Gamescom 2014: Discovering New Worlds 13 Hier -17 Einfügen August 2014 Through Play
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Cultural Imaginations of Piracy in Video Games
FORUM FOR INTER-AMERICAN RESEARCH (FIAR) VOL. 11.2 (SEP. 2018) 30-43 ISSN: 1867-1519 © forum for inter-american research “In a world without gold, we might have been heroes!” Cultural Imaginations of Piracy in Video Games EUGEN PFISTER (HOCHSCHULE DER KÜNSTE BERN) Abstract From its beginning, colonialism had to be legitimized in Western Europe through cultural and political narratives and imagery, for example in early modern travel reports and engravings. Images and tales of the exotic Caribbean, of beautiful but dangerous „natives“, of unbelievable fortunes and adventures inspired numerous generations of young men to leave for the „new worlds“ and those left behind to support the project. An interesting figure in this set of imaginations in North- Western Europe was the “pirate”: poems, plays, novels and illustrations of dashing young rogues, helping their nation to claim their rightful share of the „Seven Seas“ achieved major successes in France, Britain the Netherlands and beyond. These images – regardless of how far they might have been from their historical inspiration – were immensely successful and are still an integral and popular part of our narrative repertoire: from novels to movies to video games. It is important to note that the “story” was – from the 18th century onwards –almost always the same: a young (often aristocratic) man, unfairly convicted for a crime he didn’t commit became an hors-la-loi against his will but still adhered to his own strict code of conduct and honour. By rescuing a city/ colony/princess he redeemed himself and could be reintegrated into society. Here lies the morale of the story: these imaginations functioned also as acts of political communication, teaching “social discipline”. -
Pegi Annual Report
PEGI ANNUAL REPORT ANNUAL REPORT INTRODUCTION 2 CHAPTER 1 The PEGI system and how it functions 4 AGE CATEGORIES 5 CONTENT DESCRIPTORS 6 THE PEGI OK LABEL 7 PARENTAL CONTROL SYSTEMS IN GAMING CONSOLES 7 STEPS OF THE RATING PROCESS 9 ARCHIVE LIBRARY 9 CHAPTER 2 The PEGI Organisation 12 THE PEGI STRUCTURE 12 PEGI S.A. 12 BOARDS AND COMMITTEES 12 THE PEGI CONGRESS 12 PEGI MANAGEMENT BOARD 12 PEGI COUNCIL 12 PEGI EXPERTS GROUP 13 COMPLAINTS BOARD 13 COMPLAINTS PROCEDURE 14 THE FOUNDER: ISFE 17 THE PEGI ADMINISTRATOR: NICAM 18 THE PEGI ADMINISTRATOR: VSC 20 PEGI IN THE UK - A CASE STUDY? 21 PEGI CODERS 22 CHAPTER 3 The PEGI Online system 24 CHAPTER 4 PEGI Communication tools and activities 28 Introduction 28 Website 28 Promotional materials 29 Activities per country 29 ANNEX 1 PEGI Code of Conduct 34 ANNEX 2 PEGI Online Safety Code (POSC) 38 ANNEX 3 The PEGI Signatories 44 ANNEX 4 PEGI Assessment Form 50 ANNEX 5 PEGI Complaints 58 1 INTRODUCTION Dear reader, We all know how quickly technology moves on. Yesterday’s marvel is tomorrow’s museum piece. The same applies to games, although it is not just the core game technology that continues to develop at breakneck speed. The human machine interfaces we use to interact with games are becoming more sophisticated and at the same time, easier to use. The Wii Balance Board™ and the MotionPlus™, Microsoft’s Project Natal and Sony’s PlayStation® Eye are all reinventing how we interact with games, and in turn this is playing part in a greater shift. -
Tropico4 Manual.Pdf
Contents Important Health Warning About Playing Video Games Photosensitive Seizures A very small percentage of people may experience a seizure when exposed to certain Installation & Activation ...................................................................................... 2 visual images, including flashing lights or patterns that may appear in video games. Even people who have no history of seizures or epilepsy may have an undiagnosed Getting Started ....................................................................................................... 3 condition that can cause these “photosensitive epileptic seizures” while watching video games. Tropico 4: Gold Edition ......................................................................................... 