DOCSLIB.ORG

The Place of Play of Place the the Place of Play

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Place of Play of Place the the Place of Play media The Place of Play matters Toys and Digital Cultures amsterdam university press maaike lauwaert The Place of Play The Place of Play Toys and Digital Cultures Maaike Lauwaert Amsterdam University Press MediaMatters is a new series published by Amsterdam University Press on current debates about media technology and practices. International scholars critically analyze and theorize the materiality and performativity, as well as spatial practices of screen media in contributions that engage with today’s digital media culture. For more information about the series, please visit: www.aup.nl The publication of this book is made possible by a grant from the Netherlands Organisation for Scientific Research (NWO). Cover illustration: Goos Bronkhorst Cover design: Suzan de Beijer, Weesp Lay out: JAPES, Amsterdam ISBN 978 90 8964 080 2 e-ISBN 978 90 4850 796 2 NUR 811 © M. Lauwaert / Amsterdam University Press, Amsterdam, 2009 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Table of contents Introduction 7 1. Changing Practices, Shifting Sites 7 2. Core and Periphery of Play 12 Part I: New Children, Different Toys 21 3. The Child as Consumer 26 4. Domesticating Play 30 5. The Child in the City 35 6. Toys as Containers, Mediators and Promoters 39 Part II: From Solitary to Networked Geographies of Play 45 7. LEGO Toys: from Wooden Blocks to Plastic Bricks 50 8. Brand Extension & Product Differentiation 58 9. Bringing the Fans into the Company 62 10. Many-to-Many Geographies of Play 66 Part III: Commercial Geographies of Play 71 11. Toy Towns and Simulated Cities 73 12. A 21st-century Dollhouse: The Sims 83 13. Unwanted Play Practices in The Sims Online 94 14. Commodified Geographies of Play 103 Part IV: Serious Geographies of Play 107 15. Participation Tools 111 16. Participation Processes 119 17. Purposeful Play 122 18. Serious Geographies of Play 124 Conclusion 127 19. Changing Geographies of Play 127 20. Making Do 132 Notes 137 Bibliography 139 Index 153 5 Introduction 1. Changing Practices, Shifting Sites Daniel Siskind (1970) received his first LEGO™ set in 1975. His parents had brought it with them from a trip to Europe. Ever since, he has been ’hooked on playing with Lego building bricks’ (Siskind, personal website). In 2000, Siskind started his personal website to sell his MOC (My Own Creation) LEGO sets. Sis- kind’s favorite themes for MOC sets are castles, trains and war paraphernalia. Siskind ships his MOC sets in a box with a printed picture of the design on it, like a real set. A manual with building instructions accompanies the LEGO pieces. His Blacksmith Shop, designed in 1999, contained 637 pieces and sold for $150. Some of the pieces for the Blacksmith Shop were taken out of production by LEGO and were thus hard to come by. All MOC sets are relatively expensive – definitely more expensive than official LEGO sets – because designing and assem- bling the sets is a time consuming process and the seller has, of course, to buy all the items for the set him- or herself. Someone from the LEGO Direct division, who later approached Siskind with a licensing proposal, bought the Blacksmith Shop in 2000. Siskind agreed to the licensing proposal and sold his rights of the design to the LEGO Company for an undisclosed amount. By the end of 2001 the set was on sale as an official LEGO set (item #3739) for $39.99 containing 622 pieces. Some minor changes were made to Siskind’s design, both to the exterior and interior of the shop. The out-of-use bricks Siskind originally integrated in his design were not part of the official set. The set is at this time no longer on sale on the official LEGO website. When the Blacksmith Shop was launched by the LEGO Company in 2001, it was promoted as the first in what was to become a series of official LEGO MOC sets. On the LEGO website news section, it read: ‘The Master Builders search for designs that they like in places like personal home pages, Brickshelf, at LEGO- related events, and – you guessed it! – in the LEGO Club!’ (LEGO, Brick Street Journal). However, no second MOC set was released as an official LEGO set. So far, Siskind was thus granted a unique honor: to see his personal creation be turned into an official, commercial LEGO set. Most of the Lugnet (LEGO Users Group Network) users, an international group of LEGO fans, were overjoyed with Siskind’s success, and they expressed hope that this move by the LEGO Company signaled a turn of events in their policy towards active LEGO users. Although no second MOC set was released as an official LEGO set after the Blacksmith Shop, the LEGO Company increasingly cooperates with dedicated LEGO fans. Jake McKee from LEGO Community Development works hard to con- 7 nect his LEGO colleagues with LEGO fans and thus ’bring the fans into the com- pany’ (McKee, 2005). The recently launched LEGO Factory – which includes both a digital design tool and an exchange platform – is exactly about this effort to bring LEGO fans into the company (LEGO Factory). In LEGO Factory, fans can design their own sets with the free software, share their designs with other fans and buy any of these custom sets directly from LEGO. The official LEGO online store sells some of these Factory custom sets created by Adult Fans of LEGO or AFOLs (LEGO, Factory Exclusives). LEGO Factory signals a change in how the LEGO Company puts so-called User-Generated Content (often abbreviated as UGC) to use. Instead of having headhunters browse user sites and visit LEGO events, everyone can now add their creations to the LEGO Factory Gallery. Bringing the fans into the company marks a wider shift noticeable in many layers of society and culture, a shift based on the early philosophy of the Internet: the many-to-many approach rather than the one-to-many approach. As media theorists Jenkins and Thorburn write: 'Networked computing operates according to principles fundamentally different from those of broadcast media: access, par- ticipation, reciprocity, and many-to-many rather than one-to-many communica- tion' (2003, p. 2). Instead of having LEGO designers work in secrecy behind closed doors on new LEGO sets, the LEGO Company will invite the fans, the users to ‘sit at the table’ with the designers and work together on future LEGO sets. The many-to-many model originally stems from specific ways in which the In- ternet can be put to use and from certain software applications. In the one-to-one Internet paradigm, users communicate through e-mail or FTP (file transfer proto- col) with one another on an individual basis. Websites have added to this the dis- play of information for many visitors to access: what one could call a one-to-many paradigm. Technological innovations and new Internet applications such as file sharing (through P2P or peer-to-peer networks), blogging (maintaining a perso- nal website that documents or comments), tagging (adding comments on blogs or websites) and Wiki sites (to which anyone who is registered can add informa- tion, make changes or create new entries) have created a situation that is referred to as ‘participatory culture’, ‘many-to-many culture’ or the ‘Web 2.0 revolution’. Many a software application nowadays incorporates sharing and publishing op- tions that encourage the social and participatory use of this software. The term ‘prosumers’ is often used to indicate the shift in the many-to-many culture to- wards consumers becoming producers of media content. Increasingly, technology is at stake in toys, games and playing. With the im- mense popularity of computer games, questions concerning the role and function of technology in play have become more pressing.1 A key aspect of the increasing technologization and digitalization of both toys and play is the vagueness of bor- ders between producers, consumers and players. In these so-called participatory cultures characterized by a many-to-many model, players do not play with a toy designed behind closed doors but become co-designers of their own toys. With 8 the place of play this many-to-many approach, not only money is fed back into the circuit of capital that moves from production to commodity to consumption and back to produc- tion, but also the voluntary, unpaid labor of devoted fans. This tightens the bond between company, commodity and consumer considerably. Participatory cultures are often hailed as a democratizing force, the ultimate means of consumer or user empowerment. After all, one can now take on a more active role as consumer or user, be it as designer or co-designer of new products or product updates, as reviewer of consumer goods or as an expert helping out other users. These many-to-many or participatory options embody the promise that a more actively engaged relationship with traditionally remote processes is now possible, if not the actual democratization of certain consumerist processes. These changes are, needless to say, not restricted to consumerist processes but spread out into the domains of politics, knowledge creation and knowledge dis- semination. Mainly through the ‘free’ online activity of blogging, the political landscape as well as political processes are influenced by and need to take into account ‘political bloggers’ (Lovink, 2008). Politicians are expected by voters to maintain a personal blog to voice their political ideas and keep in touch with them.
