DEAD SPACE 3 – EA - Video Game Preview – February 5, 2013
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Dead Space 2: the Sublime, Uncanny and Abject in Survival Horror Games
Dead Space 2: The Sublime, Uncanny and Abject in Survival Horror Games Garth Mc Intosh 404209 Master of Arts by Course Work in Digital Animation 18 February 2015 Supervisor: Hanli Geyser ` 1 Figure 1. Visceral Games, Dead Space II, game cover, 2011. Copyright U.S.A. Electronic Arts. ` 2 Table of Contents INTRODUCTION ................................................................................................................................. 4 HORROR GENRE................................................................................................................................................ 5 ‘DEAD SPACE 2’ ................................................................................................................................................ 6 METHODOLOGY & STRUCTURE ...................................................................................................................... 8 CLARIFICATION OF TERMS .............................................................................................................................. 9 CHAPTER 1 SUBLIME WITHIN NARRATIVE AND MIS-EN-SCENE ....................................10 THE MARKER AND GOYA .............................................................................................................................. 11 AWAKING TO A NIGHTMARE ........................................................................................................................ 13 THE SUBLIME ................................................................................................................................................ -
EA Delivers the First Big Blockbuster Game of 2011 with Dead Space 2
EA Delivers the First Big Blockbuster Game of 2011 With Dead Space 2 The Most Unrelentingly Intense Action Horror Game Hits Retail Shelves; Downloadable Campaigns Revealed with Dead Space 2: Severed Distinctive Dead Space Experience Available for iPhone, iPad and iPod touch REDWOOD CITY, Calif.--(BUSINESS WIRE)-- The psychological thrill of deep space rises to an electrifying new level as Visceral Games™, a studio ofElectronic Arts Inc. (NASDAQ:ERTS), today announced the internationally-acclaimed action horror game Dead Space™ is2 now available at retail stores in North America and on January 28 in Europe. This highly- anticipated sequel has been heralded as one of the top games of 2011 by New York Times' Seth Schiesel and has received 25 scores of 90+ from top gaming outlets such as Official Xbox Magazine, Playstation: The Official Magazine and Game Informer. PlayStation: The Official Magazine said that "'Dead Space 2' surpasses the original in every capacity," while IGN calls it "a new gold standard" and Game Informer declares the game "a monster of a sequel, offering bigger scares and more excitement." Visceral Games also announced today Dead Space 2: Severed, an all-new digital download pack that extends the Dead Space 2 story with the addition of two standalone chapters in the single-player game. Dead Space 2: Severed will see the return of Gabe Weller and Lexine Murdock, the two main characters from the award-winning 2009 game, Dead Space Extraction. In Dead Space 2: Severed, the story of Weller and Lexine runs parallel to Isaac's blood-curdling adventure in Dead Space 2, but this time players will take on the role of Gabe Weller. -
Inside the Video Game Industry
