Narrative Patterns in Video Games Narrative Mechanics and Its Rules and Rule Sets
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2K Unveils Stellar Video Game Line
2K Unveils Stellar Video Game Line-up for 2006 Electronic Entertainment Expo; Line-up Includes Highly- Anticipated Titles such as The Da Vinci Code(TM), Prey, Sid Meier's Civilization IV: Warlords and NBA 2K7 May 10, 2006 8:31 AM ET NEW YORK--(BUSINESS WIRE)--May 10, 2006--2K and 2K Sports, publishing labels of Take-Two Interactive Software, Inc. (NASDAQ: TTWO), today announced a strong line-up for Electronic Entertainment Expo 2006 (E3) taking place at the Los Angeles Convention Center from May 10-12, 2006. From 2K, the line-up includes titles based on blockbuster entertainment brands such as The Da Vinci Code(TM) and Family Guy and popular comic book franchises The Darkness and Ghost Rider, as well as original next generation games such as Prey and BioShock. 2K is also featuring highly-anticipated titles from Firaxis Games, including Sid Meier's Civilization IV: Warlords and Sid Meier's Railroads! as well as the Firaxis and Firefly Studios collaboration title CivCity: Rome. Other eagerly awaited titles include Stronghold Legends(TM) along with Dungeon Siege II(R): Broken World(TM) and Dungeon Siege: Throne of Agony(TM), based on the acclaimed Dungeon Siege(R) franchise. In addition, the 2K Sports line-up features the next installments from top-rated franchises such as NHL 2K7, NBA 2K7 and College Hoops 2K7. 2K Line-up Includes: BioShock BioShock is an innovative role-playing shooter from Irrational Games who was named IGN's 2005 Developer of the Year. BioShock immerses players into a war-torn underwater utopia, where mankind has abandoned their humanity in their quest for perfection. -
Retrocomputing As Preservation and Remix
Retrocomputing as Preservation and Remix Yuri Takhteyev Quinn DuPont University of Toronto University of Toronto [email protected] [email protected] Abstract This paper looks at the world of retrocomputing, a constellation of largely non-professional practices involving old computing technology. Retrocomputing includes many activities that can be seen as constituting “preservation.” At the same time, it is often transformative, producing assemblages that “remix” fragments from the past with newer elements or joining together historic components that were never combined before. While such “remix” may seem to undermine preservation, it allows for fragments of computing history to be reintegrated into a living, ongoing practice, contributing to preservation in a broader sense. The seemingly unorganized nature of retrocomputing assemblages also provides space for alternative “situated knowledges” and histories of computing, which can sometimes be quite sophisticated. Recognizing such alternative epistemologies paves the way for alternative approaches to preservation. Keywords: retrocomputing, software preservation, remix Recovering #popsource In late March of 2012 Jordan Mechner received a shipment from his father, a box full of old floppies. Among them was a 3.5 inch disk labelled: “Prince of Persia / Source Code (Apple) / ©1989 Jordan Mechner (Original).” Mechner’s announcement of this find on his blog the next day took the world of nerds by storm.1 Prince of Persia, a game that Mechner single-handedly developed in the late 1980s, revolutionized computer games when it came out due to its surprisingly realistic representation of human movement. After being ported to DOS and Apple’s Mac OS in the early 1990s the game sold 2 million copies (Pham, 2001). -
The Prince of Persia Returns
THE PRINCE OF PERSIA RETURNS ACTION-PACKED PRINCE OF PERSIA ® 2 (WORKING TITLE) BOASTS BRAND NEW FREE-FORM FIGHTING SYSTEM Paris, FRANCE - May 6, 2004 - Ubisoft, one of the world's largest video game publishers, today announced that the company‘s award-winning Montreal studio is currently developing Prince of Persia ® 2 (working title) , a follow-up to the most critically acclaimed game of 2003, Prince of Persia The Sands of Time™. The Prince has to embark upon a path of both carnage and mystery to defy his preordained death. His journey leads to the infernal core of a cursed island stronghold harboring mankind‘s greatest fears. Only through grim resolve, bitter