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View the Dichotomies in Computer Game Studies in More Detail
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 A Burkean Analysis on the Relationship of the Image to Player Motivation in First- Person Shooter Games Toby McCall Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES A BURKEAN ANALYSIS ON THE RELATIONSHIP OF THE IMAGE TO PLAYER MOTIVATION IN FIRST-PERSON SHOOTER GAMES By TOBY MCCALL A Thesis submitted to the Department of English in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Summer, 2008 Copyright © 2008 Toby McCall All Rights Reserved The members of the Committee approve the thesis of Toby McCall defended on March 26, 2008. _______________________________ Kathleen Yancey Professor Directing Thesis _______________________________ Phil Steinberg Outside Committee Member _______________________________ Kristie Fleckenstein Committee Member _______________________________ Michael Neal Committee Member Approved: _______________________________ Ralph Berry Chair, Department of English The Office of Graduate Studies has verified and approved the above named committee members. ii I dedicate this work to my mother Joseyvette Jackson, who sacrificed much of her own life so that I might have opportunities she did not. Thanks Mom. iii ACKNOWLEDGMENTS I would like to thank my committee for their feedback and encouragement during this process, especially Kathleen Blake-Yancey who kept me sane and on track despite her own busy schedule; Ian Bogost, Steffen P. Walz and Noah Wardrip-Fruin for their input and time; my brother for his unending support; and my friends Chris Findeisen (Knuckles Malloy), Brianna Noll (Icechest Jones) and Dustin Atkinson (KGB Fontenot) for reminding me to relax, have fun, and play Rock Band; to Kelly Powers for his friendship and guidance. -
The Matrix As an Introduction to Mathematics
St. John Fisher College Fisher Digital Publications Mathematical and Computing Sciences Faculty/Staff Publications Mathematical and Computing Sciences 2012 What's in a Name? The Matrix as an Introduction to Mathematics Kris H. Green St. John Fisher College, [email protected] Follow this and additional works at: https://fisherpub.sjfc.edu/math_facpub Part of the Mathematics Commons How has open access to Fisher Digital Publications benefited ou?y Publication Information Green, Kris H. (2012). "What's in a Name? The Matrix as an Introduction to Mathematics." Mathematics in Popular Culture: Essays on Appearances in Film, Fiction, Games, Television and Other Media , 44-54. Please note that the Publication Information provides general citation information and may not be appropriate for your discipline. To receive help in creating a citation based on your discipline, please visit http://libguides.sjfc.edu/citations. This document is posted at https://fisherpub.sjfc.edu/math_facpub/18 and is brought to you for free and open access by Fisher Digital Publications at St. John Fisher College. For more information, please contact [email protected]. What's in a Name? The Matrix as an Introduction to Mathematics Abstract In my classes on the nature of scientific thought, I have often used the movie The Matrix (1999) to illustrate how evidence shapes the reality we perceive (or think we perceive). As a mathematician and self-confessed science fiction fan, I usually field questionselated r to the movie whenever the subject of linear algebra arises, since this field is the study of matrices and their properties. So it is natural to ask, why does the movie title reference a mathematical object? Of course, there are many possible explanations for this, each of which probably contributed a little to the naming decision. -
Copyright by Jason Todd Craft 2004 the Dissertation Committee for Jason Todd Craft Certifies That This Is the Approved Version of the Following Dissertation
Copyright by Jason Todd Craft 2004 The Dissertation Committee for Jason Todd Craft Certifies that this is the approved version of the following dissertation: Fiction Networks: The Emergence of Proprietary, Persistent, Large- Scale Popular Fictions Committee: Adam Z. Newton, Co-Supervisor John M. Slatin, Co-Supervisor Brian A. Bremen David J. Phillips Clay Spinuzzi Margaret A. Syverson Fiction Networks: The Emergence of Proprietary, Persistent, Large- Scale Popular Fictions by Jason Todd Craft, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2004 Dedication For my family Acknowledgements Many thanks to my dissertation supervisors, Dr. Adam Zachary Newton and Dr. John Slatin; to Dr. Margaret Syverson, who has supported this work from its earliest stages; and, to Dr. Brian Bremen, Dr. David Phillips, and Dr. Clay Spinuzzi, all of whom have actively engaged with this dissertation in progress, and have given me immensely helpful feedback. This dissertation has benefited from the attention and feedback of many generous readers, including David Barndollar, Victoria Davis, Aimee Kendall, Eric Lupfer, and Doug Norman. Thanks also to Ben Armintor, Kari Banta, Sarah Paetsch, Michael Smith, Kevin Thomas, Matthew Tucker and many others for productive conversations about branding and marketing, comics universes, popular entertainment, and persistent world gaming. Some of my most useful, and most entertaining, discussions about the subject matter in this dissertation have been with my brother, Adam Craft. I also want to thank my parents, Donna Cox and John Craft, and my partner, Michael Craigue, for their help and support. -