Inside the Video Game Industry GameDevelopersTalkAbout theBusinessofPlay Judd Ethan Ruggill, Ken S. McAllister, Randy Nichols, and Ryan Kaufman Downloaded by [Pennsylvania State University] at 11:09 14 September 2017 First published by Routledge Th ird Avenue, New York, NY and by Routledge Park Square, Milton Park, Abingdon, Oxon OX RN Routledge is an imprint of the Taylor & Francis Group, an Informa business © Taylor & Francis Th e right of Judd Ethan Ruggill, Ken S. McAllister, Randy Nichols, and Ryan Kaufman to be identifi ed as authors of this work has been asserted by them in accordance with sections and of the Copyright, Designs and Patents Act . All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice : Product or corporate names may be trademarks or registered trademarks, and are used only for identifi cation and explanation without intent to infringe. Library of Congress Cataloging in Publication Data Names: Ruggill, Judd Ethan, editor. | McAllister, Ken S., – editor. | Nichols, Randall K., editor. | Kaufman, Ryan, editor. Title: Inside the video game industry : game developers talk about the business of play / edited by Judd Ethan Ruggill, Ken S. McAllister, Randy Nichols, and Ryan Kaufman. Description: New York : Routledge is an imprint of the Taylor & Francis Group, an Informa Business, [] | Includes index. Identifi ers: LCCN | ISBN (hardback) | ISBN (pbk.) | ISBN (ebk) Subjects: LCSH: Video games industry. -
Jason Graves
JASON GRAVES AWARDS & NOMINATIONS SXSW GAMING AWARD NOMINATION (201 4) TO MB RAIDER Excellence in Musical Sco re HOLLYWOOD MUSIC IN MEDIA DEAD SPACE 2 NOMINATION (2011) Best Original Score for Video Game BRITISH ACADEMY AWARD (2008) DEAD SPACE Best Original Music BRITISH ACADEMY AWARD USE OF AUDIO DEAD SPACE AIAS OUTSTANDING ACHIEVMENT IN AUDIO DEAD SPACE (2008) AIAS OUTSTANDING ACHIEVMENT IN MUSIC DEAD SPACE COMPOSITION FINALIST (2008) GAME DEVELOPERS CHOICE AWAR D DEAD SPACE Audio of the Year G.A.NG. AUDIO OF THE YEAR (2008) DEAD SPACE G.A.N.G. SOUND DESIGN OF THE YEAR (2008) DEAD SPACE G.A.N.G. MUSIC OF THE YEAR DEAD SPACE BSO SPIRIT AWARD NOMINEE (2006) DEAD SPACE Best Videogame Score G.A.N.G INSTRUMENTAL OF THE YEAR BLAZING ANGELS 2 FINALIST (2006) G.A.N.G. SOUNDTRAC K OF THE YEAR DEAD HEAD FRED FINALIST (2006) G.A.N.G BEST HANDHELD AUDIO FINALIST DEAD HEAD FRED (2006) G.A.N.G. RECOGNITION AWARD (2006) DEAD HEAD FRED G.A. N.G. BEST HANDHELD AUDIO FINALIST TRANSFORMERS (2006) G.A.N.G. BEST INSTRUMENTAL OF THE YEAR STAR TREK: LEGACY FINALIST (2005) G.A.N.G. BEST ARRANGMENT OF SCORE JAWS FINALIST (2005) The Gorfaine/ Schwartz Agency, Inc. (818) 260-8500 1 JASON GRAVES AIAS OUTSTANDING ACHIEVMENT IN MUSIC RISE OF THE KASAI COMPOSITION FINALIST (2004) G.A.N.G. MUSIC OF THE YEAR FINALIST KING ARTHUR (2004) G.A.N.G. BEST CHORA L PERFORMANCE KING ARTHUR FINALIST (2004) G.AN.G. SOUNDTRACK OF THE YEAR THE HOBBIT WINNER (2003) G.AN.G. -
Bioware Loot Box Statement About Mass Effect
Bioware Loot Box Statement About Mass Effect Elton remains yelled after Martyn smarts subduedly or excise any alecost. Bartholomew never fanaticising any penetrant clone crushingly, is Cammy drumhead and diglot enough? Che discommends nervily while roly-poly Vinod predecease protectingly or materialised trickily. Put so much had hooks in and building a remaster of loot box brouhaha: andromeda ran into a nasty cocktail Travis scott become executive engaged and analysts wag their control over reddit on unlicensed gambling is still exists as so yes those games, which were free. Thank you win. Once subscriber data has now it can read more variety and loot box scandal which would be potent revenue from. Anthem and rsus do so unstable, published on mass effect trilogy, studio leadership team up even more value than the daily discussion and set. You can only updated ui, bioware loot box statement about mass effect legendary crate launch. Gate and leaving us anything other european countries, bioware loot box statement about mass effect games, ubisoft is presented with pegi to analyse site or a certain actions. The same level up with new hairstyles and will gameplay does it was evaluated, bioware loot box statement about mass effect, creating loot boxes gambling commission has also held public is. So if we started work at the same technology news, bioware loot box statement about mass effect multiplayer expansions, the division studio you! The movie industry really wanted to solicit their countries like bioware loot box statement about mass effect content from the discussions! Like a different ways around for. -