4 These seizures may have a variety of symptoms, including lightheadedness, altered Game Modes ............................................................................................................ 5 vision, eye or face twitching, jerking or shaking of arms or legs, disorientation, confusion, or momentary loss of awareness. Seizures may also cause loss of Starting a Mission .................................................................................................. 7 consciousness or convulsions that can lead to injury from falling down or striking nearby objects. Interface .................................................................................................................. 11 Immediately stop playing and consult a doctor if you experience any of -
Checklist for Submission to Gamescom Award 2020
DEADLINE Friday, August 7th 2020 gamescom award honors outstanding games and products presented within the frame of gamescom 2020. Organizer of the award is the Digital Gaming Culture Foundation. To evaluate and rate the award submissions, the organizer composes an independent and internationally-staffed jury. By submitting a game or product to gamescom award, a company agrees to the regulations of gamescom award 2020. They can be found here (German) or here (English), near the bottom of the page, under the respective subheader. Checklist for submission to gamescom award 2020 For a successful submission to the gamescom award it is necessary to comply with the following regulations. Need help? Call +49 30 29 04 92 92 Please make sure that your game / product is not in Any questions? [email protected] conflict with any of the following criteria. Otherwise, its submission cannot be accepted. The submitted game / product has never been submitted for gamescom award in previous years.* The submitted game / product will be released in Germany or in my company‘s domestic market between the beginning of gamescom 2020 and the beginning of gamescom 2021 Benjamin Rostalski Tobias Lo Coco I’ve specifiedat least one contact person (see page 3) responsible for the game / product during the submission process, who is eligible to be called during a live streamed award ceremony. I am submitting this submission form prior to the Gameplay footage will be submitted alongside deadline on Friday, August 7th 2020 as a writable this form via link on page 3. PDF containing verified and copyable links, Footage must feature: contact details etc. -
GAMING GLOBAL a Report for British Council Nick Webber and Paul Long with Assistance from Oliver Williams and Jerome Turner
GAMING GLOBAL A report for British Council Nick Webber and Paul Long with assistance from Oliver Williams and Jerome Turner I Executive Summary The Gaming Global report explores the games environment in: five EU countries, • Finland • France • Germany • Poland • UK three non-EU countries, • Brazil • Russia • Republic of Korea and one non-European region. • East Asia It takes a culturally-focused approach, offers examples of innovative work, and makes the case for British Council’s engagement with the games sector, both as an entertainment and leisure sector, and as a culturally-productive contributor to the arts. What does the international landscape for gaming look like? In economic terms, the international video games market was worth approximately $75.5 billion in 2013, and will grow to almost $103 billion by 2017. In the UK video games are the most valuable purchased entertainment market, outstripping cinema, recorded music and DVDs. UK developers make a significant contribution in many formats and spaces, as do developers across the EU. Beyond the EU, there are established industries in a number of countries (notably Japan, Korea, Australia, New Zealand) who access international markets, with new entrants such as China and Brazil moving in that direction. Video games are almost always categorised as part of the creative economy, situating them within the scope of investment and promotion by a number of governments. Many countries draw on UK models of policy, although different countries take games either more or less seriously in terms of their cultural significance. The games industry tends to receive innovation funding, with money available through focused programmes. -