The Making of Enter the Matrix
TWO MOVIES. ONE “THEN ALONG COMES THE WACHOWSKIS AND ANIMATED ANTHOLOGY. THEY WANT TO SHOOT AND THE MOST EXPENSIVE AN HOUR OF MATRIX LICENSED VIDEOGAME QUALITY MOVIE FOOTAGE FOR OUR EVER MADE. SEVENTEEN GAME – AND WRITE YEARS AFTER ITS ORIGINAL THE ENTIRE STORY” RELEASE, WE EXPLORE DAVID PERRY HOW ENTER THE MATRIX TRIED TO DEFY TRADITIONAL VIDEOGAME STORYTELLING BY SLOTTING INTO A WIDER TRANSMEDIA EXPERIENCE Words by Aaron THE MAKING OF Potter ames based on a licence have been around almost as long as the medium itself, with most gaining a reputation for being cheap tie-ins or ill-produced cash grabs that needed much longer in the development oven. It’s an unfortunate fact that, in most instances, the creative teams tasked with » Shiny Entertainment founder and making a fun, interactive version of a beloved working on a really cutting-edge 3D game called former game director David Perry. Hollywood IP weren’t given the time necessary to Sacrifice, so I very embarrassingly passed on the IN THE succeed – to the extent that the ET game from 1982 project.” David chalks this up as being high on his for the Atari 2600 was famously rushed out by a “list of terrible career decisions”, though it wouldn’t KNOW single person and helped cause the US industry crash. be long before he and his team would be given a PUBLISHER: ATARI After every crash, however, comes a full system second chance. They could even use this pioneering DEVELOPER : reboot. And it was during the world’s reboot at the tech to translate the Wachowskis’ sprawling SHINY turn of the millennium, around the time a particular universe more accurately into a videogame. -
Henry Jenkins Convergence Culture Where Old and New Media
Henry Jenkins Convergence Culture Where Old and New Media Collide n New York University Press • NewYork and London Skenovano pro studijni ucely NEW YORK UNIVERSITY PRESS New York and London www.nyupress. org © 2006 by New York University All rights reserved Library of Congress Cataloging-in-Publication Data Jenkins, Henry, 1958- Convergence culture : where old and new media collide / Henry Jenkins, p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8147-4281-5 (cloth : alk. paper) ISBN-10: 0-8147-4281-5 (cloth : alk. paper) 1. Mass media and culture—United States. 2. Popular culture—United States. I. Title. P94.65.U6J46 2006 302.230973—dc22 2006007358 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. Manufactured in the United States of America c 15 14 13 12 11 p 10 987654321 Skenovano pro studijni ucely Contents Acknowledgments vii Introduction: "Worship at the Altar of Convergence": A New Paradigm for Understanding Media Change 1 1 Spoiling Survivor: The Anatomy of a Knowledge Community 25 2 Buying into American Idol: How We are Being Sold on Reality TV 59 3 Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling 93 4 Quentin Tarantino's Star Wars? Grassroots Creativity Meets the Media Industry 131 5 Why Heather Can Write: Media Literacy and the Harry Potter Wars 169 6 Photoshop for Democracy: The New Relationship between Politics and Popular Culture 206 Conclusion: Democratizing Television? The Politics of Participation 240 Notes 261 Glossary 279 Index 295 About the Author 308 V Skenovano pro studijni ucely Acknowledgments Writing this book has been an epic journey, helped along by many hands. -
BEFORE the PHILOSOPHY There Are Several Ways That We Might Explain the Location of the Matrix
ONE BEFORE THE 7 PHILOSOPHY UNDERSTANDING THE FILMS BEFORE THE PHILOSOPHY I’m really struggling here. I’m trying to keep up, but I’m losing the plot. There is way too much weird shit going on around here and nothing is going the way it is supposed to go. I mean, doors that go nowhere and everywhere, programs acting like humans, multiplying agents . Oh when, when will it end? – SparksE The Matrix films often left audiences more confused than they had bargained for. Some say that their confusion began with the very first film, and was compounded with each sequel. Others understood the big picture, but found themselves a bit perplexed concerning the details. It’s safe to say that no one understands the films completely – there are always deeper levels to consider. So before we explore the more philosophical aspects of the films, I hope to clarify some of the common points of confusion. But first, I strongly encourage you to watch all three films. There are spoilers ahead. The Matrix Dreamworld You mean this isn’t real? – Neo† The Matrix is essentially a computer-generated dreamworld. It is the illusion of a world that no longer exists – a world of human technology and culture as it was at the end of the twentieth century. This illusion is pumped into the brains of millions of people who, in reality, are lying fast asleep in slime-filled cocoons. To them this virtual world seems like real life. They go to work, watch their televisions, and pay their taxes, fully believing that they are physically doing these things, when in fact they are doing them “virtually” – within their own minds. -
