Programming and Engagement Coordinator Kathleen Lacey, SWPACA Awards Coordinator and Michael K
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SCAN | Journal of Media Arts Culture
Scan Journal vol 7 number 1 april 2010 Fable 2 as Simulation, Game and Narrative: A Contest Adam Ruch The study of a videogame is a complicated undertaking. One must address many features of the artefact, ranging from story and narrative, visual aesthetic, and musical score, to gameplay mechanics and interface. Peter Molyneux's Fable 2 (2008) here will provide a case study for many of these features, as its mechanics design push its narrative to the edge of coherence. The position this game occupies between algorithmic and expository makes it a fertile area for examining new ways of "story-telling", including the use of narrative architectures, database narrative, or interactive narrative. Whatever term we apply, we must continue to apply stringent critical awareness to the material itself, as is the aim here. As this article will assume prior knowledge of Fable 2, it is highly recommended that the reader at least be familiar with the material here1 before proceeding. Better yet, play the game! Fable 2 is a classic example of the tendency of Peter Molyneux's games to err on the side of over-ambition. Molyneux is well-known for his bombastic press releases and zealous language when describing the mechanics of his games. Words like "completely" riddle his speeches, as well as "revolutionary" or "totally new". (Molyneux, Peter Molyneux Interview 2008) (Molyneux 2009) (Kikizo 2004) (Wilcox 2008) Molyneux's games tend to focus on "revolutionary" mechanics to create gameplay experiences (Black & White, Fable and Fable 2 all support increasingly dynamic AI features, for example). Fable 2 relies on its mechanics to create interesting gameplay, rather than on an original narrative. -
Art Worlds for Art Games Edited
Loading… The Journal of the Canadian Game Studies Association Vol 7(11): 41-60 http://loading.gamestudies.ca An Art World for Artgames Felan Parker York University [email protected] Abstract Drawing together the insights of game studies, aesthetics, and the sociology of art, this article examines the legitimation of ‘artgames’ as a category of indie games with particularly high cultural and artistic status. Passage (PC, Mac, Linux, iOS, 2007) serves as a case study, demonstrating how a diverse range of factors and processes, including a conducive ‘opportunity space’, changes in independent game production, distribution, and reception, and the emergence of a critical discourse, collectively produce an assemblage or ‘art world’ (Baumann, 2007a; 2007b) that constitutes artgames as legitimate art. Author Keywords Artgames; legitimation; art world; indie games; critical discourse; authorship; Passage; Rohrer Introduction The seemingly meteoric rise to widespread recognition of ‘indie’ digital games in recent years is the product of a much longer process made up of many diverse elements. It is generally accepted as a given that indie games now play an important role in the industry and culture of digital games, but just over a decade ago there was no such category in popular discourse – independent game production went by other names (freeware, shareware, amateur, bedroom) and took place in insular, autonomous communities of practice focused on particular game-creation tools or genres, with their own distribution networks, audiences, and systems of evaluation, only occasionally connected with a larger marketplace. Even five years ago, the idea of indie games was still burgeoning and becoming stable, and it is the historical moment around 2007 that I will address in this article. -
ACADEMY of INTERACTIVE ARTS and SCIENCES (AIAS) to PRESENT PETER MOLYNEUX with COVETED HALL of FAME AWARD at 7Th ANNUAL INTERACTIVE ACHIEVEMENT AWARDS
For Immediate Release ACADEMY OF INTERACTIVE ARTS AND SCIENCES (AIAS) TO PRESENT PETER MOLYNEUX WITH COVETED HALL OF FAME AWARD AT 7th ANNUAL INTERACTIVE ACHIEVEMENT AWARDS LOS ANGELES, CA – (March 2, 2004) – The Academy of Interactive Arts & Sciences (AIAS), the professional organization of the interactive entertainment industry, today announced that it will present Peter Molyneux, Managing Director, Lionhead Studios with its illustrious Hall of Fame award. The Hall of Fame award will be presented to Mr. Molyneux during the Annual Interactive Achievement Awards, which will be held at Rain in the Palms Casino Resort in Las Vegas on March 4. Peter Molyneux is one of the best-known names in the international world of computer games. He co-founded Bullfrog Productions in 1987 and created a new genre of computer games, “the god game” with the release of Populous. Since then Peter has been responsible for a string of massive selling games including Powermonger, Theme Park, Magic Carpet and Dungeon Keeper. Cumulative sales of his games are now approaching the ten million mark worldwide. In 1997 Peter left Bullfrog Productions to form a new games development company Lionhead Studios. The company’s first game Black & White was released to wide spread critical acclaim in April 2001 and sales currently top the two million mark. Peter is recognized as one of the computer games industry’s most articulate and eloquent speakers on the subject of the development of computer games. He has spoken at the American Museum of the Moving Image, the British Film Institute, ICA (London), the Tate Gallery and the Dortmund Museum of History and Culture. -