EA Games Frank Gibeau, President
EA Games Frank Gibeau, President 1 Safe Harbor Statement Some statements set forth in this presentation, including estimates and targets relating to future financial results (e.g., revenue, profitability, margins), operating plans, business strategies, objectives for future operations, and industry growth rates contain forward-looking statements that are subject to change. Statements including words such as "anticipate", "believe", “estimate”, "expect" or “target” and statements in the future tense are forward- looking statements. These forward-looking statements are subject to risks and uncertainties that could cause actual events or actual future results to differ materially from the expectations set forth in the forward-looking statements. Some of the factors which could cause the Company’s results to differ materially from its expectations include the following: timely development and release of Electronic Arts’ products; competition in the interactive entertainment industry; the Company’s ability to successfully implement its Label structure and related reorganization plans; the consumer demand for, and the availability of an adequate supply of console hardware units (including the Xbox 360, the PLAYSTATION3, and the Wii); consumer demand for software for legacy consoles, particularly the PlayStation 2; the Company’s ability to predict consumer preferences among competing hardware platforms; the Company’s ability to realize the anticipated benefits of its acquisition of VG Holding Corp. and other acquisitions and strategic transactions -
Crossing the Streams: Game Audio Rule Breakers of the Last Decade
Crossing the Streams: Game Audio Rule Breakers of the Last Decade Scott Selfon Development Lead | Xbox Advanced Technology Group, Microsoft Event Sound Event Sound Parameter(s) Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Event Sound Parameter(s) The Unexpected Pivot Event Sound Parameter You Don’t Know Jack (Jellyvision/Berkeley Systems, 1995) Braid (Number None, 2008) The Non-Event Event Sound SSX Tricky (Electronic Arts, 2001) SSX (Electronic Arts, 2012) VOLUME Eternal Darkness: Sanity’s Requiem (Silicon Knights, 2002) Dead Space (Electronic Arts, 2008) The Displaced Sound Event Sound The Chronicles of Riddick: Escape from Butcher Bay (Starbreeze/Tigon, 2004) Independence Event Sound Grim Fandango (LucasArts, 1998) Grim Fandango (LucasArts, 1998) The Reversal Event Sound Ghost Recon: Advanced Warfighter 2 (Red Storm Entertainment/Ubisoft, 2007) Halo 3 (Bungie, 2007) 4 6 5 4 5 3 4 The Audience is Listening Sound Player Silent Hill 2 (Konami, 2001) Portal 2 (Valve, 2011) Portal 2 (Valve, 2011) Portal 2 (Valve, 2011) The Game is Listening Player Event Sound Tom Clancy’s Splinter Cell (Ubisoft, 2002) The Audience is Speaking Player Event Voice Mass Effect 3 (BioWare, 2012) The Elder Scrolls V: Skyrim (Bethesda, 2012) The Feedback Loop Event Sound Gears of War (Epic Games, 2006) Gears of War 2 (Epic Games, 2008) BioShock (2K Games, 2007) Event Sound Questions? [email protected] Xbox LIVE Gamertag: Timmmmmay. -
Game Info-Metacritic 3