Load more

Recommended publications
  • Motivacijski Vzgibi Za Odprto Inoviranje V Spletnih Skupnostih
    UNIVERZA V LJUBLJANI EKONOMSKA FAKULTETA MAGISTRSKO DELO MOTIVACIJSKI VZGIBI ZA ODPRTO INOVIRANJE V SPLETNIH SKUPNOSTIH Ljubljana, junij 2020 MARIJA PRANJIĆ IZJAVA O AVTORSTVU Podpisana Marija Pranjić študentka Ekonomske fakultete Univerze v Ljubljani, avtorica predloženega dela z naslovom Motivacijski vzgibi za odprto inoviranje v spletnih skupnostih, pripravljenega v sodelovanju s svetovalcem red. prof. dr. Miha Škerlavaj IZJAVLJAM 1. da sem predloženo delo pripravila samostojno; 2. da je tiskana oblika predloženega dela istovetna njegovi elektronski obliki; 3. da je besedilo predloženega dela jezikovno korektno in tehnično pripravljeno v skladu z Navodili za izdelavo zaključnih nalog Ekonomske fakultete Univerze v Ljubljani, kar pomeni, da sem poskrbela, da so dela in mnenja drugih avtorjev oziroma avtoric, ki jih uporabljam oziroma navajam v besedilu, citirana oziroma povzeta v skladu z Navodili za izdelavo zaključnih nalog Ekonomske fakultete Univerze v Ljubljani; 4. da se zavedam, da je plagiatorstvo – predstavljanje tujih del (v pisni ali grafični obliki) kot mojih lastnih – kaznivo po Kazenskem zakoniku Republike Slovenije; 5. da se zavedam posledic, ki bi jih na osnovi predloženega dela dokazano plagiatorstvo lahko predstavljalo za moj status na Ekonomski fakulteti Univerze v Ljubljani v skladu z relevantnim pravilnikom; 6. da sem pridobila vsa potrebna dovoljenja za uporabo podatkov in avtorskih del v predloženem delu in jih v njem jasno označila; 7. da sem pri pripravi predloženega dela ravnala v skladu z etičnimi načeli in, kjer je to potrebno, za raziskavo pridobila soglasje etične komisije; 8. da soglašam, da se elektronska oblika predloženega dela uporabi za preverjanje podobnosti vsebine z drugimi deli s programsko opremo za preverjanje podobnosti vsebine, ki je povezana s študijskim informacijskim sistemom članice; 9.
    [Show full text]
  • Annual Report 2003 LEGO Company CONTENTS
    Annual Report 2003 LEGO Company CONTENTS Report 2003 . page 3 Play materials – page 3 LEGOLAND® parks – page 4 LEGO Brand Stores – page 6 The future – page 6 Organisation and leadership – page 7 Expectations for 2004 – page 9 The LEGO® brand. page 11 The LEGO universe and consumers – page 12 People and Culture . page 17 The Company’s responsibility . page 21 Accounts 2003. page 24 Risk factors – page 24 Income statement – page 25 Notes – page 29 LEGO A/S Board of Directors: Leadership Team: * Mads Øvlisen, Chairman Dominic Galvin (Brand Retail) Kjeld Kirk Kristiansen, Vice Chairman Tommy G. Jespersen (Supply Chain) Gunnar Brock Jørgen Vig Knudstorp (Corporate Affairs) Mogens Johansen Søren Torp Laursen (Americas) Lars Kann-Rasmussen Mads Nipper (Innovation and Marketing) Anders Moberg Jesper Ovesen (Corporate Finance) Henrik Poulsen (European Markets & LEGO Trading) President and CEO: Arthur Yoshinami (Asia/Pacific) Kjeld Kirk Kristiansen Mads Ryder (LEGOLAND parks) * Leadership Team after changes in early 2004 LEGO, LEGO logo, the Brick Configuration, Minifigure, DUPLO, CLIKITS logo, BIONICLE, MINDSTORMS, LEGOLAND and PLAY ON are trademarks of the LEGO Group. © 2004 The LEGO Group 2 | ANNUAL REPORT 2003 Annual Report 2003 2003 was a very disappointing year for LEGO tional toy market stagnated in 2003, whereas Company. the trendier part of the market saw progress. Net sales fell by 26 percent from DKK 11.4 bil- The intensified competition in the traditional lion in 2002 to DKK 8.4 billion. Play material toy market resulted in a loss of market share sales declined by 29 percent to DKK 7.2 bil- in most markets – partly to competitors who lion.
