often looking for new ways to experience the source text. This report examines the transformative gameplay practices found within video game fan communities and provides an overview of their development and spread. It looks at three facets of transformative gameplay, performance, mastery, and education, using the transformative gameplay practices around The Legend of Zelda: Ocarina of Time (1998) as a primary case study. -
Analysing Constraint Play in Digital Games 自製工坊:分析應用於數碼遊戲中的限制性玩法
CITY UNIVERSITY OF HONG KONG 香港城市大學 Workshops of Our Own: Analysing Constraint Play in Digital Games 自製工坊:分析應用於數碼遊戲中的限制性玩法 Submitted to School of Creative Media 創意媒體學院 In Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy 哲學博士學位 by Johnathan HARRINGTON September 2020 二零二零年九月 ABSTRACT Players are at the heart of games: games are only fully realised when players play them. Contemporary games research has acknowledged players’ importance when discussing games. Player-based research in game studies has been largely oriented either towards specific types of play, or towards analysing players as parts of games. While such approaches have their merits, they background creative traditions shared across different play. Games share players, and there is knowledge to be gleamed from analysing the methods players adopt across different games, especially when these methods are loaded with intent to make something new. In this thesis, I will argue that players design, record, and share their own play methods with other players. Through further research into the Oulipo’s potential contributions to games research, as well as a thorough analysis of current game studies texts on play as method, I will argue that the Oulipo’s concept of constraints can help us better discuss player-based design. I will argue for constraints by analysing various different types of player created play methods. I will outline a descriptive model that discusses these play methods through shared language, and analysed as a single practice with shared commonalities. By the end of this thesis, I will have shown that players’ play methods are often measured and creative. -
NMC Extended Education Summer 2021 Class Catalog
COMMUNITY NMC Extended Education Personal + Professional EDUCATION Summer 2021 • May-August Celebrating the return of College for Kids this summer Grades 3-12 Art, STEM, dance, crafts & more! 150+ face to face and livestream classes Classes for adults & kids inside! Face to Face Livestream & Online Click the links below to enroll: Adult Classes: nmc.edu/ees-classes Kids Classes: nmc.edu/kids mail-in forms on pgs. 68 & 69 Summer 2021 • May-August NMC Etended Education COMMUNITY Personal + Professional EDUCATION College for Kids 4-25 Get updates about Face to Face classes 4 Livestream classes 18 upcoming classes GRASP Reading & Math 10 and events Subscribe to our e-news Adult Enrichment Classes 26-45 nmc.edu/ees Creative Arts 33 Health & Safety Measures 70 Culinary 31 Learning Formats 5 & 28 Forever Virtually Fit 42 Maps 70 Easy Sign-Up Global 40 Meet our team 71 Home Time 38 Registration Info 68 Music 38 1) ONLINE: nmc.edu/ees Northern Naturalist 26 2) PHONE: 231.995.1700 Recreation 31 Wellness 45 3) MAIL: forms + info pgs. 68-69 Writing & Literature 39 Note: In-person registration has been Yoga 40 temporarily suspended as part of NMC’s safety measures. Professional Phone Hours: M-F 8:30 am-4:30 pm Development 46-67 Website: nmc.edu/ees Email: [email protected] Careers & Certifications 51 CareerStep 57 Find biographies of our fabulous Paint your favorite birds instructors on our website under Computer & Technology 63 with artist Jan Oliver pg Ed2Go 62 ABOUT US at nmc.edu/ees Legal Studies 60 34 Michigan Manufacturing 57 Preparing for College 50 Stay Safe ProTrain 55 Small Business 46 View and follow guidelines: nmc.edu/safety-protocols and pg. -
Fall 2021 After School Program