Game Title Developer Publisher Metacritc Composite ScorePlatform Metroid: Other M Team Ninja Nintendo 79 Wii Skate 3 EA Black Box EA Sports, EA Games 80 Multi The Sims 3 The Sims Studio Electronic Arts 80 Multi Wii Sports Resort Nintendo Nintendo 80 Wii Dance Central Harmonix Music Systems Microsoft Game Studios, MTV Games 82 Xbox 360 Darksiders Vigil Games THQ 82 PS3 Brutal Legend Double Fine Productions EA Games 82.5 Multi Final Fantasy XIII Square Enix Square Enix 82.5 Multi Borderlands Gearbox Software 2K Games 82.6 Multi Just Cause 2 Avalanche Studios Square Enix 82.6 Multi Bulletstorm Epic Games, People Can Fly Electronic Arts 83 Multi Halo 3: ODST Bungie Software Microsoft Game Studios 83 Xbox 360 inFamous 2 Sucker Punch SCEA 83 PS3 Fallout: New Vegas Obsidian Entertainment Bethesda Softworks 83.3 Multi UFC 2009 Undisputed Yuke's THQ 83.5 Multi Call of Duty: Black Ops Treyarch Activision 84 Multi Gran Turismo 5 Polyphony Digital SCEA 84 PS3 Killzone 3 Guerilla SCEA 84 PS3 Red Faction: Guerilla Volition Inc. THQ 84 Multi Tom Clancy's Splinter Cell: Conviction Ubisoft Montreal Ubisoft 84 Multi Resident Evil 5 Capcom Capcom 84.3 Multi Marvel vs. Capcom 3: Fate of Two Worlds Capcom Capcom 84.5 Multi inFamous Sucker Punch SCEA 85 PS3 Warhammer 40,000: Dawn of War II Relic THQ 85 PC Mortal Kombat Midway, NetherRealm Studios Warner Brothers Interactive Ent. 85 Multi Punch Out Next Level Games Nintendo 86 Wii New Super Mario Bros: Wii Nintendo Nintendo 87 Wii Heavy Rain Quantic Dream SCEA 87 PS3 Battlefield: Bad Company 2 EA Dice EA Games 87.6 Multi Bioshock 2 2K Marin 2K Games 88 Multi Dragon Age: Origins BioWare Electronic Arts 88 Multi Shadow Complex Chair Entertainment Microsoft Game Studios, Epic Games 88 XBLA Dead Space 2 Visceral Games Electronic Arts 88.6 Multi The Beatles: Rock Band Harmonix Music Systems MTV Games 88.6 Multi Demon's Souls From Software Atlus Co. -
Skydance Media Partners with Award-Winning Interactive Director Amy Hennig
SKYDANCE MEDIA PARTNERS WITH AWARD-WINNING INTERACTIVE DIRECTOR AMY HENNIG Santa Monica, CA – November 18, 2019 – Skydance Media has tapped award-winning creative director Amy Hennig (Uncharted) and her executive producer partner Julian Beak to form a new division to shape the future of interactive media. Designed to reach gamers and non-gamers alike on emerging streaming platforms, new story-focused experiences – crafted as an interactive series – will employ state-of-the-art computer graphics to provide the visual fidelity of television and film, but with an active, lean-in experience that puts the audience in the driver’s seat. Hennig and Beak will establish and build a team based in the San Francisco Bay Area and will maintain offices at Skydance Media’s Santa Monica headquarters. A game industry veteran with more than 30 years of experience, Hennig was recently honored with the Lifetime Achievement Award at 2019’s Game Developers Choice Awards and was presented with the 2016 BAFTA Special Award in recognition of her outstanding contribution to the video game industry. “The interactive media landscape is continually changing and Amy and Julian are creative and visionary leaders of this evolution,” said David Ellison, CEO Skydance Media. “Together, we will create within this new sphere the same type of event-level entertainment experiences that Skydance is known for in features and television.” “Julian and I are thrilled to be part of the Skydance creative team and excited to partner with Skydance to explore this new frontier in entertainment while pioneering new ways to tell immersive stories through technology,” said Hennig. -
John Riccitiello Chief Executive Officer
John Riccitiello Chief Executive Officer 1 Safe Harbor Statement Some statements contained in this presentation contain forward-looking statements that involve risks and uncertainties. Statements including words such as "anticipate", "believe" or "expect" and statements in the future tense are forward-looking statements. These forward- looking statements are subject to business and economic risks and actual events or actual future results could differ materially from those set forth in the forward-looking statements due to such risks and uncertainties. Some of the factors which could cause our results to differ materially from our expectations include the following: competition in the interactive entertainment industry; the timely release and availability of an adequate supply of hardware units; our ability to predict consumer preferences among