    [Show full text]
  • Master Thesis
    Master thesis Valuation of LEGO Group Authors: Afreen Kausar Sharif – 101372 Nadia El Khattouti – 17965 Supervisor: Ole Vang Sørensen Date of submission: August 3, 2020 Number of pages: 119 Number of characters: 257753 MSc Accounting, Strategy and Control Copenhagen Business School Abstract The purpose of this thesis has been to estimate the theoretical fair value of the Danish toy manufacturer LEGO Group as of March 31, 2020, conducted from an external perspective. The valuation is based on an in- depth strategic and financial analysis, as these allow for the necessary forecast to be estimated. The industry of traditional toys and games has been subjected to a number of challenges. Increasing time spent on electronic gadgets and increasing demand for digitalized toys and games put continuous pressure on innovation. The toy retail landscape has changed dramatically in recent years due to digitalization and increasing growth of e-commerce why Lego is making significant investments in upgrading their e-commerce platform, which is especially important in times of the COVID-19. In addition, the strategic analysis illustrates that LEGO Group’s most generating geographical markets, Western Europe and North America, are stagnating, whereas Asia Pacific – especially the Chinese market – has shown substantial growth. China has been a growth priority to LEGO Group as the market has generated double-digit growth for numerous years why the company has increased its presence in the market. Furthermore, China has improved its legislation on intellectual property rights, which protects the LEGO brand from counterfeiting, increasing the attractiveness of the market. The System of Play is a vital source to the LEGO Group’s success as this ensures that all LEGO elements can fit together, enabling an expandable collection of LEGO bricks generating continuous sales.
    [Show full text]
  • Cyber-Synchronicity: the Concurrence of the Virtual
    Cyber-Synchronicity: The Concurrence of the Virtual and the Material via Text-Based Virtual Reality A dissertation presented to the faculty of the Scripps College of Communication of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Jeffrey S. Smith March 2010 © 2010 Jeffrey S. Smith. All Rights Reserved. This dissertation titled Cyber-Synchronicity: The Concurrence of the Virtual and the Material Via Text-Based Virtual Reality by JEFFREY S. SMITH has been approved for the School of Media Arts and Studies and the Scripps College of Communication by Joseph W. Slade III Professor of Media Arts and Studies Gregory J. Shepherd Dean, Scripps College of Communication ii ABSTRACT SMITH, JEFFREY S., Ph.D., March 2010, Mass Communication Cyber-Synchronicity: The Concurrence of the Virtual and the Material Via Text-Based Virtual Reality (384 pp.) Director of Dissertation: Joseph W. Slade III This dissertation investigates the experiences of participants in a text-based virtual reality known as a Multi-User Domain, or MUD. Through in-depth electronic interviews, staff members and players of Aurealan Realms MUD were queried regarding the impact of their participation in the MUD on their perceived sense of self, community, and culture. Second, the interviews were subjected to a qualitative thematic analysis through which the nature of the participant’s phenomenological lived experience is explored with a specific eye toward any significant over or interconnection between each participant’s virtual and material experiences. An extended analysis of the experiences of respondents, combined with supporting material from other academic investigators, provides a map with which to chart the synchronous and synonymous relationship between a participant’s perceived sense of material identity, community, and culture, and her perceived sense of virtual identity, community, and culture.
