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Arena Tournament Rules
Emma Witkowski - “Inside the Huddle”, PhD Dissertation, 2012. Arena Tournament rules BlizzCon 2010 Tournament Rules. All matches that take place in the Tournament shall take place in accordance with the World of Warcraft Arena Rules, which are available at http://www.worldofwarcraft.com/pvp/arena/index.xml. In the event of any conflict between these Official Rules and the World of Warcraft Arena Rules, these Official Rules shall prevail. "Cheating," as determined in Sponsor's sole discretion, and specifically including, without limitation, "win-trading," shall result in disqualification of the Arena Team and all of its Team Members. Third party user interfaces compatible with World of Warcraft, and which do not violate the World of Warcraft Terms of Use may be used during the Qualification Round of the Tournament, but will not be allowed at the Regional Qualifier or the Finals. At the Regional Finals, Team Members will have fifteen (15) minutes prior to the start of the first match with each opponent Team Member to prepare the computer on which they will use to participate in the Tournament match. Determination of Winners Qualification Rounds and Regional Qualifier Tournaments The Qualification Round of the Tournament . The Qualification Round of the Tournament shall last for approximately eight weeks, and will commence on April 27, 2010 at approximately 10:00 AM Pacific Time (5:00 PM GMT) (subject to ‘Server Maintenance’ to be performed by Sponsor), and end on June 21, 2010 at approximately 9:00 PM Pacific Time (4:00 AM GMT). The first four weeks of the Qualification Round will be a “practice” period, and during this time Eligible Participants may switch from one team to another without that Arena Team being penalized. -
In- and Out-Of-Character
Florida State University Libraries 2016 In- and Out-of-Character: The Digital Literacy Practices and Emergent Information Worlds of Active Role-Players in a New Massively Multiplayer Online Role-Playing Game Jonathan Michael Hollister Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION & INFORMATION IN- AND OUT-OF-CHARACTER: THE DIGITAL LITERACY PRACTICES AND EMERGENT INFORMATION WORLDS OF ACTIVE ROLE-PLAYERS IN A NEW MASSIVELY MULTIPLAYER ONLINE ROLE-PLAYING GAME By JONATHAN M. HOLLISTER A Dissertation submitted to the School of Information in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2016 Jonathan M. Hollister defended this dissertation on March 28, 2016. The members of the supervisory committee were: Don Latham Professor Directing Dissertation Vanessa Dennen University Representative Gary Burnett Committee Member Shuyuan Mary Ho Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii For Grandpa Robert and Grandma Aggie. iii ACKNOWLEDGMENTS Thank you to my committee, for their infinite wisdom, sense of humor, and patience. Don has my eternal gratitude for being the best dissertation committee chair, mentor, and co- author out there—thank you for being my friend, too. Thanks to Shuyuan and Vanessa for their moral support and encouragement. I could not have asked for a better group of scholars (and people) to be on my committee. Thanks to the other members of 3 J’s and a G, Julia and Gary, for many great discussions about theory over many delectable beers. -
There Are No Women and They All Play Mercy
"There Are No Women and They All Play Mercy": Understanding and Explaining (the Lack of) Women’s Presence in Esports and Competitive Gaming Maria Ruotsalainen University of Jyväskylä Department of Music, Art and Culture Studies Pl 35, 40014 University of Jyväskylä, Finland +358406469488 [email protected] Usva Friman University of Turku Digital Culture P.O.Box 124 FI-28101 Pori, Finland [email protected] ABSTRACT In this paper, we explore women’s participation in esports and competitive gaming. We will analyze two different types of research material: online questionnaire responses by women explaining their reluctance to participate in esports, and online forum discussions regarding women’s participation in competitive Overwatch. We will examine the ways in which women’s participation – its conditions, limits and possibilities – are constructed in the discussions concerning women gamers, how women are negotiating their participation in their own words, and in what ways gender may affect these processes. Our findings support those made in previous studies concerning esports and competitive gaming as fields dominated by toxic meritocracy and hegemonic (geek) masculinity, and based on our analysis, women’s room for participation in competitive gaming is still extremely limited, both in terms of presence and ways of participation. Keywords Gender, esports, hegemonic geek masculinity, toxic meritocracy, Overwatch INTRODUCTION "Why do the female humans always play the female characters?" Acayri wondered soon thereafter. "Like, they're always playing Mercy." "They can't play games and be good at them —" Joel responded. "That's true, so they just pick the hottest girl characters," Acayri said. The previous is an excerpt of an article published on a digital media site Mic on May 11th 2017 (Mulkerin, 2017). -