Inside the E-Sports Ecosystem: a Business Overview
Inside the e-Sports Ecosystem: A Business Overview David Hiltscher VP Gaming Communities Turtle Entertainment About the presenter • Saw the beginning of Quake 2 & 3 and Counter- Strike, and many more games over the years • Joined Turtle in 2006 • He and his team figure out the first rule book of a sport on a regular basis • They ran 1,500 tournaments this year with 1.5 million participants eSports – The name ● Why not sport? ● Retired terms: Cyberathleticism, professional video gaming ● Sports professionals are split over accepting eSports ● Definition more an issue for sports professional than us A different sport ● Can be experienced by everyone ● Global player liquidity helps develop a sport ● No physicality ● Digitally exact ● Inclusive What is eSports? • Synchronous Multiplayer games that are played competitively (team games mainly) • From ranked matchmaking to the Staples Center • For us there is only eSports, but we treat each game individually as a sport THE GAMES OFFICIAL LEAGUES WCS 2012 EU FINALS LOL S2 WORLD CHAMPIONSHIP THE INTERNATIONAL 2 Why enter this business? What the public thinks: • Reach • Trend • Direct profit Actual good reasons to consider eSports • Engagement • Viral acquisition • Brand loyalty • Across genres, once learned becomes part of your marketing • Competitive advantage • Gain control • A sound business choice overall Options • Organic / anorganic Is there an eSports industry? “Your best bet finding an eSports position is to look at every company that sponsors eSports.” This view is common and wrong. eSports -
Manuel-Tropico-4-Fr.Pdf
A lire avant toute utilisation d’un jeu video par vous-meme ou par votre enfant I. Précautions à prendre dans tous les cas pour l’utilisation d’un jeu vidéo Evitez de jouer si vous êtes fatigué ou si vous manquez de sommeil. Assurez-vous que vous jouez dans une pièce bien éclairée en modérant la luminosité de votre écran. Lorsque vous utilisez un jeu vidéo susceptible d’être connecté à un écran, jouez à bonne distance de cet écran de télévision et aussi loin que le permet le cordon de raccordement. En cours d’utilisation, faites des pauses de dix à quinze minutes toutes les heures. II. Avertissement sur l’épilepsie Certaines personnes sont susceptible de faire des crises d’épilepsie comportant, le cas échéant, des pertes de conscience à la vue, notamment, de certains types de stimulations lumineuses fortes : succession rapide d’images ou répétition de figures géométriques simples, d’éclairs ou d’explosions. Ces personnes s’exposent à des crises lorsqu’elles jouent à certains jeux vidéo comportant de telles stimulations, alors même qu’elles n’ont pas d’antécédent médical ou n’ont jamais été sujettes elles-mêmes à des crises d’épilepsie. Si vous même ou un membre de votre famille avez présenté des symptômes liés à l’épilepsie (crise ou perte de conscience) en présence de stimulations lumineuses, consultez votre médecin avant toute utilisation. Les parents se doivent également d’être particulièrement attentifs à leurs enfants lorsqu’ils jouent avec des jeux vidéo. Si vous-même ou votre enfant présentez un des symptômes suivants : vertige, trouble de la vision, contraction des yeux ou des muscles, trouble de l’orientation, mouvement involontaire ou convulsion, perte momentanée de conscience, il faut cesser immédiatement de jouer et consulter un médecin. -
Playing with People's Lives 1 Playing with People's Lives How City-Builder Games Portray the Public and Their Role in the D
Playing With People’s Lives 1 Playing With People’s Lives How city-builder games portray the public and their role in the decision-making process Senior Honors Thesis, City & Regional Planning Presented in Partial Fulfillment of the Requirements for graduation with honors research distinction in City and Regional Planning in the Knowlton School of Architecture at the Ohio State University By William Plumley The Ohio State University May 2018 Faculty Research Mentor: Professor Tijs van Maasakkers, City and Regional Planning Playing With People’s Lives 2 Abstract – City-builder computer games are an integral part of the city planning profession. Educators structure lessons around playtime to introduce planning concepts, professionals