Instantgames Quote Sheet

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What people are saying about Instant Games "We are excited to bring Angry Birds to Instant Games on Messenger in early 2018. Angry Birds for Messenger is a brand new take on one of the most successful mobile games of all time. Expanding Angry Birds to Instant Games is the next step of introducing Angry Birds to millions of new fans." Wilhelm Taht, EVP Games, Rovio "As a trusted partner for the Instant Games platform, Angry Birds will mark our seventh title released to date. We’re proud to help Rovio’s birds hatch soon in an all new social experience. It has been a fantastic journey working on and reimagining iconic titles such as Battleship, Tetris and Angry Birds for a new audience on Messenger." Laurens Rutten, Founder and CEO, CoolGames "Sonic Jump is the very first title created by our studio, SEGA HARDlight, and we’re thrilled to see it reach a new platform when it lands on Instant Games. It will be exciting to see it instantly playable by the largest audience we could ever have dreamed of." Naoki Kameda, COO, SEGA Networks "At LINE, we truly believe that messaging apps have the power to bring people closer to each other and to the games they love. LINE: Disney Tsum Tsum has delighted over 70 million users worldwide, connecting them through the social experience of LINE. We can't wait for a new audience on Messenger to experience the magic of Tsum Tsum." Idezawa Takeshi, CEO, LINE "We're excited to develop a new casual puzzle game for Facebook Instant Games in an effort to bring the popular puzzle style of Puzzle & Dragons to an even greater audience. We think that both existing Puzzle & Dragons fans and puzzle game enthusiasts unfamiliar with the original app will find a lot to love here. Please keep an eye out for the final release!" Kazuki Morishita, President & CEO, GungHo "Whether it's on a laptop or mobile device, players across the globe love to play Tetris, which is why we're thrilled to bring the timeless fun of this beloved game to billions of people on Messenger." Maya Rogers, President and CEO of Blue Planet Software, sole agent for the Tetris brand .

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THE ART of Puzzle Game Design
THE ART OF Puzzle Design Scott Kim & Alexey Pajitnov with Bob Bates, Gary Rosenzweig, Michael Wyman March 8, 2000 Game Developers Conference These are presentation slides from an all-day tutorial given at the 2000 Game Developers Conference in San Jose, California (www.gdconf.com). After the conference, the slides will be available at www.scottkim.com. Puzzles Part of many games. Adventure, education, action, web But how do you create them? Puzzles are an important part of many computer games. Cartridge-based action puzzle gamse, CD-ROM puzzle anthologies, adventure game, and educational game all need good puzzles. Good News / Bad News Mental challenge Marketable? Nonviolent Dramatic? Easy to program Hard to invent? Growing market Small market? The good news is that puzzles appeal widely to both males and females of all ages. Although the market is small, it is rapidly expanding, as computers become a mass market commodity and the internet shifts computer games toward familiar, quick, easy-to-learn games. Outline MORNING AFTERNOON What is a puzzle? Guest Speakers Examples Exercise Case studies Question & Design process Answer We’ll start by discussing genres of puzzle games. We’ll study some classic puzzle games, and current projects. We’ll cover the eight steps of the puzzle design process. We’ll hear from guest speakers. Finally we’ll do hands-on projects, with time for question and answer. What is a Puzzle? Five ways of defining puzzle games First, let’s map out the basic genres of puzzle games. Scott Kim 1. Definition of “Puzzle” A puzzle is fun and has a right answer.
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Conference Overview
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Tetris-Whistleblower
This is G o o g l e's cache of http://www.fatbabies.com/phpbb/viewtopic.php?t=3649&sid=b4366956596eb9b7dcedbadd041e7441 as retrieved on 27 Feb 2005 05:19:24 GMT. G o o g l e's cache is the snapshot that we took of the page as we crawled the web. The page may have changed since that time. Click here for the current page without highlighting. This cached page may reference images which are no longer available. Click here for the cached text only. To link to or bookmark this page, use the following url: http://www.google.com/search?q=cache:- DVuniYoUzEJ:www.fatbabies.com/phpbb/viewtopic.php%3Ft%3D3649%26sid%3Db4366956596eb9b7dcedbadd041e7441+%22blue+planet%22+%22tetris+company%22&hl=ja Google is neither affiliated with the authors of this page nor responsible for its content. These search terms have been highlighted: blue planet tetris company FatBabies dot Com FatBabies Forums FAQ Search Memberlist Usergroups Register Profile Log in to check your private messages Log in who owns tetris? FatBabies dot Com Forum Index -> Developer's Corner View previous topic :: View next topic Author Message illiterate Posted: Tue Jul 15, 2003 8:49 pm Post subject: who owns tetris? exec in charge of production fatty I would have thought nintendo ownz it heart and soul, but I've heard of tetris (using the NAME tetris) games for competing consoles. what's the deal? Joined: 01 Nov 2002 Posts: 3033 _________________ Location: 6th Ring of Hell Through joy, anger, grief, and happiness, your expression after solving a troublesome puzzle is that of surprise.