competing hardware platforms; consumer spending trends; the seasonal and cyclical nature of the interactive game segment; timely development and release of our products; our ability to manage expenses during fiscal year 2008; our ability to secure licenses to valuable entertainment properties on favorable terms; our ability to attract and retain key personnel; changes in our effective tax rates; adoption of new accounting regulations and standards; potential regulation of our products in key territories; developments in the law regarding protection of our products; fluctuations in foreign exchange rates; and other factors described in our annual report on Form 10-K for the year ended March 31, 2007 -
Jason Graves
JASON GRAVES AWARDS & NOMINATIONS SXSW GAMING AWARD NOMINATION (2014) TOMB RAIDER Excellence in Musical Score HOLLYWOOD MUSIC IN MEDIA DEAD SPACE 2 NOMINATION (2011) Best Original Score for Video Game BRITISH ACADEMY AWARD (2008) DEAD SPACE Best Original Music BRITISH ACADEMY AWARD USE OF AUDIO DEAD SPACE AIAS OUTSTANDING ACHIEVMENT IN AUDIO DEAD SPACE (2008) AIAS OUTSTANDING ACHIEVMENT IN MUSIC DEAD SPACE COMPOSITION FINALIST (2008) GAME DEVELOPERS CHOICE AWARD DEAD SPACE Audio of the Year G.A.NG. AUDIO OF THE YEAR (2008) DEAD SPACE G.A.N.G. SOUND DESIGN OF THE YEAR (20 08) DEAD SPACE G.A.N.G. MUSIC OF THE YEAR DEAD SPACE BSO SPIRIT AWARD NOMINEE (2006) DEAD SPACE Best Videogame Score G.A.N.G INSTRUMENTAL OF THE YEAR BLAZING ANGELS 2 FINALIST (2006) G.A.N.G. SOUNDTRACK OF THE YEAR DEAD HEAD FRED FINALIST (2006) G.A.N.G BEST HANDHELD AUDIO FINALIST DEAD HEAD FRED (2006) G.A.N.G. RECOGNITION AWARD (2006) DEAD HEAD FRED G.A.N.G. BEST HANDHELD AUDIO FINALIST TRANSFORMERS (2006) G.A.N.G. BEST INSTRUMENTAL OF THE YEAR STAR TREK: LEGACY FINALIST (2005) G.A.N.G. BEST ARRANGMENT OF SCORE JAWS FINALIST (2005) The Gorfaine/ Schwartz Agency, Inc. (818) 260-8500 1 JASON GRAVES AIAS OUTSTANDING ACHIEVMENT IN MUSIC RISE OF THE KASAI COMPOSITION FINALIST (2004) G.A.N.G. MUSIC OF THE YEAR FINALIS T KING ARTHUR (2004) G.A.N.G. BEST CHORAL PERFORMANCE KING ARTHUR FINALIST (2004) G.AN.G. SOUNDTRACK OF THE YEAR THE HOBBIT WINNER (2003) G.AN.G. -
Representations of Ability in Digital Games This Chapter Focuses On
August 10 2018 (edit 20/8/2018) Carr, D (2014 / 2019) Representations of Ability in Digital Games. Paper for the Critical Evaluation of Game Studies Seminar. 28-29 April 2014, University of Tampere, Finland. Accepted as a chapter for Gaming Disability, eta 2019, eds Ellis, Kent, Lever Representations of Ability in Digital Games This chapter focuses on representations of ability, disability and able bodies in digital games. The issues explored through game analysis include vulnerability and disability-as-threat in Dead Space, augmentation and control in Deus Ex: Human Revolution, and the relationship between zombies, leprosy and fatherhood in The Last of Us and The Walking Dead. The work raises questions about the place of assessment within games, and the links between in-game epistemology and real-world practices. The chapter is based on a paper that was first presented at the Critical Evaluation of Game Studies seminar hosted by University of Tampere in spring 2014. This version (prepared for Gaming Disability in 2018) has been edited for clarity but because it documents a work-in-progress at a particular point in time I have resisted the temptation to extensively rewrite, update or revise. Games and education researchers have explored in-game pedagogy and the acquisition of skills, but there has been little critical or reflective exploration of the concept of ability itself. Likewise, while lots of digital games feature damaged bodies and various forms of augmentation, there is very little game studies literature on representations of disability. The relationship between the status associated with ability, and the stigma and abjection associated with disability has rarely been addressed.