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The First but Hopefully Not the Last: How the Last of Us Redefines the Survival Horror Video Game Genre
The College of Wooster Open Works Senior Independent Study Theses 2018 The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre Joseph T. Gonzales The College of Wooster, [email protected] Follow this and additional works at: https://openworks.wooster.edu/independentstudy Part of the Other Arts and Humanities Commons, and the Other Film and Media Studies Commons Recommended Citation Gonzales, Joseph T., "The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre" (2018). Senior Independent Study Theses. Paper 8219. This Senior Independent Study Thesis Exemplar is brought to you by Open Works, a service of The College of Wooster Libraries. It has been accepted for inclusion in Senior Independent Study Theses by an authorized administrator of Open Works. For more information, please contact [email protected]. © Copyright 2018 Joseph T. Gonzales THE FIRST BUT HOPEFULLY NOT THE LAST: HOW THE LAST OF US REDEFINES THE SURVIVAL HORROR VIDEO GAME GENRE by Joseph Gonzales An Independent Study Thesis Presented in Partial Fulfillment of the Course Requirements for Senior Independent Study: The Department of Communication March 7, 2018 Advisor: Dr. Ahmet Atay ABSTRACT For this study, I applied generic criticism, which looks at how a text subverts and adheres to patterns and formats in its respective genre, to analyze how The Last of Us redefined the survival horror video game genre through its narrative. Although some tropes are present in the game and are necessary to stay tonally consistent to the genre, I argued that much of the focus of the game is shifted from the typical situational horror of the monsters and violence to the overall narrative, effective dialogue, strategic use of cinematic elements, and character development throughout the course of the game. -
Playing in the Continuum: Moral Relativism in the Last of Us
Praxes of popular culture No. 1 - Year 9 12/2018 - LC.7 [sic] - a journal of literature, culture and literary translation Shalini Harilal, English and Foreign Languages University, India ([email protected]) Playing in the Continuum: Moral Relativism in The Last of Us Abstract Contrary to common understanding that an objective is a distinctive feature of every game, the success of process-oriented games (Nielson et al.) shows that linear narratives are not the only way to tell game stories. The Last of Us , despite being a goal-oriented video game, undermines the focus on its objective of “saving humanity” by refusing to let the player fulfil that goal. Saving humanity is a “noble” sentiment that is not only a “universal” moral value but one of import from a biological standpoint. This paper argues that the game’s insistence on making “questionable” choices on behalf of the player and its depiction of a selection of contrasting social structures are a narrative ruse to unsettle ethical complacencies of the generic player, who brings to the game such moral systems to analyze the game as are incompatible with its temporal and spatial specificity. The question of the admissibility of textual analyses based on external moral parameters is of relevance not exclusively to literary studies but to narratives in new audio-visual media as well. This paper attempts to place player reactions to the questionable character choices at the heart of the game story in a continuum between absolute player identification with narrative elements and complete detachment from the game narrative which facilitates play in an objective manner. -
The Art of the Uncharted Trilogy Ebook
THE ART OF THE UNCHARTED TRILOGY PDF, EPUB, EBOOK Naughty Dog | 240 pages | 17 Jun 2016 | DARK HORSE COMICS | 9781616554873 | English | Milwaukee, United States The Art Of The Uncharted Trilogy PDF Book The Art of Mirror s Edge Catalyst. Illustrations 1 Illustrations, unspecified. A masterfully designed hardcover collecting over pages of art and commentary from the creators of the brutal and thrilling Days Gone! This volume, compiled in honour of Prof. The Art of ReCore 0. In Solar Dance, acclaimed writer and scholar Modris Eksteins uses Vincent van Gogh as his lens for this brilliant survey of Western culture and politics in the last century. A marriage ended, and gave way to a furious competition for dominance in Canadian art. Yet dangers lurk in this ocean of 1s and 0s—threats to privacy and the specter of ubiquitous government surveillance. Search for: Search. I've included a few different types of art in the gallery, from rough pieces simply outlining the general setting and mood to detailed environmental designs to the 3D models that essentially "play" the role of Drake and co. Overige kenmerken Verpakking hoogte 22 mm. Disasters are compounded when the ship is sabotaged by an enemy agent, and Jean-Claude is separated from the expedition. Wat ik vooral goed vind: Toegankelijk, Praktisch, Compleet. It can be used anywhere in the world to help deal with the increasing uncertainty and complexity for the next millennium and can also be used as a framework for economic policy. Best Books Mrs. Send Feedback If you think we've made a mistake or omitted details, please send us your feedback. -