WILLIAMSBURG NORTHSIDE FALL 2021 AFTER SCHOOL PROGRAM 1 Fall 2021 Program Schedule and Calendar Grade K-8th Fall Session September 12, 2021 to December 16, 2021 Williamsburg Northside After School is held at 299 North 7th Street K-8 Campus, Monday through Friday from 3:00PM - 5:30 PM. Our formal enrichment programs run from 3:30 PM to 4:30 PM with an additional optional hour of Extended Care from 4:30 PM to 5:30 PM of supervised play and homework time. All students will receive a healthy snack at the start of programming. As per the 2021 school calendar, there will be NO After School on the dates below. December 16th is the last physical day. Program fee will be prorated accordingly. September 16th: Yom Kippur October 11th Indigenous People’s Day November 11th Veterans Day, 18th Parent teacher conferences 24th-26th Thanksgiving Recess December 16th Last day of Afterschool Enrollment and Payment Each registration requires the selection of a day and a specific class. Registrations without a class selection are incomplete. A confirmation email with a registration profile will be sent after the payment is submitted. Payment is due online at the time of registration. Enrollments will be accepted on a first-come, first-served basis. Late Policy After School concludes promptly at 4:30 PM at the K-8 Campus. Extended Day option goes until 5:30 PM. All students MUST be picked up on time. If a student is picked up late from After School more than 2 times, without extenuating circumstances, his/her enrollment in future After School will be in jeopardy. -
Experimental Evaluation of the Smartphone As a Remote Game Controller for PC Racing Games
Thesis no: MSCS-2014-01 Experimental evaluation of the smartphone as a remote game controller for PC racing games Marta Nieznańska Faculty of Computing Blekinge Institute of Technology SE-371 79 Karlskrona Sweden This thesis is submitted to the Faculty of Computing at Blekinge Institute of Technology in partial fulfillment of the requirements for the degree of Master of Science in Computer Science. The thesis is equivalent to 20 weeks of full time studies. Contact Information: Author: Marta Nieznańska E-mail: [email protected] External advisor: Prof. Marek Moszyński Faculty of Electronics, Telecommunications and Informatics Gdańsk University of Technology University advisor: Dr. Johan Hagelbäck Department of Creative Technologies Faculty of Computing Internet : www.bth.se/com Blekinge Institute of Technology Phone : +46 455 38 50 00 SE-371 79 Karlskrona Fax : +46 455 38 50 57 Sweden ii ABSTRACT Context. Both smartphones and PC games are increasingly commonplace nowadays. There are more and more people who own smartphones and – at the same time – like playing video games. Since the smartphones are becoming widely affordable and offer more and more advanced features (such as multi-touch screens, a variety of sensors, vibration feedback, and others), it is justifiable to study their potential in new application areas. The aim of this thesis is to adapt the smartphone for the use as a game controller in PC racing games and evaluate this solution taking into account such aspects as race results and user experience. Objectives. To this end, two applications were developed - a game controller application for Android-based smartphones (i.e. -
Time Invaders: Conceptualizing Performative Game Time
Time invaders: conceptualizing performative game time Darshana Jayemanne Jayemanne, D. 2017. Performativity in art, literature and videogames. In: Performativity in art, literature and videogames. Cham: Palgrave Macmillan. Reproduced with permission of Palgrave Macmillan. This extract is taken from the author's original manuscript and has not been edited. The definitive, published, version of record is available here: https://www.palgrave.com/gb/book/9783319544502 and https://link.springer.com/chapter/10.1007% 2F978-3-319-54451-9_10 Time Invaders – Conceptualizing performance game time The ultimate phase of a MMORPG such as World of Warcraft or the more recent hybrid RPG-FPS Destiny, where the most committed players tend to find themselves before long, is often referred to as the ‘endgame’. This is a point where the levelling system tops out and the narrative has concluded. The endgame is thus the result of considerable experience with the game and its systems, a very large ensemble of both successful and infelicitous performances. This final stage still involves considerable activity — challenging the most difficult enemies in search of the rarest loot, competing with other players and so on. It is a twilight state of both accomplishment and anticipation. As an ‘end’, it is very different from the threatening Game Over screen that is always just moments away in many arcade or action games. The differences between these two end states suggests that the notion of how games end, and the way this impacts on the experience of play, could be illuminating with regard to the problem of characterizing performances — because to end the game typically involves a summation or adjudication on the felicity of a particular and actualized performative multiplicity.