    [Show full text]
  • Rise of the LEGO® Digital Creator
    Rise of the LEGO® Digital Creator While you’ve always been able to build your own physical creations with a bucket of LEGO® bricks, the route to the same level of digital LEGO freedom for fans has taken a bit longer. The latest step in that effort sees the LEGO Group teaming up with Unity Technologies to create a system that doesn’t just allow anyone to make a LEGO video game, it teaches them the process. The Unity LEGO Microgame is the most recent microgame created by Unity with the purpose of getting people to design their own video game. But in this case, the interactive tutorial turns the act of creation into a sort of game in and of itself, allowing players to simply drag and drop LEGO bricks into a rendered scene and use them to populate their vision. Designers can even give their LEGO brick creations life with intelligent bricks that breath functionality into any model to which they’re attached. Users can even create LEGO models outside of the Unity platform using BrickLink Studio, and then simply drop them into their blossoming game. While this is just the beginning of this new Unity-powered toolset for LEGO fans, it’s destined to continue to grow. The biggest idea that could come to the Unity project is the potential ability for a fan to share their LEGO video game creations with one another and vote on which is the best, with an eye toward the LEGO Group officially adopting them and potentially releasing them with some of the profit going back to the creator.
    [Show full text]
  • Analyzing Space Dimensions in Video Games
    SBC { Proceedings of SBGames 2019 | ISSN: 2179-2259 Art & Design Track { Full Papers Analyzing Space Dimensions in Video Games Leandro Ouriques Geraldo Xexéo Eduardo Mangeli Programa de Engenharia de Sistemas e Programa de Engenharia de Sistemas e Programa de Engenharia de Sistemas e Computação, COPPE/UFRJ Computação, COPPE/UFRJ Computação, COPPE/UFRJ Center for Naval Systems Analyses Departamento de Ciência da Rio de Janeiro, Brazil (CASNAV), Brazilian Nay Computação, IM/UFRJ E-mail: [email protected] Rio de Janeiro, Brazil Rio de Janeiro, Brazil E-mail: [email protected] E-mail: [email protected] Abstract—The objective of this work is to analyze the role of types of game space without any visualization other than space in video games, in order to understand how game textual. However, in 2018, Matsuoka et al. presented a space affects the player in achieving game goals. Game paper on SBGames that analyzes the meaning of the game spaces have evolved from a single two-dimensional screen to space for the player, explaining how space commonly has huge, detailed and complex three-dimensional environments. significance in video games, being bound to the fictional Those changes transformed the player’s experience and have world and, consequently, to its rules and narrative [5]. This encouraged the exploration and manipulation of the space. led us to search for a better understanding of what is game Our studies review the functions that space plays, describe space. the possibilities that it offers to the player and explore its characteristics. We also analyze location-based games where This paper is divided in seven parts.
    [Show full text]
  • 293202846.Pdf
    ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿ ³ ## ## ## ## ### ######## ######## ########³ ³ ## ## ## ## ## ## ## ## ## ## ## ³ ³######### ## ## ## ## ## ## ## ## ## ³ ³ ## ## ## ## ## ## ## ######## ###### ## ³ ³######### ## ## ## ######### ## ## ## ## ³ ³ ## ## ## ## ## ## ## ## ## ## ## ³ ³ ## ## ### ### ## ## ## ## ######## ########³ ³ ³ ÃÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÁÄÄÄÄÄÄÄÄÄÁÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ´ ³ This site list brought to you by all of us in ³ ³ the best warez channel on FDFnet, #Warez. ³ ³ ÚÄÄÄÄÄÄÄÄÄÄÄÄ¿ ³ ÃÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ´irc.fdfnet.netÃÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ´ ³ ÀÄÄÄÄÄÄÄÄÄÄÄÄÙ ³ ³ Dont be a leech. Contribute! ³ ³ To add a site /msg Balthor SITE xxx.xxx.xxx.xxx /dirs L: & P: ³ ³ For posting you will be +ved until your site is removed. ³ ³ Please only post VERIFIED sites ³ ÃÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÂÄÄÄÄÂÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ´ ³ . .. .:ÃNewS´: .. ³ ³ ÀÄÄÄÄÙ ³ ³ 02-15-2002 ³ ³ ³ ³ At long last the OOmpah forums are back! Go ahead, post ³ ³ something at http://oompah.tk/ ³ ³ ³ ³ The list that you are currently viewing is a 6 hour time ³ ³ delayed version of our complete list. Site posters receive ³ ³ access to the complete list which contains ALL of the sites. ³ ³ Upon verifcation of your site post, you will gain access to ³ ³ the current list, access to our !search, and you will also ³ ³ see new sites immediately after they are verified (6 hours ³ ³ before everybody else!). ³ ³ ³ ÃÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÂÄÄÄÄÂÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ´ ³ . .. .: Other Info : .. ³ ³ ³ ³ PSST!