GLOBE THEATRE Presented by the YUKON FILM SOCIETY
Films Films Films at the venerable GLOBE THEATRE Presented by the YUKON FILM SOCIETY. An On Yukon Time event. Live performances and recent documentary and dramatic films from the Yukon, Russia, Minneapolis, New Orleans, the MacKenzie Delta, Fraser River, and the Republic of Zubrowka. Presentation and Tech: Zoë Toupin, Andrew Connors THU Dir. Kaija Siirala, ON/YT, 2014, 60min Live Performance: Using analog synths, guitar, lap steel and a constant swell of feedback, 7pm Sauna Music (Yukon musicians Jordy Walker and Micah Smith) create Sauna Music moving soundscapes while Ontario-based media artist Kaija Siirala uses FESTIVAL KICK-OFF with Kaija Siirala video mixing to respond to the changing shape of each of the musical NIGHT pieces in this experiment of structured improvisation across art forms. The Orphan and the Polar Bear, Christopher, NU, 2013, 9min You Don’t Know Jack, Kyle Nixon, Yukon, 2014, 10min The Town Mouse & the Country Mouse, Evelyn Lambart, Can, 1980, 5min THU Eh to Zed Dan Sokolowski, Yukon, 2013, 9min Animated Little Thunder, Nance Akerman & Alan Syliboy, Can, 2009, 3min 9pm Enough to Get By, Khun/Griffiths/O’Donovan, Yukon, 2013, 8min SAT New Territory: 9:30am Shorts The Tender Tale of Cinderella Penguin, Janet Perlman, Can, 1981, 10min films by The Orphan and the Polar Bear, Neil Christopher, Nunavut, 2013, 9min FESTIVAL Self Portrait w Migraine, Kathryn Hepburn, Yukon, 2013, 2min The Cremation of Sam McGee, Eva Szasz, Can, 1990, 7min KICK-OFF Northern Canadians NIGHT Tundra Cowboy, Marc Winkler, NWT, 2013, 18min for Kids The Danish Poet, Torill Cove, Nor/Can, 2006, 15min Filmmakers in attendance. -
High-Performance Play: the Making of Machinima
High-Performance Play: The Making of Machinima Henry Lowood Stanford University <DRAFT. Do not cite or distribute. To appear in: Videogames and Art: Intersections and Interactions, Andy Clarke and Grethe Mitchell (eds.), Intellect Books (UK), 2005. Please contact author, [email protected], for permission.> Abstract: Machinima is the making of animated movies in real time through the use of computer game technology. The projects that launched machinima embedded gameplay in practices of performance, spectatorship, subversion, modification, and community. This article is concerned primarily with the earliest machinima projects. In this phase, DOOM and especially Quake movie makers created practices of game performance and high-performance technology that yielded a new medium for linear storytelling and artistic expression. My aim is not to answer the question, “are games art?”, but to suggest that game-based performance practices will influence work in artistic and narrative media. Biography: Henry Lowood is Curator for History of Science & Technology Collections at Stanford University and co-Principal Investigator for the How They Got Game Project in the Stanford Humanities Laboratory. A historian of science and technology, he teaches Stanford’s annual course on the history of computer game design. With the collaboration of the Internet Archive and the Academy of Machinima Arts and Sciences, he is currently working on a project to develop The Machinima Archive, a permanent repository to document the history of Machinima moviemaking. A body of research on the social and cultural impacts of interactive entertainment is gradually replacing the dismissal of computer games and videogames as mindless amusement for young boys. There are many good reasons for taking computer games1 seriously. -
Backgrounder: AIIDE 07 Invited Speakers
Association for the Advancement of Artificial Intelligence 445 Burgess Drive Menlo Park, CA 94025 (650) 328-3123 www.aaai.org For press inquiries only, contact: Sara Hedberg (206) 232-1657 (office) [email protected] Backgrounder: AIIDE 07 Invited Speakers 1 of 6 AiLive's LiveMove and LiveCombat Wolff Daniel Dobson and John Funge (AiLive Inc.) This talk describes the successfully productization of the state-of-the-art statistical machine learning technology to create LiveMove and LiveCombat. LiveMove is a groundbreaking artificial intelligence product that enables the Wii Remote to learn. Instead of complicated programming, developers need only take a few minutes to train Wii controllers through examples. Nintendo now sublicenses and promotes LiveMove to Wii developers around the world. Our other product, LiveCombat, gives developers and players the power to build AI characters that learn how to behave by observing the actions