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Notes 1 Introduction: Video Games and Storytelling 1. It must be noted that the term ‘Narratological’ is a rather loose application by the Ludologists and the implications of this are pointed out later in this chapter. 2. Roland Barthes states that the ‘infinity of the signifier refers not to some idea of the ineffable (the unnameable signified) but to that of a playing [ ...] theText is plural’. Source: Barthes, R., 1977. Image, Music, Text, in: Heath,S.(Tran.), Fontana Communications Series. Fontana, London. pp. 158–159. 3.In Gaming Globally: Production, Play, and Place (Huntemann and Aslinger, 2012),theeditors acknowledgethat ‘while gaming maybe global, gaming cultures and practices vary widely depending on the power and voice of var- ious stakeholders’ (p. 27). The paucity of games studies scholarship coming from some of the largest consumers of video games, such as South Korea, China and India, to name a few, is markedly noticeable. The lack of represen- tation of non-Western conceptions of play culture and storytelling traditions is similarly problematic. 4. Chapter 8 will engage with this issue in more detail. 5. ‘(W)reading’ is preferred over the more commonly used neologism ‘wread- ing’toemphasise the supplementarity of the reading and writingprocesses and also to differentiate it from earlier usage that might claim that the two processes are the same thing. 3 (W)Reading the Machinic Game-Narrative 6. For whichhe is criticisedby Hayles (see Chapter 2). 7. Landow respondstothis by rightly stating that Aarseth misreads his original comment where heclaims that ‘the reader whochooses among linksortakes advantage of Storyspace’s hypertext capabilities shares some of the power of theauthor’(Landow, p. -
John Carmack Archive - .Plan (1998)
John Carmack Archive - .plan (1998) http://www.team5150.com/~andrew/carmack March 18, 2007 Contents 1 January 5 1.1 Some of the things I have changed recently (Jan 01, 1998) . 5 1.2 Jan 02, 1998 ............................ 6 1.3 New stuff fixed (Jan 03, 1998) ................. 7 1.4 Version 3.10 patch is now out. (Jan 04, 1998) ......... 8 1.5 Jan 09, 1998 ............................ 9 1.6 I AM GOING OUT OF TOWN NEXT WEEK, DON’T SEND ME ANY MAIL! (Jan 11, 1998) ................. 10 2 February 12 2.1 Ok, I’m overdue for an update. (Feb 04, 1998) ........ 12 2.2 Just got back from the Q2 wrap party in vegas that Activi- sion threw for us. (Feb 09, 1998) ................ 14 2.3 Feb 12, 1998 ........................... 15 2.4 8 mb or 12 mb voodoo 2? (Feb 16, 1998) ........... 19 2.5 I just read the Wired article about all the Doom spawn. (Feb 17, 1998) .......................... 20 2.6 Feb 22, 1998 ........................... 21 1 John Carmack Archive 2 .plan 1998 3 March 22 3.1 American McGee has been let go from Id. (Mar 12, 1998) . 22 3.2 The Old Plan (Mar 13, 1998) .................. 22 3.3 Mar 20, 1998 ........................... 25 3.4 I just shut down the last of the NEXTSTEP systems running at id. (Mar 21, 1998) ....................... 26 3.5 Mar 26, 1998 ........................... 28 4 April 30 4.1 Drag strip day! (Apr 02, 1998) ................. 30 4.2 Things are progressing reasonably well on the Quake 3 en- gine. (Apr 08, 1998) ....................... 31 4.3 Apr 16, 1998 .......................... -
Quake Manual
The Story QUAKE Background: You get the phone call at 4 a.m. By 5:30 you're in the secret installation. The commander explains tersely, "It's about the Slipgate device. Once we perfect these, we'll be able to use them to transport people and cargo from one place to another instantly. "An enemy codenamed Quake, is using his own slipgates to insert death squads inside our bases to kill, steal, and kidnap. "The hell of it is we have no idea where he's from. Our top scientists think Quake's not from Earth, but another dimension. They say Quake's preparing to unleash his real army, whatever that is. "You're our best man. This is Operation Counterstrike and you're in charge. Find Quake, and stop him ... or it ... You have full authority to requisition anything you need. If the eggheads are right, all our lives are expendable." Prelude to Destruction: While scouting the neighborhood, you hear shots back at the base. Damn, that Quake bastard works fast! He heard about Operation Counterstrike, and hit first. Racing back, you see the place is overrun. You are almost certainly the only survivor. Operation Counterstrike is over. Except for you. You know that the heart of the installation holds a slipgate. Since Quake's killers came through, it is still set to his dimension. You can use it to get loose in his hometown. Maybe you can get to the asshole personally. You pump a round into your shotgun, and get moving. System Requirements General Quake System Requirements IBM PC and Compatible Computers Pentium 75 MHz processor or better (absolutely must have a Math Co-Processor!) VGA Compatible Display or better Windows 95 Operation: 16MB RAM minimum, 24MB+ recommended CD-ROM drive required Hard Drive Space Needed: 80 MB Specialized Requirements For WinQuake (WINQUAKE.EXE): Windows 95/98/ME/NT/2000 For GLQuake (GLQUAKE.EXE): Windows 95/98/ME/NT/2000 Open GL Compatible Video Card GLQUAKE supports most 100% fully OpenGL compliant 3D accelerator cards. -