Ash Vs Evil Dead
Vol. 7 (1) 2020 ISSN 2311 – 3448 and RELIGION STATE, ARTICLES BOOK REVIEWS CHURCH ATION R STATE, Alexander Pavlov. Hyper-Real Alexander Agadjanian. Review of: Religion, Lovecraft, and the Cult Viktor Shnirel’man. 2017. “Koleno of the Evil Dead Danovo”. Eskhatologiia i antisemitizm v DMINIST sovremennoi Rossii [“The Tribe of Dan.” A Alexander Pisarev. The Conflict Eschatology and Antisemitism in RELIGION of Immortalities: The Biopolitics of the Cerebral Subject and Religious Modern Russia]. Moscow: Izdatel’stvo Life in Altered Carbon BBI (in Russian). — 631 p. UBLIC P Nikolai Afanasov. The Depressed and AND Messiah: Religion, Science Fiction, and Postmodernism in Neon Genesis Evangelion Leonid Moyzhes. Dragon Age: CONOMY E CHURCH Inquisition: A Christian Message in a Postsecular World Maksim Podvalnyi. Religious Cults in the Fictional Universe of the RPG ATIONAL N The Witcher OF CADEMY A Vol. 7 Vol. 7 (1) 2020 ESIDENTIAL R P (1) 2020 USSIAN R ISSN 2311 – 3448 STATE, RELIGION and CHURCH Vol. 7 (1) 2020 Russian Presidential Academy of National Economy and Public Administration Russian Presidential Academy of National Moscow, 2020 editors Dmitry Uzlaner (editor-in-chief ), Patrick Brown (editor), Alexander Agadjanian, Alexander Kyrlezhev design Sergei Zinoviev, Ekaterina Trushina layout Anastasia Meyerson State, Religion and Church is an academic peer- reviewed journal devoted to the interdisciplinary scholarly study of religion. Published twice yearly under the aegis of the Russian Presidential Academy of National Economy and Public Administration. editorial board Alexey Beglov (Russia), Mirko Blagojević (Serbia), Thomas Bremer (Germany), Grace Davie (UK), Vyacheslav Karpov (USA), Vladimir Malyavin (Republic of China), Brian Horowitz (USA), Vasilios Makrides (Germany), Bernice Martin (UK), Alexander Panchenko (Russia), Randall A. -
Facing the Absurd Existentialism for Humans and Programs
TWELVE 150 FACING THE ABSURD EXISTENTIALISM FOR HUMANS AND PROGRAMS The Matrix cannot tell you who you are. – Trinity†† Man is nothing else but what he makes of himself. Such is the first principle of existentialism. – Jean-Paul Sartre FACING THE ABSURD Of Gods and Architects Søren Kierkegaard, whose existentialist philosophy of faith was discussed in the previous chapter, requested that just two words be engraved on his tombstone at his death: THE INDIVIDUAL. This gesture nicely summarizes the main thrust of the existentialist movement in philosophy – which both begins and ends with the individual. Existentialism focuses on the issues that arise for us as separate and distinct persons who are, in a very profound sense, alone in the world. Its emphasis is on personal responsibility – on taking responsibility for who you are, what you do, and the meanings that you give to the world around you. While Kierkegaard’s existentialism was largely inspired by his religious commit- ments, atheism was the guiding assumption for many existentialist writers, includ- ing Martin Heidegger, Albert Camus, and Jean-Paul Sartre. In Existentialism as a Humanism, the French existentialist Jean-Paul Sartre explained how his philo- sophy was intimately tied to his atheism through the example of a paper-cutter. [H]ere is an object which has been made by an artisan whose inspiration came from a concept. He referred to the concept of what a paper-cutter is and likewise to a known method of production, which is part of the concept, something which by and large is a routine. Thus, the paper-cutter is at once an object produced in a certain way and, on the other hand, one having a specific use . -
Matrix in the Context of Belief Systems İnanç Sistemleri Bağlamında Matrix
Ş. Kurt, ODÜ Sosyal Bilimler Araştırmaları Dergisi, Temmuz 2020; 10 (2), 508-527 ∙ 508 Matrix in the Context of Belief Systems İnanç Sistemleri Bağlamında Matrix ARAŞTIRMA MAKALESI Şule KURT1 Gönderim Tarihi: 17.12.2019 | Kabul Tarihi: 23.06.2020 Abstract The necessity of questioning human existence appears to be the most fundamental condition in the process of seeking meaning in the world. In the process of making sense of the outside world, man enables his own story to be formed and conveyed through an attempt to reproduce and form himself ideologically. Myth as a form reality. Myth, which is an expression of faith, affects the preservation of morality, the powerful structuring and of meaning is the fiction of social reality. Myth is not only a story told in primitive communities but a living meaning by analyzing this existence; myths and belief systems are discussed in the context of sociological methodspreading within of religious the scope rituals. of communicative In this study, knowledge action. Mythical and understanding, stories which the formed plane inof theexistence ancient and times finding are are constructud and reproduced by adapting to the power reality of mainstream cinema. cultural tools that continue to be effective today. As such, myths which reflect the power of mythological gods analysis of this existence; It has been handled with the descriptive method within the scope of the communica- tion Insystems this study, of beliefs information such as mythsand understanding and shamanism. in the example of Matrix film, the plane of existence and the nothing more than just a revelation, examining the future of humanity and describes the collective imagination According to the findings; Matrix is a science fiction movie that is so inspiring and impressive that it is elements in the Matrix scenario, he conveyed the problem of making sense of one's own existence and the universeforward-looking. -