The Last of Us Honored with 10 Awards Including Game of the Year at 17Th Annual D.I.C.E
THE LAST OF US HONORED WITH 10 AWARDS INCLUDING GAME OF THE YEAR AT 17TH ANNUAL D.I.C.E. AWARDS Top Honors Celebrating the Creative Accomplishments in Interactive Entertainment Also Went to Bioshock Infinite, Grand Theft Auto V, Plants vs. Zombies 2, and More LAS VEGAS – Feb. 6, 2014 – Suspense, horror, and surreal worlds dominated the 17th Annual D.I.C.E. Awards, the video game industry’s most prestigious honors. Naughty Dog’s dystopian, post-apocalyptic reimagining of the zombie thriller, The Last Of Us, stole the show with 10 awards, including Outstanding Achievement in Story, Outstanding Innovation in Gaming, Adventure Game of the Year, Outstanding Achievement in Game Direction and the industry’s top honor, Game of the Year. The evening’s other big winners included Irrational Games’ provocative alternate-historical FPS, Bioshock Infinite, which took home Action Game of the Year and Outstanding Achievement in Original Music Composition. PopCap’s runaway mobile hit Plants vs. Zombies 2 won both Casual Game of the Year and Mobile Game of the Year, while EA Canada’s FIFA 14 continued the FIFA franchise’s run of five consecutive wins with Sports Game of the Year. Brothers – A Tale of Two Sons, Starbreeze Studios’ touching, story-driven adventure, took home the hardware for Downloadable Game of the Year. Wargaming’s multiplayer online game World of Tanks took home the honor for the D.I.C.E. Awards’ newest category, Online Game of the Year. “Tonight’s big winner, The Last of Us, is a prime example of how today’s modern video game studios expertly blend art, game play, and storytelling to transcend the traditional notion of video games,” said Martin Rae, president, Academy of Interactive Arts & Sciences. -
Ellie: Buddy AI in the Last of Us
35 Ellie: Buddy AI in The Last of Us Max Dyckhoff 35.1 Introduction 35.5 Combat Utility 35.2 Starting from Scratch 35.6 Armed Combat 35.3 Ambient Following 35.7 Finishing Touches 35.4 Taking Cover 35.8 Conclusion 35.1 Introduction In the last couple of chapters, you have read about the hunter and infected AI from Naughty Dog’s third-person action adventure game The Last of Us. This chapter moves on to discuss the buddy AI. The whole game focuses on relationships between characters and none more strongly than that of Ellie and Joel, the player’s avatar. Ellie accompanies the player throughout most of the game, and we needed the player to love her companionship. We were acutely aware of the common pitfalls with AI companions: the risk of them turning into a tedious “escort” quest, generally getting underfoot, or turning into mindless drones with no agency in the world. We had to make sure that Ellie never annoyed or frustrated the player and that she remained a compelling entity throughout the game. Most importantly, we had to build a character that the player cared for. Ellie is new to the world outside the military safe zone in which she grew up and new to the brutality and violence of the infected and humanity at large. She is seeing landscapes, cities, and actions as the player would, instead of through the world weary eyes of Joel. She is a young and fragile character in a dangerous world, and we wanted the AI to highlight this as well as support her growth and strength later in the game. -
Read Ebook {PDF EPUB} Never Enough by Ashley Johnson "Never Enough" Lyrics
Read Ebook {PDF EPUB} Never Enough by Ashley Johnson "Never Enough" lyrics. I'm tryin' to hold my breath Let it stay this way Can't let this moment end You set off a dream in me Gettin' louder now Can you hear it echoing? Take my hand Will you share this with me? 'Cause darling without you. All the shine of a thousand spotlights All the stars we steal from the night sky Will never be enough Never be enough Towers of gold are still too little These hands could hold the world but it'll Never be enough Never be enough. For me Never, never Never, never Never, for me For me Never enough Never enough Never enough For me For me For me. All the shine of a thousand spotlights All the stars we steal from the night sky Will never be enough Never be enough Towers of gold are still too little These hands could hold the world but it'll Never be enough Never be enough. For me Never, never Never, never Never, for me For me Never enough Never, never Never enough Never, never Never enough For me For me For me. Ashley Johnson Biography. Ashley Suzanne Johnson is a singer, voice actress and actress of American nationality who was born in Camarillo, California. She has been known for her portrayal of Chrissy Seaver in Growing Pains and as Mel Gibson in What Women Want. She has been active in the entertainment fraternity since 1990 and started her career as a guest actress for several hit TV series. -
Markedness, Gender, and Death in Video Games