defiance and the mastery of deadly new combat arts can the Prince rise to a new level of warriorship œ and emerge from this ultimate trial with his life. In order to accomplish his mission, the Prince benefits from a brand new free- form fighting system that allows gamers to channel his anger as they wage battle without boundaries. Each game fan will find his or her own unique fighting style as they manipulate their environment and control the Ravages of Time. You can dig into an arsenal of weapons that, when used in combination, create advanced arm attacks that verge on fatal artistry! Prince of Persia ® 2 promises that game fans will fight harder, and play longer, emerging from the experience as deadly-capable skilled masters of their own unique combat art form. —Prince of Persia The Sands of Time™ was the most critically acclaimed game of 2003,“ said Yves Guillemot, President and CEO of Ubisoft, —With Prince of Persia ® 2 , we intend to build on that masterpiece that will take Prince of Persia ® one step further to take over the action-combat genre. -
Nintendo Co., Ltd
Nintendo Co., Ltd. Financial Results Briefing for the Nine-Month Period Ended December 2013 (Briefing Date: 1/30/2014) Supplementary Information [Note] Forecasts announced by Nintendo Co., Ltd. herein are prepared based on management's assumptions with information available at this time and therefore involve known and unknown risks and uncertainties. Please note such risks and uncertainties may cause the actual results to be materially different from the forecasts (earnings forecast, dividend forecast and other forecasts). Nintendo Co., Ltd. Consolidated Statements of Income Transition million yen FY3/2010 FY3/2011 FY3/2012 FY3/2013 FY3/2014 Apr.-Dec.'09 Apr.-Dec.'10 Apr.-Dec.'11 Apr.-Dec.'12 Apr.-Dec.'13 Net sales 1,182,177 807,990 556,166 543,033 499,120 Cost of sales 715,575 487,575 425,064 415,781 349,825 Gross profit 466,602 320,415 131,101 127,251 149,294 (Gross profit ratio) (39.5%) (39.7%) (23.6%) (23.4%) (29.9%) Selling, general and administrative expenses 169,945 161,619 147,509 133,108 150,873 Operating income 296,656 158,795 -16,408 -5,857 -1,578 (Operating income ratio) (25.1%) (19.7%) (-3.0%) (-1.1%) (-0.3%) Non-operating income 19,918 7,327 7,369 29,602 57,570 (of which foreign exchange gains) (9,996) ( - ) ( - ) (22,225) (48,122) Non-operating expenses 2,064 85,635 56,988 989 425 (of which foreign exchange losses) ( - ) (84,403) (53,725) ( - ) ( - ) Ordinary income 314,511 80,488 -66,027 22,756 55,566 (Ordinary income ratio) (26.6%) (10.0%) (-11.9%) (4.2%) (11.1%) Extraordinary income 4,310 115 49 - 1,422 Extraordinary loss 2,284 33 72 402 53 Income before income taxes and minority interests 316,537 80,569 -66,051 22,354 56,936 Income taxes 124,063 31,019 -17,674 7,743 46,743 Income before minority interests - 49,550 -48,376 14,610 10,192 Minority interests in income -127 -7 -25 64 -3 Net income 192,601 49,557 -48,351 14,545 10,195 (Net income ratio) (16.3%) (6.1%) (-8.7%) (2.7%) (2.0%) - 1 - Nintendo Co., Ltd. -
Pdf (Accessed 2.10.14)
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. -
[Japan] SALA GIOCHI ARCADE 1000 Miglia
SCHEDA NEW PLATINUM PI4 EDITION La seguente lista elenca la maggior parte dei titoli emulati dalla scheda NEW PLATINUM Pi4 (20.000). - I giochi per computer (Amiga, Commodore, Pc, etc) richiedono una tastiera per computer e talvolta un mouse USB da collegare alla console (in quanto tali sistemi funzionavano con mouse e tastiera). - I giochi che richiedono spinner (es. Arkanoid), volanti (giochi di corse), pistole (es. Duck Hunt) potrebbero non essere controllabili con joystick, ma richiedono periferiche ad hoc, al momento non configurabili. - I giochi che richiedono controller analogici (Playstation, Nintendo 64, etc etc) potrebbero non essere controllabili con plance a levetta singola, ma richiedono, appunto, un joypad con analogici (venduto separatamente). - Questo elenco è relativo alla scheda NEW PLATINUM EDITION basata su Raspberry Pi4. - Gli emulatori di sistemi 3D (Playstation, Nintendo64, Dreamcast) e PC (Amiga, Commodore) sono presenti SOLO nella NEW PLATINUM Pi4 e non sulle versioni Pi3 Plus e Gold. - Gli emulatori Atomiswave, Sega Naomi (Virtua Tennis, Virtua Striker, etc.) sono presenti SOLO nelle schede