Fair Play: Economic Justifications for Applying Fair Use to the Online Streaming of Video Games
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Intel Master of the Games Contest (“The Promotion”)
Intel Master of the Games Contest (“The Promotion”) OFFICIAL ONLINE CONTEST RULES TERMS & CONDITIONS The Sponsor is offering you the opportunity to win prizes as outlined in section 7 below (the “Giveaway Prize”). Please read the below Terms and Conditions in relation to the Prize Promotion and retain a copy for your information. In entering the Prize Promotion you will be deemed to have accepted these Terms and Conditions. 1. THE SPONSOR: a. Intel Corporation, 2200 Mission College Blvd., Santa Clara, CA 95052-8119 (the “Sponsor”). 2. ELIGIBILITY a. The Promotion is open to residents of legal age on the date of the promotion in the United States of America (legal residents of the 50 United States, the District of Columbia. b. Employees of the Sponsor and its parent companies, affiliates, subsidiaries, distributors, advertising and promotion agencies, fulfilment agencies and members of the immediate family (defined as spouse, parent, sibling, child and respective spouses regardless of where they reside) and/or those living in the same household of such employees are not eligible to enter. c. The Contest is subject to all applicable national, federal, state, provincial, territorial, municipal and local laws, regulations and ordinances. d. Online entrants must have valid e-mail address and it is entrant’s responsibility to update Sponsor of any change in e-mail address Internet access, Registration on the GLEAM widget and an Intel Gaming Access app account are required to enter. By submitting your information and signing up for an Overwolf Intel Gaming Access App Account and the GLEAM widget, you will be required to agree to the terms of service and privacy notice of the Apps and website. -
The Poetics of Reflection in Digital Games
© Copyright 2019 Terrence E. Schenold The Poetics of Reflection in Digital Games Terrence E. Schenold A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2019 Reading Committee: Brian M. Reed, Chair Leroy F. Searle Phillip S. Thurtle Program Authorized to Offer Degree: English University of Washington Abstract The Poetics of Reflection in Digital Games Terrence E. Schenold Chair of the Supervisory Committee: Brian Reed, Professor English The Poetics of Reflection in Digital Games explores the complex relationship between digital games and the activity of reflection in the context of the contemporary media ecology. The general aim of the project is to create a critical perspective on digital games that recovers aesthetic concerns for game studies, thereby enabling new discussions of their significance as mediations of thought and perception. The arguments advanced about digital games draw on philosophical aesthetics, media theory, and game studies to develop a critical perspective on gameplay as an aesthetic experience, enabling analysis of how particular games strategically educe and organize reflective modes of thought and perception by design, and do so for the purposes of generating meaning and supporting expressive or artistic goals beyond amusement. The project also provides critical discussion of two important contexts relevant to understanding the significance of this poetic strategy in the field of digital games: the dynamics of the contemporary media ecology, and the technological and cultural forces informing game design thinking in the ludic century. The project begins with a critique of limiting conceptions of gameplay in game studies grounded in a close reading of Bethesda's Morrowind, arguing for a new a "phaneroscopical perspective" that accounts for the significance of a "noematic" layer in the gameplay experience that accounts for dynamics of player reflection on diegetic information and its integral relation to ergodic activity. -
1St Edition CMS Student Newspaper
Carson Chronicle CARSON M IDDLE SCHOOL FALL 2020 CMS News Chronicle Editors: Hallie Dong, Juliet Guttendorf, Sadie Kim, Rachel McLaughlin A New School Year By Juliet Forrest This school year, things have been a bit crazy, but we?re all in the same boat. Everyone has their own opinions on this new way of learning. Even though this school year is not starting out as normal, students find the positives. For example, Abbie Woods (6th grade) says, ?I love being able to meet new people and have new opportunities.? Despite this year being a hybrid model, Abbie is still finding new ways to make friends. 7th grader, JJ Gruszewski says, ?I like going on the bus with barely anyone on it, because it?s way quieter.? Carson students are great at looking on the bright side of things! Sanitation stations, distancing and masks are things Carson students have needed to make part of their routine. It is clear that the Carson students who know the school the best are the ones who miss the way things used to be. Neely Cameron (8th grade) says, ?I miss not having to worry about sanitation, and masks.? Getting used to masks is hard, but something even harder for students is not being able to see their friends. Gruszewski says, ?I miss being able to see my friends all at once.? These are all things we miss, but Carson students Interested in knowing N.A.'s covid have a way of adapting and rising above the numbers? Click here. challenge. There have been some hiccups this year. -