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 10-2-2020 1:00 PM Exquisite Corpses: Markedness, Gender, and Death in Video Games Meghan Blythe Adams, The University of Western Ontario Supervisor: Boulter, Jonathan, The University of Western Ontario : Faflak, Joel, The University of Western Ontario A thesis submitted in partial fulfillment of the equirr ements for the Doctor of Philosophy degree in English © Meghan Blythe Adams 2020 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Film and Media Studies Commons Recommended Citation Adams, Meghan Blythe, "Exquisite Corpses: Markedness, Gender, and Death in Video Games" (2020). Electronic Thesis and Dissertation Repository. 7414. https://ir.lib.uwo.ca/etd/7414 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This dissertation analyzes gendered death animations in video games and the way games thematize death to remarginalize marked characters, including women. This project combines Georg Wilhelm Friedrich Hegel’s work on the human subjection to death and Georges Bataille’s characterization of sacrifice to explore how death in games stages markedness. Markedness articulates how a culture treats normative identities as unproblematic while marking non-normative identities as deviant. Chapter One characterizes play as a form of death-deferral, which culminates in the spectacle of player-character death. I argue that death in games can facilitate what Hegel calls tarrying with death, embracing our subjection to mortality. -
Rainbow Warriors
Thought piece Rainbow warriors How the world of video games has (slowly) come to terms with the LGBT+ dimension ALPHA LTD St Andrew’s House St Andrew’s Road Cambridge CB4 1DL From kick-ass assassins who also happen to be gay (Kung Jin in Mortal Kombat X) United Kingdom to gender-fluid personalisation choices as standard in life simulators (The Sims 4), @thisisalphalive LGBT+ themes and characters have never had a higher profile in the video games industry. But, in 2018, just how far has the industry come in terms of representing thisisalpha.com realistic or aspirational LGBT+ diversity in its pixelated parallel universes? Straight shooters From Master Chief John-117 in Halo to Nathan Drake in Unchartered, a certain demographic still dominates the leading roles for many of the world’s biggest games. In an industry often criticised for its lack of in-game diversity, it’s all too easy to find evidence that the white, heterosexual male is still very much the default hero setting. In fact, a survey of recent games found that while straight males and females account for 66% and 31% of characters respectively, the number of LGBT+ characters is just under 3% of the total 1. Such a low figure is perhaps surprising given that LGBT+ representation in gaming has a long and colourful history dating back more than three decades. An English castle on the Cornish coast is the unlikely setting for a brief yet ground-breaking encounter. In Moonmist, released in 1986, the artist Vivian Pentreath has what appears to be a romantic quarrel with a character presumed to be her girlfriend. -
Game Narrative Review
Game Narrative Review ==================== Your name (one name, please): Jessica Lichter Your school: Rensselaer Polytechnic Institute Your email: [email protected] Month/Year you submitted this review: 04/2017 ==================== Game Title: The Last of Us Platform: PlayStation 3/4 Genre: Action-adventure, survival horror Release Date: June 14, 2013 (PlayStation 3) July 29, 2014 (PlayStation 4) Developer: Naughty Dog Publisher: Sony Computer Entertainment Game Writer/Creative Director/Narrative Designer: Neil Druckmann Overview The Last of Us (TLOU) is a third person shooter action-adventure/survival horror game that follows the journey of a man named Joel twenty years after an outbreak of a mutant Cordyceps fungus and the resulting death of his daughter. Post-apocalyptic America is in ruins. Some survive in the wild, in quarantine zones, occupy lost cities, and everyone fights to stay alive. People not only have to worry about the zombie-like creatures (called the infected) produced by the outbreak, but other humans who pose threats as well. Joel takes on the task of smuggling fourteen-year-old Ellie, who was bitten by the infected yet has not been taken by the cordyceps disease, across the ravaged United States to an organization’s lab to test for a possible cure. The game draws players into a story full of emotion, outstanding visuals, flexible gameplay, and insight into a world which could potentially be our own someday. TLOU provides a unique experience in the way that the characters themselves feel remarkably real. The dialogue exchanged between Ellie and Joel seems like the type of conversation one would have with one of their friends or family, and the excellent writing put into these exchanges build the characters beyond the cut scenes. -
Roles of Female Video Game Characters and Their Impact on Gender Representation