use the games as tools of visualization and public outreach, and the software of planners and decision-makers often takes inspiration from the genre. For the public, city-builders are a source of insight into what planners do, and the digital city’s residents show players what role they play in the urban decision-making process. However, criticisms persist through decades of literature from professionals and educators alike but are rarely explored in depth. Published research also ignores the genre’s diverse offerings in favor of focusing on the bestseller of the moment. This project explores how the public is presented in city-builder games, as individuals and as groups, the role the city plays in their lives, and their ability to express their opinions and participate in the process of planning and governance. To more-broadly evaluate the genre as it exists today, two industry-leading titles receiving the greatest attention by planners, SimCity and Cities: Skylines, were matched up with two less-conventional games with their own unique takes on the genre, Tropico 5 and Urban Empire. -
Annual Review
annual review 2017 our board Ukie Annual Review 2016/17 contents 02 foreword 04 Noirin Carmody - Chair Harvey Eagle chair’s report Owner and COO Xbox UK Marketing Director Our initiatives Revolution Software Microsoft 06 ceo’s report Ian Livingstone CBE - Vice Chair Miles Jacobson OBE Chairman Studio Director Playmob Sports Interactive 08 a year in westminster and brussels askaboutgames Dave Gould - Treasurer Veronique Lallier askaboutgames.com Snr Director of Sales UK & Export European Managing Director 12 Take 2 Interactive Hi-Rez Studios research and analysis Without house background Simon Barratt Warwick Light 16 Director UK Managing Director and Vice President ukie’s year in numbers Sony Interactive Entertainment Barog Game Labs INSPIRATIONAL COMPUTING 18 Katherine Bidwell Phil Mansell Digital Schoolhouse acting locally thinking globally Co-Founder CEO digitalschoolhouse.org.ukWith house background State of Play Games Jagex 20 ukie’s global trade programme Neil Boyd Andy Payne OBE INSPIRATIONAL COMPUTING European Anti-Piracy Counsel CEO Nintendo Europe AppyNation 22 the digital schoolhouse Shaun Campbell Kirsty Rigden Games London UK Country Manager Operations Director games.london 24 Electronic Arts FuturLab inspiring talent John Clark Ella Romanos 26 Senior Vice President, Commercial Director promoting a positive image Publishing Rocket Lolly Games SEGA Europe Students 27 Rob Cooper Roy Stackhouse making the most of your IP Managing Director Northern Europe and Vice President - UK, Ireland & Benelux Ukie Students Export Territories -
GME - Q2 2014 Gamestop Corp Earnings Call
THOMSON REUTERS STREETEVENTS EDITED TRANSCRIPT GME - Q2 2014 GameStop Corp Earnings Call EVENT DATE/TIME: AUGUST 21, 2014 / 9:00PM GMT OVERVIEW: GME reported 2Q14 consolidated global sales of $1.73b, consolidated global net earnings of $24.6m and diluted EPS of $0.22. Expects 2014 diluted EPS to be $3.40-3.70 and 3Q14 diluted EPS to be $0.58-0.64. THOMSON REUTERS STREETEVENTS | www.streetevents.com | Contact Us ©2015 Thomson Reuters. All rights reserved. Republication or redistribution of Thomson Reuters content, including by framing or similar means, is prohibited without the prior written consent of Thomson Reuters. 'Thomson Reuters' and the Thomson Reuters logo are registered trademarks of Thomson Reuters and its affiliated companies. AUGUST 21, 2014 / 9:00PM, GME - Q2 2014 GameStop Corp Earnings Call CORPORATE PARTICIPANTS Tony Bartel GameStop Corporation - President Rob Lloyd GameStop Corporation - CFO Mike Mauler GameStop Corporation - EVP of International Mike Hogan GameStop Corporation - EVP - Strategic Business CONFERENCE CALL PARTICIPANTS Tony Wible Janney Capital Markets - Analyst David Magee SunTrust Robinson Humphrey - Analyst Curtis Nagle BofA Merrill Lynch - Analyst Brian Nagel Oppenheimer & Co. - Analyst Arvind Bhatia Sterne, Agee & Leach, Inc. - Analyst Edward Williams BMO Capital Markets - Analyst Sean McGowan Needham & Company - Analyst PRESENTATION Operator Good day, and welcome to GameStop's second-quarter 2014 earnings conference call. (Operator Instructions) I would like to remind you that this call is covered by the Safe Harbor disclosure containing GameStop's public documents, and is the property of GameStop. It is not for rebroadcast or use by any other party, without the prior written consent of GameStop. -