ABSTRACT LOHMEYER, EDWIN LLOYD. Unstable Aesthetics
ABSTRACT LOHMEYER, EDWIN LLOYD. Unstable Aesthetics: The Game Engine and Art Modifications (Under the direction of Dr. Andrew Johnston). This dissertation examines episodes in the history of video game modding between 1995 and 2010, situated around the introduction of the game engine as a software framework for developing three-dimensional gamespaces. These modifications made to existing software and hardware were an aesthetic practice used by programmers and artists to explore the relationship between abstraction, the materiality of game systems, and our phenomenal engagement with digital media. The contemporary artists that I highlight—JODI, Cory Arcangel, Orhan Kipcak, Julian Oliver, and Tom Betts—gravitated toward modding because it allowed them to unveil the technical processes of the engine underneath layers of the game’s familiar interface, in turn, recalibrating conventional play into sensual experiences of difference, uncertainty, and the new. From an engagement with abstract forms, they employed modding techniques to articulate new modes of aesthetic participation through an affective encounter with altered game systems. Furthermore, they used abstraction, the very strangeness of the mod’s formal elements, to reveal our habitual interactions with video games by destabilizing conventional gamespaces through sensory modalities of apperception and proprioception. In considering the imbrication of technics and aesthetics in game engines, this work aims to resituate modding practices within a dynamic and more inclusive understanding -
Narratives of Being There
Narratives of Being There Computer Games, Presence and Fictional Worlds Teun Dubbelman Utrecht University © 2013 Teun Dubbelman E-mail: [email protected] ISBN: 978-94-6191-775-1 Printed on FSC-certified paper by Ipskamp Drukkers, Enschede, the Netherlands Narratives of Being There Computer Games, Presence and Fictional Worlds Narratieven van aanwezigheid Computergames, presentie en fictieve werelden (met een samenvatting in het Nederlands) Proefschrift ter verkrijging van de graad van doctor aan de Universiteit Utrecht op gezag van de rector magnificus, prof. dr. G.J. van der Zwaan, ingevolge het besluit van het college voor promoties in het openbaar te verdedigen op dinsdag 9 juli 2013 des ochtends te 10.30 uur door Teunis Dubbelman geboren op 18 december 1980 te Breda Promotoren: Prof. dr. J.F.F. Raessens Prof. dr. W.C. Uricchio Co-promotor: Dr. M.J. Kattenbelt Table of contents Acknowledgements ix Introduction 1 1. Working definitions 2 Presence and narrative 2 Computer games 2 Immersion 4 2. Working assumptions 5 3. Research question 5 4. Motivation 6 5. Methodology 8 6. Theoretical framework 9 7. Structure 13 THEORY Chapter 1 The concept of presence 15 1.1. General definition of presence 15 1.1.1. Production of presence 17 1.1.2. Media and art 18 1.1.3. Studying presence 19 1.2. Spatial presence in Presence Theory 21 1.2.1. Presence Theory 21 1.2.2. Spatial presence 22 1.2.3. Logic of mimesis 23 Spatial presence as non-mediation 25 Better technology, better presence 26 Multisensory stimulation 27 1.3. Phenomenology of perception 30 1.3.1. -
Focalization in 3D Video Games Michael Nitsche Georgia Institute of Technology 686 Cherry St Atlanta, GA 30332-0165 ++1 404 8947000 [email protected]
Focalization in 3D Video Games Michael Nitsche Georgia Institute of Technology 686 Cherry St Atlanta, GA 30332-0165 ++1 404 8947000 [email protected] ABSTRACT that ‘if I throw a ball at you, I don’t expect you to drop it This paper investigates Bal’s concept of focalization for and wait until it starts telling stories’ [8] reaches too far. 3D video games. First, the argument traces focalization in In contrast to board games or physical games, video the historical development of camera strategies in 3D games present us not with a ball but a moving video video games. It highlights the detachment of the camera image of one. The ball in Pong (Nolan Bushnell for Atari/ into an own interactive operator. Then, it exemplifies the Atari, USA 1972) as well as in MVP Baseball 2005 visual focalization in video games using two case studies. (Brent Nielsen for EA/ EA, USA 2005) is “shown” from In the following, it looks at possible problems and effects a certain perspective and in a certain context. That is why of focalization. The argument concludes that dynamic focalization is important for games. focalization allows video games to apply narrative A narrative situation is at work in the presentation of the guidance without the linearity of a “telling” voice. ball. The level of its complexity might vary and the narrative situation might be dwarfed next to other more dominant factors during the gameplay (e.g. in Pong), but Keywords it is an essential part of the way especially 3D video Video game, camera, focalization, narrative perspective. -