Pi4. - La versione PLUS Pi3B+ emula solo 550 titoli ARCADE, generati casualmente al momento dell'acquisto e non modificabile. Ultimo aggiornamento 2 Settembre 2020 NOME GIOCO EMULATORE 005 SALA GIOCHI ARCADE 1 On 1 Government [Japan] SALA GIOCHI ARCADE 1000 Miglia: Great 1000 Miles Rally SALA GIOCHI ARCADE 10-Yard Fight SALA GIOCHI ARCADE 18 Holes Pro Golf SALA GIOCHI ARCADE 1941: Counter Attack SALA GIOCHI ARCADE 1942 SALA GIOCHI ARCADE 1943 Kai: Midway Kaisen SALA GIOCHI ARCADE 1943: The Battle of Midway [Europe] SALA GIOCHI ARCADE 1944 : The Loop Master [USA] SALA GIOCHI ARCADE 1945k III SALA GIOCHI ARCADE 19XX : The War Against Destiny [USA] SALA GIOCHI ARCADE 2 On 2 Open Ice Challenge SALA GIOCHI ARCADE 4-D Warriors SALA GIOCHI ARCADE 64th. -
Programme Edition
JOURNEE 13h00 - 18h00 WEEK END 14h00 - 19h00 JOURJOURJOUR Vendredi 18/12 - 19h00 Samedi 19/12 Dimanche 20/12 Lundi 21/12 Mardi 22/12 ThèmeThèmeThème Science Fiction Zelda & le J-RPG (Jeu de rôle Japonais) ArcadeArcadeArcade Strange Games AnimeAnimeAnime NES / Twin Famicom / MSXMSXMSX The Legend of Zelda Rainbow Islands Teenage Mutant Hero Turtles SC 3000 / Master System Psychic World Streets of Rage Rampage Super Nintendo Syndicate Zelda Link to the Past Turtles in Time + Sailor Moon Megadrive / Mega CD / 32X32X32X Alien Soldier + Robo Aleste Lunar 2 + Soleil Dynamite Headdy EarthWorm Jim + Rocket Knight Adventures Dragon Ball Z + Quackshot Nintendo 64 Star Wars Shadows of the Empire Furai no Shiren 2 Ridge Racer 64 Buck Bumble SaturnSaturnSaturn Deep Fear Shining Force III scénario 2 Sky Target Parodius Deluxe Pack + Virtual Hydlide Magic Knight Rayearth + DBZ Shinbutouden Playstation Final Fantasy VIII + Saga Frontier 2 Elemental Gearbolt + Gun Blade Arts Tobal n°1 Dreamcast Ghost Blade Spawn Twinkle Star Sprites Alice's Mom Rescue Gamecube F Zero GX Zelda Four Swords 4 joueurs Bleach Playstation 2 Earth Defense Force Code Age Commanders / Stella Deus Puyo Pop Fever Earth Defense Force Cowboy Bebop + Berserk XboxXboxXbox Panzer Dragoon Orta Out Run 2 Dead or Alive Xtreme Beach Volleyball Wii / Wii UWii U / Wii JPWii JP Fragile Dreams Xenoblade Chronicles X Devils Third Samba De Amigo Tatsunoko vs Capcom + The Skycrawlers Playstation 3 Guilty Gear Xrd Demon's Souls J Stars Victory versus + Catherine Kingdom Hearts 2.5 Xbox 360 / XBOX -
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. -
Game-Designer Interviews
Appendix A Game-designer interviews To complement the technical content of the chapters, all written by academics (though some of the chapter authors also design and develop games), we performed five interviews with the creators of well-known PCG-heavy games. We selected the interviewees mostly because the games they had been part of had either introduced new interesting PCG techniques, or because they had integrated them in game de- sign in some novel way. The interviews were performed in 2013 and 2014 over email, and are reproduced in their entirety here (except for corrected typos). We asked most of the interviewees the same set of questions, focusing on the role of PCG in game design and the limits of generative methods. The interviewees are: • Andrew Doull, creator of UnAngband and UnBrogue, founder of RogueLikeRa- dio. • Ed Key, creator of Proteus. • Michael Toy, co-creator of Rogue. • Richard Evans, AI lead programmer on The Sims 3, co-creator of Versu. • Tarn Adams, creator of Dwarf Fortress. A.1 Andrew Doull Was there anything you wanted to do in a game you worked on that you could not do because of algorithmic or computational limitations? My thinking about game design has changed significantly over the years, since writing the original Death of the Level Designer series of articles. One of the key changes—guided a lot by games like Michael Brough’s 868-HACK—is that a game should embrace limitations, rather than attempt to design around them. So rather than creating procedural systems which can model everything a` la Dwarf Fortress, Ó Springer International Publishing Switzerland 2016 225 N. -
E-Sports Rules