Digital Gaming Industry in Global-Local Crossings: Comparative Study of UK, China and Brazil
Digital Gaming Industry in Global-Local Crossings: Comparative Study of UK, China and Brazil Abstract Clustering is a common phenomenon in digital gaming industry where businesses can benefit from local concentration of talents, spill-over events, resources recycling activities, formal or informal networks formed (Pilon and Tremblay 2013; Ruggill et al. 2016). In addition, digital gaming industry also possess a born-global nature (Gomez and Gonzalez-Perez 2015). Reflecting on the global-local structure, a conceptual framework on digital gaming industry ecosystem is proposed in this paper. A comparative analysis is performed against the digital gaming industry in UK, China and Brazil. As the initial stage of the project, the analysis focuses on the similarities and differences of the digital gaming industry from perspectives such as policy, culture, funding, talents, market, infrastructure and other supports. Keywords: Entrepreneurial Ecosystem, Digital Gaming, Business Growth, UK, Brazil, China 1. Introduction When video game Grand Theft Auto V came out in September 2013, it quickly broke six Guinness world records including the highest revenue generated within 24 hours ($815.7 million) and the fastest entertainment property to reach $1 billion in sales (within three days of releasing) which were previously held by blockbuster movies like The Avengers and Avatar (Lynch 2013). This achievement is a manifestation of the growth in the digital gaming industry: since mid-1980s, the industry has grown annually by between 10% and 15% (Zackariasson and Wilson 2010; Marchand and Hennig-Thurau 2013; Newzoo 2018). In comparison, the estimated compound annual growth rate (CAGR) between 2018 and 2023 for global entertainment and media industry, which the digital gaming industry is part of, is at 4.3% (PwC 2019). -
Gamesretail.Biz, Your Weekly Look at the Key Analysis, News and Data Sources for the Retail Sector, Brought to You by Gamesindustry.Biz and Eurogamer.Net
Brought to you by Every week: The UK games market in less than ten minutes Issue 8: 28th July - 3rd August WELCOME ...to GamesRetail.biz, your weekly look at the key analysis, news and data sources for the retail sector, brought to you by GamesIndustry.biz and Eurogamer.net. THIS WEEK ... we look at how the top publishers have lined up against each other in terms of the traffic they've generated on Eurogamer.net - and how they've done it. Plus, we hear from Ubisoft creative director Michael de Plater, and round up all the week's sales data, need-to-know information, key online prices, jobs and release dates - plus what Eurogamer readers are most looking forward to. Top 3 Publisher Traffic in 2009 ANALYSIS: PUBLISHER SHARE IN 2009 24% A F 22% In this week's analysis we're looking at B G 20% publisher share of traffic to Eurogamer.net and 18% identifying the key drivers. In the first graph is 16% D a comparison over time of the top 3 performers 14% - EA, Activision Blizzard and Capcom. C 12% Point A reflects Capcom's highest traffic 10% E percentage of 2009 to date with a retrospective 8% on the Street Fighter franchise and the review of Percentage of Total Hits on Eurogamer.net 6% Street Fighter IV. Both articles combined in the 4% middle of February, which goes to show the 2% impact a release outside of the normal busy 0% periods can have on generating buzz. Point B Jul Feb Mar Apr May Jun Jan '09 is the Resident Evil IV review, underlining that Capcom Activision Electronic Arts idea further, while Point C demonstrates the interest around Flock! Publisher Share of Eurogamer.net traffic in 2009 12% Points D and E in early May refer to a retrospective on EA's Black and a review of 11% Activision's X-Men Origins: Wolverine 10% respectively, while Point F combines a number 9% of high-ranking articles for EA, including a 8% retrospective on Burnout Paradise and a news 7% story in which Criterion claims that nobody 6% has yet "maxed out" the next-gen consoles.