Q. Where Can I Purchase the Blizzcon 2019 War Chest? A
[FOR VIEWERS] Q. How can I begin earning War Chest XP on Twitch? A. To begin earning War Chest XP on Twitch, please complete the following steps: Step 1: Link your Blizzard account to your Twitch account. Step 2: Head over to Twitch, log in to your linked account, and check out who’s streaming StarCraft II. Step 3: Find any StarCraft II stream that’s enabled the War Chest extension. Step 4: Grant the War Chest extension access to your Twitch ID and watch for at least 20 minutes. Step 5: When it appears, click the “Claim XP” button in the extension to redeem your reward. Step 6: Log in to StarCraft II to add the XP reward to your War Chest. Upgrade your War Chest with the Terran, Protoss, Zerg, or Complete Bundle passes to instantly apply any XP you've earned toward even more rewards and help support StarCraft esports! Check out our official blog post for additional information on the BlizzCon 2019 War Chest. (If you have never played StarCraft II, you will need to log in to the game at least once before you can earn War Chest XP rewards on Twitch. Click here to get started.) Q. Where can I purchase the BlizzCon 2019 War Chest? A. You can purchase a BlizzCon 2019 War Chest for the race of your choice for $9.99 each or buy the complete bundle for $24.99 on the Blizzard Shop. This War Chest offer is only available for a limited time, though! Be sure to buy yours before November 7, 2019. -
Blizzard Entertainment® Soundtracks Now on Itunes
Blizzard Entertainment® Soundtracks Now On iTunes IRVINE, Calif. -- Blizzard Entertainment, Inc. today announced that a wide selection of music from its popular games has been added to the iTunes store. Much of this music was originally available only in collector's editions of the games, or at special events such as the company's BlizzCon® gaming convention. Six Blizzard Entertainment® soundtrack albums are currently available: • StarCraft® Original Soundtrack • Diablo® II Original Soundtrack • Warcraft® III: Reign of Chaos® Original Soundtrack • World of Warcraft® Original Soundtrack • World of Warcraft: The Burning Crusade® Original Soundtrack • World of Warcraft: Taverns of Azeroth Original Soundtrack The albums have been placed on a new Blizzard Entertainment hub page within the iTunes store. This page also hosts content such as the BlizzCast™ podcast and trailers and gameplay footage from upcoming Blizzard Entertainment games, with more material to be added in the months ahead. In addition, the "Diablo III Overture" from the company's recently announced action role-playing game, Diablo III, is available as a single and has been highlighted as a Discovery Download, making it free to download until Tuesday, September 9. Players in the regions iTunes serves (North America, Europe, Australia, New Zealand, and Japan) can purchase the music at standard rates for each of those regions. For more information, please visit www.blizzard.com. About Blizzard Entertainment, Inc. Best known for blockbuster hits including World of Warcraft® and the Warcraft®, StarCraft®, and Diablo® series, Blizzard Entertainment, Inc. (www.blizzard.com), a division of Activision Blizzard (NASDAQ: ATVI), is a premier developer and publisher of entertainment software renowned for creating some of the industry's most critically acclaimed games. -
Blizzcon Is Bigger Than Ever with Nine Stages, 12 Trucks, 200+ Broadcast Streams
BlizzCon Is Bigger Than Ever With Nine Stages, 12 Trucks, 200+ Broadcast Streams The live stages feed into central Master Control, ‘Post Hub’ BY JASON DACHMAN, CHIEF EDITOR NOVEMBER 2, 2018 We distribute to a huge number amount of platforms and we also localize in 18 different languages. All of our esports programming is free, and we make the decision what goes on R Logotext Lorem TaglineBlizzCon Virtual Ticket holistically across Blizzard [based on] what we feel our community would want access to. Peter Eminger, Sr. Director Blizzard With 40,000 fans onsite watching five live esports stages and four content stages sprawled across a million square feet at Anaheim Convention Center, it simply doesn’t get any bigger for the Blizzard Entertainment pro- duction operation than BlizzCon. In addition, Blizzard’s Global Broadcast team is distributing a whopping 211 unique broadcast streams to 17 outlets in 18 languages. “For us, the live event and the broadcasts are very linked together because so much of the broadcast is from these live stages. Our show is definitely bigger this year,” says Pete Emminger, senior director, Blizzard Entertain- ment. “We’re really lucky in that we have a lot of consistent crew, so this year has actually been the smoothest year so far. Plus, we’ve really had a great year at Blizzard overall, so we’re extremely excited to finally be here at BlizzCon, which is really a celebration for us as much as it is [for the fans].” A Blizzard of Activity: A Dozen Mobile Units Onsite Serving Nine Stages Now in its 14th year, the convention features everything from live esports competitions to Q&A panels and announcements to demos of upcoming game releases to concerts and much more. -
Sociality and Materiality in World of Warcraft Nicholas Anthony Gadsby