John Carmack Archive - Interviews
John Carmack Archive - Interviews http://www.team5150.com/~andrew/carmack August 2, 2008 Contents 1 John Carmack Interview5 2 John Carmack - The Boot Interview 12 2.1 Page 1............................... 13 2.2 Page 2............................... 14 2.3 Page 3............................... 16 2.4 Page 4............................... 18 2.5 Page 5............................... 21 2.6 Page 6............................... 22 2.7 Page 7............................... 24 2.8 Page 8............................... 25 3 John Carmack - The Boot Interview (Outtakes) 28 4 John Carmack (of id Software) interview 48 5 Interview with John Carmack 59 6 Carmack Q&A on Q3A changes 67 1 John Carmack Archive 2 Interviews 7 Carmack responds to FS Suggestions 70 8 Slashdot asks, John Carmack Answers 74 9 John Carmack Interview 86 9.1 The Man Behind the Phenomenon.............. 87 9.2 Carmack on Money....................... 89 9.3 Focus and Inspiration...................... 90 9.4 Epiphanies............................ 92 9.5 On Open Source......................... 94 9.6 More on Linux.......................... 95 9.7 Carmack the Student...................... 97 9.8 Quake and Simplicity...................... 98 9.9 The Next id Game........................ 100 9.10 On the Gaming Industry.................... 101 9.11 id is not a publisher....................... 103 9.12 The Trinity Thing........................ 105 9.13 Voxels and Curves........................ 106 9.14 Looking at the Competition.................. 108 9.15 Carmack’s Research...................... -
G Gam Me Spa Ace E
Gamespace Plaay & Architecture in Videoogames Georgia Leigh McGregor Doctor of Philosophy School of Media Arts, University of New South Wales 2009 ii Abstract Videogames are created for play. In videogames play takes place in an artificially constructed environment – in gamespace. Gameplay occurs in gamespace. To understand videogames, it is essential to understand how their spaces are implicated in play. This thesis asks what are the relationships between play and space in videogames? This thesis examines the relationships between space and play by looking at how architecture is constructed in gamespace and by looking at gamespace as an architectonic construct. In short, this thesis examines the architecture in and of gamespace. The relationships between space and play in videogames are examined by looking at the structure of gamespace, by looking at the differences between real space and gamespace and by analysing architectural and spatial functionality. This thesis discovers a series of important relationships between space and play, arguing that gamespace is used to create, manipulate and control gameplay, while gameplay dictates and influences the construction of gamespace. Particular forms of play call for particular constructions of gamespace. Particular types of gamespace construct play in particular ways. This thesis identifies a number of ways in which gamespace is configured for play. Finally this thesis operates as a conceptual framework for understanding gamespace and architecture in videogames. iii Contents Abstract ii Acknowledgements -
2020 ANNUAL REPORT 3 the Year of COV1D-19 Campuses Closed in Response to Governor’S COVID-19 Alert
CALHOUN COMMUNITY COLLEGE ANNUAL REPORT Dedicated in Memory of JOE WESLEY WILLIAMS April 4, 1958 - November 28, 2020 Joe Williams could fix just about anything; plumbing, But in October of last year, as all seemed to be going cars, electrical, you name it. He enjoyed working with well, Joe was transported to the hospital after having his hands, so it comes as no surprise that he fell in love trouble breathing. He was completing final assignments with the Machine Tool Technology profession soon after for his last class when he tested positive for COVID-19. he enrolled at Calhoun Community College more than Joe fought the virus with grit and determination, but after twenty years ago. He was awarded two Associate of spending over a month in the hospital, he passed away on Applied Science degrees from Calhoun, one in Advanced November 28th, two days after Thanksgiving. His death Manufacturing and another in Missiles and Munition caught many of us in the Calhoun family by surprise as we Technology. He also earned a Bachelor of Education from faced the reality that the virus had hit home and taken one Athens State University in 2013. of our own. After working many years at Tanksley Machine Shop in To Joe’s wife of 45-years Vickie Milligan-Williams, his Decatur, Joe decided he wanted to share his knowledge son Wesley and daughter Wendey, as well as his seven and experience with the next generation of machining grandchildren Alexus, Gabby, Kady, Slade, Caiden, Skyler, students. In 2012, he became a permanent Machine Tool and Arabella, we say THANK YOU for sharing Joe with instructor here at Calhoun. -