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Computer Game Play Reduces Intrusive Memories Of
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Tetris Design Guideline
MARCH 2009 Tetris® Design Guideline CONFIDENTIAL © 2009, Blue Planet Software, Inc. TABLE OF CONTENTS 1. INTRODUCTION _____________________________________________________________ 1 1.1 WHAT IS TETRIS? __________________________________________________________ 1 1.2 WHY TETRIS? _____________________________________________________________ 1 1.3 HOW TO PLAY TETRIS ______________________________________________________ 1 1.4 TETRIS TERMINOLOGY ____________________________________________________ 1 2. BASIC GAME FLOWCHART __________________________________________________ 3 2.1 LEGAL SCREEN __________________________________________________________ 3 2.2 TITLE SCREEN & LOGO ____________________________________________________ 4 2.2.1 LOGO PLACEMENT & SIZE __________________________________________ 4 2.3 MAIN MENU _____________________________________________________________ 4 2.3.1 SELECT NUMBER OF PLAYERS _______________________________________ 5 2.3.2 SELECT GAME VARIATION __________________________________________ 5 2.3.3 SELECT STARTING LEVEL ____________________________________________ 5 2.3.4 HIGH SCORE TablE ________________________________________________ 6 2.4 NEW GAME & INTERFACE _________________________________________________ 6 2.5 OPTIONS ________________________________________________________________ 7 2.5.1 NEXT QUEUE ______________________________________________________ 7 2.5.2 HOLD QUEUE______________________________________________________ 7 2.5.3 GHOST PIECE _____________________________________________________ 7 2.5.4
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CTWC 2018 Sponsorship Packet
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Differential Effects of a Cognitive Interference Task After Encoding
Journal of Experimental Psychology: General © 2019 The Author(s) 2019, Vol. 148, No. 12, 2154–2180 0096-3445/19/$12.00 http://dx.doi.org/10.1037/xge0000598 Intrusive Memories and Voluntary Memory of a Trauma Film: Differential Effects of a Cognitive Interference Task After Encoding Alex Lau-Zhu, Richard N. Henson, and Emily A. Holmes University of Cambridge, United Kingdom Methods to reduce intrusive memories (e.g., of traumatic events) should ideally spare voluntary memory for the same event (e.g., to report on the event in court). Single-trace memory accounts assume that interfering with a trace should impact both its involuntary and voluntary expressions, whereas separate- trace accounts assume these two can dissociate, allowing for selective interference. This possibility was investigated in 3 experiments. Nonclinical participants viewed a trauma film followed by an interference task (Tetris game-play after reminder cues). Next, memory for the film was assessed with various measures. The interference task reduced the number of intrusive memories (diary-based, Experiments 1 and 2), but spared performance on well-matched measures of voluntary retrieval—free recall (Experi- ment 1) and recognition (Experiments 1 and 2)—challenging single-trace accounts. The interference task did not affect other measures of involuntary retrieval—perceptual priming (Experiment 1) or attentional bias (Experiment 2). However, the interference task did reduce the number of intrusive memories in a laboratory-based vigilance-intrusion task (Experiments 2 and 3), irrespective of concurrent working memory load during intrusion retrieval (Experiment 3). Collectively, results reveal a robust dissociation between intrusive and voluntary memories, having ruled out key methodological differences between how these two memory expressions are assessed, namely cue overlap (Experiment 1), attentional capture (Experiment 2), and retrieval load (Experiment 3).