Sociality and Materiality in World of Warcraft Nicholas Anthony Gadsby University College London Department of Anthropology A thesis re-submitted for the degree of Doctor of Philosophy May 2016 1 Declaration I, Nicholas Anthony Gadsby, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I conform this has been indicated in the thesis. 2 Abstract The focus of my thesis is the role and status of control in the MMO World of Warcraft where one of the primary motivations for player engagement was to eliminate and marginalise contingency at sites across the game that were perceived to be prone to the negative effects of contingency, a process that its developers were to a significant degree complicit in. My field sites traced the activities and lives of gamers across the physical location of London and the south east of the United Kingdom and their online game locations that constituted World of Warcraft and occasionally other online games which included the guild they were a member of that was called ‘Helkpo’. It examines how the transparency attributed to the game’s code, its ‘architectural rules’, framed the unpredictability of players as problematic and how codified ‘social rules’ attempted to correct this shortcoming. In my thesis I dive into the lives of the members of Helkpo as both guild members and as part of the expansive network that constituted their social lives in London. It demonstrates how the indeterminate nature of information in the relations in their social network contrasted with the modes of accountability that World of Warcraft offered, defined by different forms of information termed ‘knowing’ and ‘knowledge’. -
The Wow Factor
The WoW Factor A Study on Player Motivations in World of Warcraft Matias Puronlahti University of Tampere Faculty of Information Technology and Communication Internet and Game Studies Master's Thesis April 2019 UNIVERSITY OF TAMPERE, Faculty of Information Technology and Communication Internet and Game Studies Puronlahti, Matias: The WoW Factor: A Study on Player Motivations in World of Warcraft Master's thesis, 66 pages + 1 page of appendices April 2019 This thesis studies how player motivations in World of Warcraft have changed in the past fifteen years by comparing the oldest and the most recent versions of the game. Bartle’s taxonomy of player types is used to categorize different activities in the game which are then compared between game versions. A survey comprising of 23 items is used to gather data from players of both versions, and the results are validated using factor analysis. Significant findings are reported, and the differences are analysed to understand how the two versions differ in terms of player motivations. The results indicate that players of World of Warcraft have moved away from casual socializing. This is argued to be affected by game design choices and was reflected on the types of players the game currently attracts. Players of both versions of the game enjoyed playing with their friends, but players of Vanilla put more emphasis on different aspects of social play and exploration. Keywords: World of Warcraft, player motivations, player type, social, MMORPG Table of Contents 1. Introduction ................................................................................................................................ 3 2. Background ................................................................................................................................. 5 2.1 Historical overview of the game ........................................................................................... 5 2.2 Private servers, what in the World (of Warcraft) ................................................................ -
MDY V. Blizzard and the Battle Over Copyright in World of Warcraft Ross Shikowitz
Brooklyn Law Review Volume 75 | Issue 3 Article 8 2010 License to Kill: MDY v. Blizzard and the Battle Over Copyright in World of Warcraft Ross Shikowitz Follow this and additional works at: https://brooklynworks.brooklaw.edu/blr Recommended Citation Ross Shikowitz, License to Kill: MDY v. Blizzard and the Battle Over Copyright in World of Warcraft, 75 Brook. L. Rev. (2010). Available at: https://brooklynworks.brooklaw.edu/blr/vol75/iss3/8 This Note is brought to you for free and open access by the Law Journals at BrooklynWorks. It has been accepted for inclusion in Brooklyn Law Review by an authorized editor of BrooklynWorks. License to Kill MDY V. BLIZZARD AND THE BATTLE OVER COPYRIGHT IN WORLD OF WARCRAFT I. INTRODUCTION Copyright law grants a limited bundle of exclusive rights to copyright owners.1 These rights include the exclusive right to reproduce and distribute the work.2 However, these rights are limited as the law distinguishes between protecting one’s intellectual property in a product and protecting a right to the product in and of itself.3 In MDY Industries, LLC v. Blizzard Entertainment, Inc.4 the District Court of Arizona upheld Ninth Circuit precedent that gutted this distinction, finding that the purchaser and user of the video game, World of Warcraft (“WoW”), is a licensee of that game, not an “owner.”5 By finding that a WoW user was a mere licensee and not an “owner” of the software, the MDY court concluded that the user was not protected by 1 See 17 U.S.C. § 106 (2006). -