The Matrix Trilogy's Postmodern Movie Messiah
Journal of Religion & Film Volume 9 Issue 2 October 2005 Article 7 October 2005 He is the One: The Matrix Trilogy's Postmodern Movie Messiah Mark D. Stucky [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Stucky, Mark D. (2005) "He is the One: The Matrix Trilogy's Postmodern Movie Messiah," Journal of Religion & Film: Vol. 9 : Iss. 2 , Article 7. Available at: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/7 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. He is the One: The Matrix Trilogy's Postmodern Movie Messiah Abstract Many films have used Christ figures to enrich their stories. In The Matrix trilogy, however, the Christ figure motif goes beyond superficial plot enhancements and forms the fundamental core of the three-part story. Neo's messianic growth (in self-awareness and power) and his eventual bringing of peace and salvation to humanity form the essential plot of the trilogy. Without the messianic imagery, there could still be a story about the human struggle in the Matrix, of course, but it would be a radically different story than that presented on the screen. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/7 Stucky: He is the One Introduction The Matrix1 was a firepower-fueled film that spin-kicked filmmaking and popular culture. -
Read Book the Matrix
THE MATRIX PDF, EPUB, EBOOK Joshua Clover | 96 pages | 12 Jun 2007 | British Film Institute | 9781844570454 | English | London, United Kingdom The Matrix – Matrix Wiki – Neo, Trinity, the Wachowskis And the special effects are absolutely amazing even if similar ones have been used in other movies as a result- and not explained as well. But the movie has plot as well. It has characters that I cared about. From Keanu Reeves' excellent portrayal of Neo, the man trying to come to grips with his own identity, to Lawrence Fishburne's mysterious Morpheus, and even the creepy Agents, everyone does a stellar job of making their characters more than just the usual action "hero that kicks butt" and "cannon fodder" roles. I cared about each and every one of the heroes, and hated the villains with a passion. It has a plot, and it has a meaning Just try it, if you haven't seen the movie before. Watch one of the fight scenes. Then watch the whole movie. There's a big difference in the feeling and excitement of the scenes- sure, they're great as standalones, but the whole thing put together is an experience unlike just about everything else that's come to the theaters. Think about it next time you're watching one of the more brainless action flicks If you haven't, you're missing out on one of the best films of all time. It isn't just special effects, folks. Looking for some great streaming picks? Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist. -
Matrix Reloaded Explained
Matrix Reloaded Explained Matrix Reloaded Explained The Matrix Explained 1 The Matrix: Reloaded Explained.........................................................................................................................1 1.1 Contents...................................................................................................................................................1 2 Forward on disobedience.......................................................................................................................................3 3 Foundation of criticism..........................................................................................................................................5 4 The Architect..........................................................................................................................................................7 5 The rave scene......................................................................................................................................................11 6 The Oracle.............................................................................................................................................................13 7 Agent Smith..........................................................................................................................................................15 8 Story arc................................................................................................................................................................19