Roles of female video game characters and their impact on gender representation. Author: Paulina Ewa Rajkowska Thesis Supervisor: Else Nygren Master's Thesis Submitted to the Department of Informatics and Media Uppsala University, May 2014 For obtaining the Master's Degree of Social Science In the field of Media and Communication Studies Table of Contents Abstract ...................................................................................................................................... 4 1. Introduction .................................................................................................................... 5 2. Background Information ................................................................................................ 5 What are video games? .................................................................................................. 5 Important terms .............................................................................................................. 7 Evolution of games ......................................................................................................... 8 3. Literature review: ......................................................................................................... 12 Media Effects: .............................................................................................................. 12 The concept of Gender ................................................................................................. 13 Gender in video games ................................................................................................ -
“How Can a Narrative Designer Encourage Empathy in Players?”
“How can a narrative designer encourage empathy in players?” Many video games seek to create a meaningful relationship between the player and NPCs in their in-game worlds. This can be a romantic, platonic or familial. Narrative designers want to create the illusion of a real emotional bond with a fictional game character, even though many of the stories these relationships exist in are linear. In screen-writing, there are distinct methods to generate empathy and engagement from the audience for characters on screen. However, players have agency, it is by the nature of the medium that they are able to shape and have a meaningful effect on the in-game world they are inhabiting. Viewers of film and literature do not have this ability. Thus, a problem arises. What is applicable from the language of film to generate these relationships in a medium where there is uncertainty about how a player will act? How does a narrative designer approach this issue? “What is taken to be real elicits emotions. What does not impress one as true and unavoidable elicits no emo- tion or a weaker one.”1 How can this scenario be avoided in games? Whilst cinematography and acting bring weight and meaning to a story and its characters, in Commented [ST1]: Not sure if this was meant to be a full stop but a comma would make the sentence flow much game development; animation, level and mechanic design, as well as several other disciplines better must also align and flow to successfully generate player empathy. This is what shall be explored, through investigating case studies of how it has been approached with different degrees of success in several video game titles. -
Father-Daughter Relationships in Video Games
Loading… The Journal of the Canadian Game Studies Association Vol 10(16): 162-174 http://loading.gamestudies.ca Big Daddies and Broken Men: Father-Daughter Relationships in Video Games Sarah Stang York University [email protected] Abstract This article discusses the recent trend of father-centred video game narratives and analyses the father-daughter relationships portrayed in four critically acclaimed and commercially successful games which exemplify this trend: BioShock 2 (2010), The Walking Dead (2012), BioShock Infinite (2013), and The Last of Us (2013). The author critiques these games for granting the father- figures agency over their daughter-figures and constructing them as moral barometers, helpful gameplay tools, and means for paternal redemption. The Walking Dead is discussed as the only positive portrayal of a father-daughter bond among this selection of games. Author Keywords Video games; fatherhood; masculinity; feminism; agency; morality In her studies of postfeminist ideology within the Hollywood film industry, Hannah Hamad (2013) observes that “paternalized protagonists have become an increasingly and often overwhelmingly omnipresent feature of popular film in the early twenty-first century” (p. 99). Hamad theorizes that fatherhood has become “a defining component of ideal masculinity,” and so it is perhaps unsurprising that this trend has influenced the video game industry as well (p. 99). The past decade has seen a dramatic increase in the number of critically acclaimed and commercially successful video games which position players as father-figures and prioritize paternal narratives. Games journalist Stephen Totilo (2010) has celebrated this phenomenon – what he calls the “daddening” of video games – as a maturation of the industry.