Effects of Art Styles on Video Game Narratives
Effects of Art Styles on Video Game Narratives UNIVERSITY OF TURKU Department of Future Technologies Master's Thesis July 2018 Leena Hölttä UNIVERSITY OF TURKU Department of Future Technologies HÖLTTÄ, LEENA Effects of Art Styles on Video Game Narratives Master's thesis, 76 pages, 29 appendix pages Computer Science August 2018 The effect of an art style on a video game's narrative is not widely studied and not much is known about how the general player base views the topic. This thesis attempts to answer this question through the use of two different surveys, a general theory related one, and one based upon images and categorization and a visual novel based interview that aims at gaining a further understanding of the subject. The general results point to the art style creating and emphasizing a narrative's mood and greatly enhancing the player experience. Based on these results a simple framework ASGDF was created to help beginning art directors and designers to create the most fitting style for their narrative. Key words: video games, art style, art, narrative, games TURUN YLIOPISTO Tulevaisuuden teknologioiden laitos HÖLTTÄ, LEENA Taidetyylien vaikutus videopelien narratiiviin Pro gradu -tutkielma, 76 s., 29 liites. Tietojenkäsittelytiede Elokuu 2018 Taidetyylien vaikutus videopelien narratiiviin ei ole laajasti tutkittu aihe, eikä ole laajasti tiedossa miten yleinen pelaajakunta näkee aiheen. Tämä tutkielma pyrkii vastaamaan tähän kysymykseen kahden eri kyselyn avulla, joista toinen on teoriaan perustuva kysely, ja toinen kuvien kategorisointiin perustuva kysely. Myös visuaalinovelliin perustuvaa haastattelua käytettiin tutkimuskysymyksen tutkimiseen. Yleiset tulokset viittaavat siihen, että taidetyyli vaikuttaa narratiivin tunnelmaan ja korostaa pelaajan kokemusta. -
Game Design Und Produktion“
Leseprobe zu „Game Design und Produktion“ von Gunther Rehfeld Print-ISBN: 978-3-446-46315-8 E-Book-ISBN: 978-3-446-46367-7 E-Pub-ISBN: 978-3-446-46645-6 Weitere Informationen und Bestellungen unter http://www.hanser-fachbuch.de/978-3-446-46315-8 sowie im Buchhandel © Carl Hanser Verlag, München Vorwort zur 2. Auflage Seit dem Erscheinen des Buchs vor mehr als sechs Jahren hat sich an der technologischen Front einiges geändert. Anderes ist beim Alten geblieben. So sind VR (Virtual Reality) und AR (Augmented Reality) zurzeit in aller Munde. Zudem nimmt der Vertrieb von Spielen über digitale Plattformen wie Steam immer mehr Raum ein. Die Game-Engines werden immer komplexer, gleichzeitig aber auch effizienter und einfacher zu bedienen. Virtual Reality (VR) ist zurzeit ein viel diskutierter Trend. Auf der anderen Seite ist das, was ein Spiel ausmacht, gleich geblieben. Die Grundlagen des Game Design werden sich ebenso wenig verändern wie der Prozess der Kreativität, der Umgang mit Spielelementen und -mechaniken, der Kern dessen, was eine gute Geschichte ausmacht etc. Sicherlich, immer neue Formate betreten den Markt. Oft als Moden, die 6 Vorwort zur 2. Auflage jedoch nicht nur auf den Bereich von Games (Computerspielen) beschränkt sind. Ein Beispiel hierfür sind die sogenannten Exit- oder Escape-Games. Sie erfreuen sich zurzeit sowohl digital, als auch als analoge Formate einer großen Beliebtheit. Nach wie vor treiben Games als gemeinschaftliche Interaktion die digitalen Märkte an. Mul- tiplayer-Survival-Titel wie Ark:Survival Evolved (Studio Wildcard, 2017), Blockbuster wie Fortnite (Epic Games, 2017) bis hin zu Browser-Games sind immer wieder an den Spitzen der Charts zu finden. -
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. -
Rewriting the Story: Videogames Within the Post-Gamergate Society