    [Show full text]
  • View the Manual
    A Important Health Warning: Photosensitive Seizures A very small percentage of people may experience a seizure when exposed to certain visual images, including flashing lights or patterns that may appear in video games. Even people with no history of seizures or epilepsy may have an undiagnosed condition that can cause “photosensitive epileptic seizures” while watching video games. Symptoms can include light-headedness, altered vision, eye or face twitching, jerking or shaking of arms or legs, disorientation, confusion, momentary loss of awareness, and loss of consciousness or convulsions that can lead to injury from falling down or striking nearby objects. Immediately stop playing and consult a doctor if you experience any of these symptoms. Parents, watch for or ask children about these symptoms—children and teenagers are more likely to experience these seizures. The risk may be reduced by being farther from the screen; using a smaller screen; playing in a well-lit room, and not playing when drowsy or fatigued. If you or any relatives have a history of seizures or epilepsy, consult a doctor before playing. © 2019 The Codemasters Software Company Limited (“Codemasters”). All rights reserved. “Codemasters”®, “EGO”®, the Codemasters logo and “Grid”® are registered trademarks owned by Codemasters. “RaceNet”™ is a trademark of Codemasters. All rights reserved. Uses Bink Video. Copyright © 1997-2019 by RAD Game Tools, Inc. Powered by Wwise © 2006 - 2019 Audiokinetic Inc. All rights reserved. Ogg Vorbis Libraries © 2019, Xiph.Org Foundation. Portions of this software are copyright ©2019 The FreeType Project (www.freetype.org). All rights reserved. All other copyrights or trademarks are the property of their respective owners and are being used under license.
    [Show full text]
  • ELECTRONIC ARTS INC. (Exact Name of Registrant As Speciñed in Its Charter)
    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 Ñscal year ended March 31, 2003 OR n 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 speciÑed in its charter) Delaware 94-2838567 (State or other jurisdiction of (I.R.S. Employer incorporation or organization) IdentiÑcation No.) 209 Redwood Shores Parkway Redwood City, California 94065 (Address of principal executive oÇces) (Zip Code) Registrant's telephone number, including area code: (650) 628-1500 Securities registered pursuant to Section 12(b) of the Act: None Securities registered pursuant to Section 12(g) of the Act: Class A Common Stock, $.01 par value (Title of class) Indicate by check mark whether the Registrant (1) has Ñled all reports required to be Ñled 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 Ñle such reports), and (2) has been subject to such Ñling requirements for the past 90 days. YES ≤ NO n Indicate by check mark if disclosure of delinquent Ñlers pursuant to Item 405 of Regulation S-K is not contained herein, and will not be contained, to the best of registrant's knowledge, in deÑnitive proxy or information statements incorporated by reference in Part III of this Form 10-K or any amendment to this Form 10-K.
    [Show full text]
  • Grid 2 Ps3 Cheat Codes Grid 2 Ps3 Cheat Codes
    grid 2 ps3 cheat codes Grid 2 ps3 cheat codes. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 6651d062fee215f8 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. GRID cheats & more for PlayStation 3 (PS3) Get the latest GRID cheats, codes, unlockables, hints, Easter eggs, glitches, tips, tricks, hacks, downloads, trophies, guides, FAQs, walkthroughs, and more for PlayStation 3 (PS3). CheatCodes.com has all you need to win every game you play! Use the above links or scroll down see all to the PlayStation 3 cheats we have available for GRID. Genre: Racing, Sports Car Auto Racing Developer: Codemasters Publisher: Codemasters ESRB Rating: Everyone Release Date: June 30, 2008. Hints. We have no tips for GRID yet. If you have any unlockables please submit them. GRID 2 Walkthrough. The race returns in the highly-anticipated sequel to the critically acclaimed, BAFTA award-winning Race Driver: GRID which set new standards for damage, AI, visuals and introduced Flashback, the time rewind feature now adopted by many racing titles.