of human players. AI characters learn in seconds to be trusted companions or deadly foes. The talk will include many anecdotes and observations from lessons learned (often the hard way) along the way. Wolff Daniel Dobson received his PhD in computer science from Northwestern University, specializing in artificial intelligence and intelligent user interfaces. At Visual Concepts Entertainment, he constructed emotional behavior on NBA2K for Dreamcast, and then became colead for artificial intelligence on NBA2K1 (garnering a Metacritic.com score of 93). For the past 5 years he has worked for AiLive Inc., a startup devoted to next-generation artificial intelligence in games. Working as a designer, producer, engineer, and artist Wolff has been instrumental in developing two commercial products, LiveMove and LiveCombat, that bring groundbreaking real-time machine learning technology to the computer entertainment industry. -
More Than a Game
More than a game prelims.p65 1 13/02/03, 13:59 For Diane and Eve – the people who really matter prelims.p65 2 13/02/03, 13:59 More than a game The computer game as fictional form Barry Atkins Manchester University Press Manchester and New York distributed exclusively in the USA by Palgrave prelims.p65 3 13/02/03, 13:59 Copyright © Barry Atkins 2003 The right of Barry Atkins to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. Published by Manchester University Press Oxford Road, Manchester M13 9NR, UK and Room 400, 175 Fifth Avenue, New York, NY 10010, USA www.manchesteruniversitypress.co.uk Distributed exclusively in the USA by Palgrave, 175 Fifth Avenue, New York, NY 10010, USA Distributed exclusively in Canada by UBC Press, University of British Columbia, 2029 West Mall, Vancouver, BC, Canada V6T 1Z2 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data applied for ISBN 0 7190 6364 7 hardback 0 7190 6365 5 paperback First published 2003 11 10 09 08 07 06 05 04 03 10 9 8 7 6 5 4 3 2 1 Typeset by Freelance Publishing Services, Brinscall, Lancs www.freelancepublishingservices.co.uk Printed in Great Britain by Bell and Bain Ltd, Glasgow prelims.p65 4 13/02/03, 13:59 Contents Acknowledgements page vi 1 The computer game as fictional form 1 The postmodern temptation 8 Reading game-fictions 21 2 Fantastically real: reading Tomb Raider 27 Lara Croft: -
One of “The Seven Best New Music Documentaries of the Year.” - David Browne, Rolling Stone, March 2011
written & directed by GORMAN BECHARD based on an original idea by HANDI OPPENHEIMER produced by GORMAN BECHARD and HANSI OPPENHEIMER supervising producer JAN RADDER production manager KATHERINE DICKEY executive producers DIANE WELSH DAVID BESTER SCOTT HUDSON BIL MACLESLIE ELAINE PAN JAY SMALES & SCOTT WICKMAN co-produced by JAMES LEFTWICH DEAN FALCONE ED VALAUSKAS ADRIAN CORREIA BRADY VANT HULL UGO CAVALIER & FRANK LOFTUS shot by GORMAN BECHARD SARAH HAJTOL & ADRIAN CORREIA edited by GORMAN BECHARD assistant editor SARAH HAJTOL One of “the seven best new music documentaries of the year.” - David Browne, Rolling Stone, March 2011 “One of the Top 5 Most Anticipated Music Documentaries.” - PopMatters "Alternately hysterical and heartbreaking." - PopDose "...the film is a shockingly refreshing and invigorating experience for anyone who has ever cared about any kind of music at all." - CHARTattack "The rock version of Rashomon." - The Village Voice LOGLINE: A documentary on the last best band, the greatest band you’ve never heard of, the greatest rock band of all time period: The Replacements. Love, hate, obsession, tears, vomit...it might not be the prettiest story ever told, but it certainly rocks. SYNOPSIS: For some aging music fans and kids with a passion for musical history, The Replacements are rock and roll defined. This Minneapolis quartet took a teenage-punk attitude, threw it in a blender with classic and pop rock, and then poured it into a Middle American pint glass. Over the band's 12-year existence, its live sets were magical, a total mess, or both-depending on your mood and the members' respective blood alcohol levels. -
British Film Institute Report & Financial Statements 2006
British Film Institute Report & Financial Statements 2006 BECAUSE FILMS INSPIRE... WONDER There’s more to discover about film and television British Film Institute through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning Report & Financial resources are here to inspire you. Statements 2006 Contents The mission about the BFI 3 Great expectations Governors’ report 5 Out of the past Archive strategy 7 Walkabout Cultural programme 9 Modern times Director’s report 17 The commitments key aims for 2005/06 19 Performance Financial report 23 Guys and dolls how the BFI is governed 29 Last orders Auditors’ report 37 The full monty appendices 57 The mission ABOUT THE BFI The BFI (British Film Institute) was established in 1933 to promote greater understanding, appreciation and access to fi lm and television culture in Britain. In 1983 The Institute was incorporated by Royal Charter, a copy of which is available on request. Our mission is ‘to champion moving image culture in all its richness and diversity, across the UK, for the benefi t of as wide an audience as possible, to create and encourage debate.’ SUMMARY OF ROYAL CHARTER OBJECTIVES: > To establish, care for and develop collections refl ecting the moving image history and heritage of the United Kingdom; > To encourage the development of the art of fi lm, television and the moving image throughout the United Kingdom; > To promote the use of fi lm and television culture as a record of contemporary life and manners; > To promote access to and appreciation of the widest possible range of British and world cinema; and > To promote education about fi lm, television and the moving image generally, and their impact on society. -
9Th Annual Interactive Achievement Awards Winners Announced by the Academy of Interactive Arts and Sciences
Contact: Cylor Spaulding Wendy Zaas Rogers & Cowan 310-854-8168 310-854-8148 Geri Gordon Miller Academy of Interactive Arts and Sciences 818-876-0826 ext. 202 [email protected] 9TH ANNUAL INTERACTIVE ACHIEVEMENT AWARDS WINNERS ANNOUNCED BY THE ACADEMY OF INTERACTIVE ARTS AND SCIENCES God of War Conquers the Awards with Seven Wins Richard Garriott Inducted into AIAS Hall of Fame CALABASAS, CA – February 10, 2006 – The Academy of Interactive Arts and Sciences (AIAS) announced last night the winners of the 9th Annual Interactive Achievement Awards held at “The Joint” in the Hard Rock Hotel and Casino in Las Vegas, NV. Sony Computer Entertainment America’s “God of War” was the evening’s big winner earning seven coveted AIAS statues. Red Octane’s “Guitar Hero” came in a close second garnering five wins. In addition, AIAS inducted computer games pioneer Richard Garriott into the AIAS Hall of Fame. The Interactive Achievement Awards is a peer-based award that recognizes the outstanding products, talented individuals and development teams that have contributed to the advancement of the multi-billion dollar worldwide entertainment software industry. “Last night’s award ceremony was an exciting event as we recognized the best in video games,” said Joseph Olin, president, AIAS. “It was an impressive year for video games and the interactive entertainment industry is commended for their creative vision.” The winners in each category are as follows: I. Game of the Year: a. Overall - God of War (P: Sony Computer Entertainment America, D: Sony Computer Entertainment America-Santa Monica) b. Computer - Battlefield 2 (P: Electronic Arts, D: Digital Illusions) c. -
University of Huddersfield Repository
University of Huddersfield Repository Betts, Thomas An Investigation of the Digital Sublime in Video Game Production Original Citation Betts, Thomas (2014) An Investigation of the Digital Sublime in Video Game Production. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/25020/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ An Investigation of the Digital Sublime in Video Game Production Thomas Betts U0975371 Submitted to the University of Huddersfield in partial fulfilment of the requirements for the award of Doctor of Philosophy November 2014 1 Abstract This research project examines how video games can be programmed to generate the sense of the digital sublime. The digital sublime is a term proposed by this research to describe experiences where the combination of code and art produces games that appear boundless and autonomous. -
The // Skyway \\ the Replacements Mailing List
the // skyway \\ the replacements mailing list issue #100 (november 24, 2016) info: www.theskyway.com www.facebook.com/thematsskyway send your submissions to [email protected] subscription info: you can send an email saying “subscribe skyway” (and hello) to [email protected] COLOR ME IMPRESSED 24 years later, issue #100. I'd say thank you for reading, but really I say thank you for writing. In the end, I have just collected and saved what everybody else has to say about the Replacements. I started because I wanted to hear what everyone else had to say and what memories they had of that band that I loved, from everywhere. So for this 100th issue, I asked 1024 Replacements fans all the questions you´d ask if you met for ten minutes and talked about their favorite band. People who hear the Replacements and just hear the sound of a loose, raucous bar band don't get why this group and its songs are held in such reverence in such a unique way. No matter which album you listen to, there is the spirit, the great songs, the guitar anthems, the colorful personalities, the legend itself of the band that could simultaneously be brilliant and a shambles and whose songs could make you simultaneously laugh and cry. The Replacements are a great story in how they failed at whatever hopes for mainstream success they pursued in a self- sabotaging way, only to reunite two decades later for a little over 30 shows only to become larger than ever and finally achieve the national acclaim they never had.