Esports a New Architectural Challenge 1
eSPORTS A new architectural challenge 1 Enoncé théorique de master FURAZHKIN, ANTON 2020 Professeur Enoncé théorique : HUANG, Jeffrey Directeur pédagogique : CACHE, Bernard Proffeseur : HUANG, Jeffrey Maître EPFL : WIDMER, Régis W SUMMARY 2 INTRODUCTION BRIEF HISTORY OF ESPORTS 4 GAME TYPOLOGY 6 VENUES 8 ATLAS game The Atlas presents seven computer games that are divided according to 10 STARCRAFT their type, number of players and popularity for the year 2019. Each game has its own section with a brief description of the game itself and the spaces that host different stages of the game tournament: 12 HEARTHSTONE Minor League, Major League and Premier League. It is organised in such a way that left side page provides useful 14 FIFA 19 information, text and visual description of the game with the help of the map, game interface and game modes. The specifications of the game presented in the text allow to look for parallels between the 16 FORTNITE BATTLE ROYALE game and the space organisation of the venues illustrated on the right side page. Three scales are present for a better grasp of an event 18 COUNTER STRIKE:GLOBAL OFFENSIVE gradation: large scale shows the relation between a viewer area and the game floor, middle scale demonstrates the organisation of the game stage and small scale depicts players gaming equipment and in-game 20 OVERWATCH limitations. 22 LEAGUE OF LEGENDS CONCLUSION CITY INTEGRATION 24 SPATIAL ORGANISATION 25 TECHNICAL NEEDS 26 NEW TECHNOLOGIES 27 FURTHER DEVELOPMENT 28 3 minor major premier ONLINE FREECUP STUDIO SPODEK -
The Semiotic Ecology and Linguistic Complexity of an Online Game World
Portland State University PDXScholar World Languages and Literatures Faculty Publications and Presentations World Languages and Literatures 9-26-2012 The Semiotic Ecology and Linguistic Complexity of an Online Game World Steven L. Thorne Portland State University Ingrid Fischer University of Groningen Xiaofei Lu Pennsylvania State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/wll_fac Part of the First and Second Language Acquisition Commons, Language Description and Documentation Commons, Semantics and Pragmatics Commons, and the Typological Linguistics and Linguistic Diversity Commons Let us know how access to this document benefits ou.y Citation Details Steven L. Thorne, Ingrid Fischer and Xiaofei Lu (2012). The semiotic ecology and linguistic complexity of an online game world. ReCALL, pp 279301 This Article is brought to you for free and open access. It has been accepted for inclusion in World Languages and Literatures Faculty Publications and Presentations by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. ReCALL http://journals.cambridge.org/REC Additional services for ReCALL: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here The semiotic ecology and linguistic complexity of an online game world Steven L. Thorne, Ingrid Fischer and Xiaofei Lu ReCALL / Volume null / Issue 03 / September 2012, pp 279 301 DOI: 10.1017/S0958344012000158, Published online: 26 September 2012 Link to this article: http://journals.cambridge.org/abstract_S0958344012000158 How to cite this article: Steven L. Thorne, Ingrid Fischer and Xiaofei Lu (2012). The semiotic ecology and linguistic complexity of an online game world. -
The Untapped Potential of Virtual Game Worlds to Shed Light on Real World Epidemics
Personal View The untapped potential of virtual game worlds to shed light on real world epidemics Eric T Lofgren, Nina H Feff erman Simulation models are of increasing importance within the fi eld of applied epidemiology. However, very little can be Lancet Infect Dis 2007; 7: done to validate such models or to tailor their use to incorporate important human behaviours. In a recent incident in 625–29 the virtual world of online gaming, the accidental inclusion of a disease-like phenomenon provided an excellent InForMID, Department of example of the potential of such systems to alleviate these modelling constraints. We discuss this incident and how Public Health and Family Medicine, Tufts University appropriate exploitation of these gaming systems could greatly advance the capabilities of applied simulation School of Medicine, Boston, modelling in infectious disease research. MA, USA (E T Lofgren BA, Prof N H Feff erman PhD); and Introduction cured of the disease, mimicking the travel of contagious DIMACS, Rutgers University, Piscataway, NJ, USA 1 On Sept 13, 2005, an estimated 4 million players of the carriers over long distances that has been the hallmark of (N H Feff erman) popular online role-playing game World of Warcraft many disease outbreaks in history—eg, the Mongol Correspondence to: (Blizzard Entertainment, Irvine, CA, USA) encountered horde and the bubonic plague, or the cholera outbreaks Prof Nina H Feff erman, an unexpected challenge in the game, introduced in a of Europe during the mid-19th century.4 The highly Department of Public Health and software update released that day: a full-blown epidemic.