Jones 1 Abigail Jones English 4995 Joanna Hearne Rewriting the Story: Videogames within the Post-Gamergate Society “Begin like this: If photographs are images, and films are moving images, then video games are actions.” - Gaming: Essays on Algorithmic Culture, Alexander Galloway Staring through the scope in Call of Duty Modern Warfare (2007), as you navigate through the boggy swamps of some exotic jungle, there is never any doubt that you are in control. The operator’s thumbs roll over the toggles of the controller signaling to the consul how the character on screen must move. By enacting actions within the real world, players affect the actions of the avatar within the game world. To any well-versed videogame player, this is common knowledge; when one plays a videogame it is to be engaged within the world of the game and to ultimately achieve the programmed goal of the game. Up until the creation of the videogame, mediums of entertainment were largely spectator based. While reading a book you may turn the page, but you do not affect the ending of the book. When viewing a movie you may be actively watching, but you are not able to change the ending of the movie. But when playing a videogame the decisions made within the game determine whether the goal is reached, or if it is not: game over. In Alexander Galloway’s essay, “Gaming: Essays on Algorithmic Culture,” he defines videogames as a medium based upon action; “There has emerged in recent years a whole new medium, computers and in particular videogames, whose foundation is not in looking and reading but in the instigation of material change through action.” It is this Jones 2 action that appeals to players--the level of interactivity and agency. -
Intersomatic Awareness in Game Design
The London School of Economics and Political Science Intersomatic Awareness in Game Design Siobhán Thomas A thesis submitted to the Department of Management of the London School of Economics for the degree of Doctor of Philosophy. London, June 2015 1 Declaration I certify that the thesis I have presented for examination for the PhD degree of the London School of Economics and Political Science is solely my own work. The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of 66,515 words. 2 Abstract The aim of this qualitative research study was to develop an understanding of the lived experiences of game designers from the particular vantage point of intersomatic awareness. Intersomatic awareness is an interbodily awareness based on the premise that the body of another is always understood through the body of the self. While the term intersomatics is related to intersubjectivity, intercoordination, and intercorporeality it has a specific focus on somatic relationships between lived bodies. This research examined game designers’ body-oriented design practices, finding that within design work the body is a ground of experiential knowledge which is largely untapped. To access this knowledge a hermeneutic methodology was employed. The thesis presents a functional model of intersomatic awareness comprised of four dimensions: sensory ordering, sensory intensification, somatic imprinting, and somatic marking. -
Copyrighted Material
1 Indie Film as Indie Culture Michael Z. Newman Like its counterpart, Hollywood, indie has come to mean more things than we can accommodate in a capsule summary. Like Hollywood, indie is a type of movie, a mode of production and distribution, a community of practice, a cultural ideal, and a shorthand for something people too easily celebrate or deride. Actually it is not one type, mode, community, ideal, and shorthand, but several. It is also, like Hollywood, a term with a history, naming a series of iterations of cinematic and cultural forma- tions. The indie cinema of the 1980s and 90s is not exactly the indie cinema of the 2010s. In one sense indie cinema names a historical period, which I have called the Sundance–Miramax era, stretching from the 1980s to around 2010 (Newman 2011). But it also extends earlier and later in variations of independence and indieness (Mann 2008, King 2014). The Sundance–Miramax era, moreover, might not be as coherent as I would like it to seem. Like Hollywood, indie cinema is also integrally part of something bigger than itself that includes many types of popular media and culture. Hollywood is an emblem of mainstream popular culture, the so‐called mass media. It has much in common with other examples such as popular music, broadcast television, large‐ circulation newspapers and magazines, Broadway shows, and bestseller books that aim to reach broad audiences (Whiteside 1980). Indie film is, by contrast, one key example of a type of culture positioned in relation to mainstream, mass media: alternatives appealingCOPYRIGHTED more narrowly that reject theMATERIAL conventions of popular forms, or at least depart from or engage critically with them. -
STUDENT ENGAGEMENT Esports Other Athletics News