Well Played 3.0: Video Games, Value and Meaning Drew Davidson Et Al
Well Played 3.0: Video Games, Value and Meaning Drew Davidson et al. Published: 2011 Categorie(s): Tag(s): "Video Games" Criticism Analysis Play Literacy 1 Preface Copyright by Drew Davidson et al. & ETC Press 2011 ISBN: 978-1-257-85845-3 Library of Congress Control Number: 2011932994 TEXT: The text of this work is licensed under a Creative Commons Attribution-NonCommercial-NonDerivative 2.5 License (http://creativecommons.org/licenses/by-nc-nd/2.5/) IMAGES: All images appearing in this work are used and reproduced with the permission of the respective copyright owners, and are not released into the Creative Commons. The respective owners reserve all rights. Design & composition by John J. Dessler THANK YOU This third Well Played book was yet another enjoyable project full of in- teresting insights into what makes videogames great. A huge thank you to all the contributors who shared their ideas along with some insipiring analysis. A thank you to John Dessler for his great work on the book design. And thanks again to participation and support of everyone who has joined in the discussion around games being well played. And to my wife, as always. 2 Table of Contents The Deeper Game of Pokémon, or, How the world's biggest RPG inad- vertently teaches 21st century kids everything they need to know ELI NEIBURGER Hills and Lines: Final Fantasy XIII SIMON FERRARI And if You Go Chasing Rabbits: The Inner Demons of American McGee's Alice MATTHEW SAKEY Limbo ALICE TAYLOR The Neverhood; A Different Kind of Never Never Land.You Had Me at Claymation STEPHEN JACOBS Heavy Rain – How I Learned to Trust the Designer JOSÉ P. -
Proquest Dissertations
Licensed to shill: How video and computer games tarnished the silver screen Item Type text; Dissertation-Reproduction (electronic) Authors Ruggill, Judd E. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 07:23:18 Link to Item http://hdl.handle.net/10150/280772 LICENSED TO SHILL: HOW VIDEO AND COMPUTER GAMES TARNISHED THE SILVER SCREEN by Judd Ethan Ruggill Copyright © Judd Ethan Ruggill 2005 A Dissertation Submitted to the Faculty of the GRADUATE INTERDISCIPLINARY PROGRAM IN COMPARATIVE CULTURAL AND LITERARY STUDIES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN MEDIA ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2 00 5 UMI Number: 3158216 Copyright 2005 by Ruggill, Judd Ethan All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform 3158216 Copyright 2005 by ProQuest Information and Learning Company. All rights reserved. -
The Driving Technology Behind Quake III: Arena
The Driving Technology Behind Quake III: Arena Eric Chan [email protected] STS 145: The History of Computer Game Design March 20, 2001 The Driving Technology Behind Quake III: Arena by Eric Chan The Next Big Game It came as no surprise to fans of the successful Quake franchise when id Soft- ware announced that their next big game would be a first-person shooter titled Quake III: Arena. Started in 1991 by John Carmack, Adrian Carmack, and John Romero, id Software practically invented the first-person shooter (FPS) genre with the shareware Wolfenstein 3D in 1992, then cemented their place in game history with the smash hit Doom the following year. Quake was the first game that showcased a true 3D environment with polygonal models instead of sprites; Quake II achieved new levels of detail and realism by being the first PC game to take advantage of 3D acceleration in hardware. With their newest action title Quake III: Arena, id Software continues to push the envelope and to engineer cutting-edge technology. Indeed, while the games themselves have always been fun to play, we shall see that technology is the driving element behind id Software’s continued success in the FPS genre. Quake III was fundamentally different from its predecessors in that it was designed from the beginning to be solely a multiplayer game. Rather than add solo levels with a weak background story, id Software abandoned the single- player paradigm altogether and instead focused on its strength: multiplayer deathmatch. Consequently, the game designers realized from the start that it was essential to provide the best online gaming experience possible.