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Preventive Efforts in the Aftermath of Analogue Trauma the Effects Of
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Ludocapital: the Political Economy of Digital Play
UC Irvine UC Irvine Electronic Theses and Dissertations Title Ludocapital: The Political Economy of Digital Play Permalink https://escholarship.org/uc/item/0985k4rw Author Jordan, Will Gregory Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, IRVINE Ludocapital: The Political Economy of Digital Play DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Comparative Literature by Will Gregory Jordan Dissertation Committee: Associate Professor Eyal Amiran, Chair Professor James Steintrager Professor David Theo Goldberg 2014 © 2014 Will Gregory Jordan DEDICATION To my parents, who kept us playing and thinking ii TABLE OF CONTENTS Page ACKNOWLEDGMENTS iv CURRICULUM VITAE vi ABSTRACT OF THE DISSERTATION vii Introduction 1 1 Play and Freedom 25 1.1 Play and Procedurality ............................. 29 1.2 Aesthetics of game-playing ........................... 38 1.3 Digital play and the Ludic Posthuman .................... 45 1.4 Case Studies ................................... 52 1.5 Conclusions ................................... 64 2 Specters of Play: Hauntology of Tetris® 67 2.1 Tetris as Symbolic Game Object ........................ 72 2.2 Tetris as Cultural Commodity ......................... 84 2.3 The Idealization of Property in the Digital Age . 96 2.4 Conclusions ...................................115 3 Procedural Literacy: Toward a Programming Public 124 3.1 Procedural
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INSTRUCTION MANUAL Option P/N 823A3000 Rev.A Right Rotate: Rotates Tetrimino Clockwise / Select a Menu Option
E BUTTON FUNCTIONS Up: Hard (Fast) Drop the Tetrimino (on 3- and 4-Block Tetriminos only) Down: Soft (Slow) Drop the Tetrimino Left: Move Tetrimino one cell left Right: Move Tetrimino one cell right MODEL 76019 For 1 or 2 players / Ages 3 and up Left Rotate: Rotates Tetrimino counterclockwise / Select a menu INSTRUCTION MANUAL option P/N 823A3000 Rev.A Right Rotate: Rotates Tetrimino clockwise / Select a menu option Hold Trigger: Hold Tetrimino (works using 4-Block Tetriminos only) WARNING: EPILEPSY AND SEIZURES READ BEFORE OPERATING YOUR PLAY TV Start Button: Pauses gameplay / Selects a menu option A few people may experience epileptic seizures when viewing flashing lights or patterns in our daily environment. These persons may experi- ence seizures while watching TV pictures or playing video games. Play- PLAYING FAMILY TETRIS ers who have not had any seizures may nonetheless have an undetec- If your Family Tetris is connected to your TV, turn on the TV, then set ted epileptic condition. the TV to the appropriate video input mode (see set-up section of this manual). If your Family Tetris is connected to your TV through a VCR, Consult your physician before playing video games if you have an turn on the TV and VCR, then set both the TV and VCR to the appropri- epileptic condition or experience any of the following symptoms while ate video input modes (see set-up section of this manual). Next, turn on playing video games: altered vision, eye or muscle twitching, other the power to your Family Tetris by sliding the POWER BUTTON on the involuntary movements, loss of awareness of your surroundings, mental controller.
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Volume 26, Number 08, January 2005
Legal Affairs Protas Bound: Work-Made-for-Hire Lessons from the Battles over Martha Graham’s Choreography by Robert J. Bernstein and Robert W. Clarida When Martha Graham, one of the greatest dancers and the School counterclaimed that they owned the and choreographers of the twentieth century, was in her copyrights either through assignments from Graham or 70’s, she met Ron Protas, a 26 year old photographer because they were created as “works for hire” and who befriended her and went on to become her closest therefore, under the 1909 and 1976 Copyright Acts, the confidant. During the 23 years of their personal, social School and the Center were deemed to be the authors and and business relationship, Protas became so closely copyright owners of the works upon their creation. bound to Graham that, despite his nonexistent The questions that faced United States District Court background in dance, she entrusted him with running the Judge Miriam G. Cedarbaum, and later the U.S. Court of dance center she had founded in 1948 (to the Appeals for the Second Circuit, were (i) which works consternation of Graham’s longtime business and were owned by Graham at the time of her death; (ii) creative colleagues); made him her spokesman; and which works were owned by the School and the Center; chose him to accompany her to virtually all social and (iii) which works were in the public domain as the gatherings notwithstanding their almost half-century age result of publication without copyright notice or failure differential. to make timely renewal under the 1909 Act.
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