February 15, 2021 STUDENT ENGAGEMENT Weekly Newsletter Athletics, Recreation, & Wellness In this issue: Unfortunately, Covid-19 has made Athletics athletics a bit challenging for the past E-Sports Program year. While we miss watching our athletes compete, and seeing our students, faculty, and staff in the RWC, we are still thinking of all of you and want you to stay healthy. Just because we are closed, and we don't see you everyday, doesn't mean that we're not still here for you. Below are some ways we have been working to keep athletics engaging and fun in this remote world. If you have any questions, please feel free to reach out to us: Adam Nelson Director Athletics Wellness & Recreation [email protected] Fielding Vaughn Assistant Director Athletics Wellness & Recreation [email protected] ____________________________________________________ ESports Through the month of February we will be hosting the hit game “Among us” in our Discord (https:// discord.gg/nVESvUK6) every Monday evening at 7:30pm. This time is a social space where students can come relax and have fun meeting fellow students through our stream channel. Among Us is an online multiplayer social deduction game which is available on all iOS and Android devices as well as Nintendo Switch. Our League of legends season starts first week of March. First match is against last season’s Esports Region 21 Champions, Quinsigamond Wyverns. It will be a 6 game season followed by playoffs in April. All matches will be held on Tuesday evenings at 7:30pm. The Massbay Community will be able to watch matches following our Twitch Channel (twitch.tv/massbay_esports). -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE SELF-PERCEPTION OF VIDEO GAME JOURNALISM: INTERVIEWS WITH GAMES WRITERS REGARDING THE STATE OF THE PROFESSION A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By Severin Justin Poirot Norman, Oklahoma 2019 THE SELF-PERCEPTION OF VIDEO GAME JOURNALISM: INTERVIEWS WITH GAMES WRITERS REGARDING THE STATE OF THE PROFESSION A DISSERTATION APPROVED FOR THE GAYLORD COLLEGE OF JOURNALISM AND MASS COMMUNICATION BY Dr. David Craig, Chair Dr. Eric Kramer Dr. Jill Edy Dr. Ralph Beliveau Dr. Julie Jones © Copyright by SEVERIN JUSTIN POIROT 2019 All Rights Reserved. iv Acknowledgments I’ve spent a lot of time and hand wringing wondering what I was going to say here and whom I was going to thank. First of all I’d like to thank my committee chair Dr. David Craig. Without his guidance, patience and prayers for my well-being I don’t know where I would be today. I’d like to also thank my other committee members: Dr. Eric Kramer, Dr. Julie Jones, Dr. Jill Edy, and Dr. Ralph Beliveau. I would also like to thank former member Dr. Namkee Park for making me feel normal for researching video games. Second I’d like to thank my colleagues at the University of Oklahoma who were there in the trenches with me for years: Phil Todd, David Ferman, Kenna Griffin, Anna Klueva, Christal Johnson, Jared Schroeder, Chad Nye, Katie Eaves, Erich Sommerfeldt, Aimei Yang, Josh Bentley, Tara Buehner, Yousuf Mohammad and Nur Uysal. I also want to extend a special thanks to Bryan Carr, who possibly is a bigger nerd than me and a great help to me in finishing this study. -
Playing Fair: Youtube, Nintendo, and the Lost Balance of Online Fair Use Natalie Marfo
Brooklyn Journal of Corporate, Financial & Commercial Law Volume 13 | Issue 2 Article 6 5-1-2019 Playing Fair: Youtube, Nintendo, and the Lost Balance of Online Fair Use Natalie Marfo Follow this and additional works at: https://brooklynworks.brooklaw.edu/bjcfcl Part of the Computer Law Commons, Entertainment, Arts, and Sports Law Commons, Gaming Law Commons, Intellectual Property Law Commons, Internet Law Commons, and the Other Law Commons Recommended Citation Natalie Marfo, Playing Fair: Youtube, Nintendo, and the Lost Balance of Online Fair Use, 13 Brook. J. Corp. Fin. & Com. L. 465 (2019). Available at: https://brooklynworks.brooklaw.edu/bjcfcl/vol13/iss2/6 This Note is brought to you for free and open access by the Law Journals at BrooklynWorks. It has been accepted for inclusion in Brooklyn Journal of Corporate, Financial & Commercial Law by an authorized editor of BrooklynWorks. PLAYING FAIR: YOUTUBE, NINTENDO, AND THE LOST BALANCE OF ONLINE FAIR USE ABSTRACT Over the past decade, YouTube saw an upsurge in the popularity of “Let’s Play” videos. While positive for YouTube, this uptick was not without controversy. Let’s Play videos use unlicensed copyrighted materials, frustrating copyright holders. YouTube attempted to curb such usages by demonetizing and removing thousands of Let’s Play videos. Let’s Play creators struck back, arguing that the fair use doctrine protects their works. An increasing number of powerful companies, like Nintendo, began exploiting the ambiguity of the fair use doctrine against the genre; forcing potentially legal works to request permission and payment for Let’s Play videos, without a determination of fair use.