    [Show full text]
  • Simcity Creator Ds Instruction Manual
    Simcity Creator Ds Instruction Manual This was remade as SimCity DS. SimCity 4 (2003) was the second Notable for coming with a Doorstopper of an instruction manual. SimLife: SimCity meets. Log In needed · $10 · Sonic Chronicles - Nintendo DS Sim City Creator for Nintendo DS, in plastic case. Comes in original case with the instruction booklet. SimCity BuildIt is a spin-off game of the SimCity series for iOS and Android released.. Animal Crossing DS Game in great condition, the memory has been cleaned and comes with instruction booklet. Please Let's Go To The City Bratz The Movie High School Musical 3 Senior Year Dance Sim City Creator. SimCity is a city-building simulation game released in 1989 and designed by eventual Sims creator Will Wright. SimCity, being Maxis' first game and originally. Item, Photo, Description, Bids, High Bidder, Current Amount. Simcity Creator Ds Instruction Manual Read/Download Wii U · Nintendo 3DS · Wii · Nintendo DS · Contact Us · Repair Help Health & Safety Precautions Manual · Product Manuals · Privacy Notice · Terms of Use. SimCity Creator, SimCity Societies, SimCity Societies - Destinations, Skate 2, Skate Electronic Arts will mail a replacement Recording Medium and/or Manual to you. will need to follow the instructions for returns after the 90-day warranty period. Nintendo GameCube, Nintendo Wii, Nintendo DS, or Sony PlayStation. Find Super Mario in Nintendo DS / Buy or sell new or used video games & consoles in Cases and instructions included. of destruction $5 Sim city creator $15 Mario kart $25 Mario Party DS $25 Kirby super star ultra $35 Open to multi-item offers.
    [Show full text]
  • Disruptive Innovation and Internationalization Strategies: the Case of the Videogame Industry Par Shoma Patnaik
    HEC MONTRÉAL Disruptive Innovation and Internationalization Strategies: The Case of the Videogame Industry par Shoma Patnaik Sciences de la gestion (Option International Business) Mémoire présenté en vue de l’obtention du grade de maîtrise ès sciences en gestion (M. Sc.) Décembre 2017 © Shoma Patnaik, 2017 Résumé Ce mémoire a pour objectif une analyse des deux tendances très pertinentes dans le milieu du commerce d'aujourd'hui – l'innovation de rupture et l'internationalisation. L'innovation de rupture (en anglais, « disruptive innovation ») est particulièrement devenue un mot à la mode. Cependant, cela n'est pas assez étudié dans la recherche académique, surtout dans le contexte des affaires internationales. De plus, la théorie de l'innovation de rupture est fréquemment incomprise et mal-appliquée. Ce mémoire vise donc à combler ces lacunes, non seulement en examinant en détail la théorie de l'innovation de rupture, ses antécédents théoriques et ses liens avec l'internationalisation, mais en outre, en situant l'étude dans l'industrie des jeux vidéo, il découvre de nouvelles tendances industrielles et pratiques en examinant le mouvement ascendant des jeux mobiles et jeux en lignes. Le mémoire commence par un dessein des liens entre l'innovation de rupture et l'internationalisation, sur le fondement que la recherche de nouveaux débouchés est un élément critique dans la théorie de l'innovation de rupture. En formulant des propositions tirées de la littérature académique, je postule que les entreprises « disruptives » auront une vitesse d'internationalisation plus élevée que celle des entreprises traditionnelles. De plus, elles auront plus de facilité à franchir l'obstacle de la distance entre des marchés et pénétreront dans des domaines inconnus et inexploités.
    [Show full text]