UCSF E-Sports Game-Specific Rules Super Smash Bros. Ultimate Mario Kart 8 Deluxe Rocket League League of Legends Among Us Super Smash Bros. Ultimate 1. Games will be played best 3 out of 5 a. Playoffs best 4 out of 7 2. Prior to each match, players should add each other as friends on their respective Nintendo Switch consoles. 3. Whoever is the “Home” player, person who is listed first, on the schedule is responsible for creating the lobby through the following screen selections: a. “Online” → “Smash” → “Battle Arenas” → “Create Arena” b. If there are any questions as to who the “Home” player is, contact your opponent via Discord to confirm match time as well as who will take responsibility for the “Home” player. 4. The following settings are required for all UCSF E-Sports Super Smash Bros Ultimate matches a. Type: All Skill Levels b. Visibility: Friends c. Format: 1-on-1 d. Rules: 1. Style: Stock 2. Stock: 3 3. Time Limit: 7:00 4. FS Meter: Off 5. Damage Handicap: Off 6. Items: Off and None 7. Click Advanced a. Stage Hazards: Off b. Team Attack: Off c. Launch Rate: 1.0x d. Score Display: Off e. Show Damage: Yes e. Click More Settings: 1. Max Players: 2 2. Stage Selection: Choice 3. Custom Stages: Off 4. amiibo: Off 5. Spirits: Off 6. Voice Chat: Off f. Arena Name: What week in the season it is (Ex: Week 1 or Week 2) 5. In the event an incorrect ruleset is used, the match should be stopped and reset with the correct ruleset. -
09062299296 Omnislashv5
09062299296 omnislashv5 1,800php all in DVDs 1,000php HD to HD 500php 100 titles PSP GAMES Title Region Size (MB) 1 Ace Combat X: Skies of Deception USA 1121 2 Aces of War EUR 488 3 Activision Hits Remixed USA 278 4 Aedis Eclipse Generation of Chaos USA 622 5 After Burner Black Falcon USA 427 6 Alien Syndrome USA 453 7 Ape Academy 2 EUR 1032 8 Ape Escape Academy USA 389 9 Ape Escape on the Loose USA 749 10 Armored Core: Formula Front – Extreme Battle USA 815 11 Arthur and the Minimoys EUR 1796 12 Asphalt Urban GT2 EUR 884 13 Asterix And Obelix XXL 2 EUR 1112 14 Astonishia Story USA 116 15 ATV Offroad Fury USA 882 16 ATV Offroad Fury Pro USA 550 17 Avatar The Last Airbender USA 135 18 Battlezone USA 906 19 B-Boy EUR 1776 20 Bigs, The USA 499 21 Blade Dancer Lineage of Light USA 389 22 Bleach: Heat the Soul JAP 301 23 Bleach: Heat the Soul 2 JAP 651 24 Bleach: Heat the Soul 3 JAP 799 25 Bleach: Heat the Soul 4 JAP 825 26 Bliss Island USA 193 27 Blitz Overtime USA 1379 28 Bomberman USA 110 29 Bomberman: Panic Bomber JAP 61 30 Bounty Hounds USA 1147 31 Brave Story: New Traveler USA 193 32 Breath of Fire III EUR 403 33 Brooktown High USA 1292 34 Brothers in Arms D-Day USA 1455 35 Brunswick Bowling USA 120 36 Bubble Bobble Evolution USA 625 37 Burnout Dominator USA 691 38 Burnout Legends USA 489 39 Bust a Move DeLuxe USA 70 40 Cabela's African Safari USA 905 41 Cabela's Dangerous Hunts USA 426 42 Call of Duty Roads to Victory USA 641 43 Capcom Classics Collection Remixed USA 572 44 Capcom Classics Collection Reloaded USA 633 45 Capcom Puzzle -
Not of Woman Born: Monstrous Interfaces and Monstrosity in Video Games
NOT OF WOMAN BORN: MONSTROUS INTERFACES AND MONSTROSITY IN VIDEO GAMES By LAURIE N. TAYLOR A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2006 Copyright 2006 by Laurie N. Taylor To Pete. ACKNOWLEDGMENTS I have many people to thank for this dissertation: my friends, family, and teachers. I would also like to thank the University of Florida for encouraging the study of popular media, with a high level of critical theory and competence. This dissertation also would not have been possible without the diligent help and guidance from my committee members, Donald Ault and Jane Douglas, as well as numerous other faculty members and graduate students both at the University of Florida and at other institutions. Thanks go to friends and loved ones (and cats): Colin, Jeremiah, Nix, Galahad, and Mila. And, thanks go always to Pete, for helping with research, discussion, giving me love and support, and for being wonderful. iv TABLE OF CONTENTS Page ACKNOWLEDGMENTS ..............................................................................................iv ABSTRACT.................................................................................................................viii CHAPTER 1 INTRODUCTION....................................................................................................1 Introduction..............................................................................................................1