Spring 2015 Program (CSPAC Performance)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Concert Review: Symphony Help Breathe Life Into Video Games | Deseret News
11/23/2016 Concert review: Symphony help breathe life into video games | Deseret News Family Concert review: Symphony help breathe life into video games By Scott Iwasaki Published: March 29, 2008 12:00 a.m. "VIDEO GAMES LIVE!" Utah Symphony, Abravanel Hall, Friday, additional performance today, 355-2787 With strobe lights, a big video screen, mirror balls and an electric guitar, it was clear that "Video Games Live!" is not a typical symphony concert. And to have the Utah Symphony give two acts of video-game music life in a place other than the TV was nothing short of a rush. By the end of the show, the symphony did exactly what narrator and game composer and "Video Game Live!" co-founder Tommy Tallarico said it would do — "Show how culturally significant video games and video game music is in the world today." Conducted by video-game-music composer and "Video Game Live!" co-founder Jack Wall, the symphony, aided by the Snow College Choir, took the nearly sold-out audience on a journey from the early days of video gaming to the present. Kicking off the evening with the "blip-bleep" of "Pong" and ending with a rousing crescendo of "Final Fantasy VII," the concert brought old and young gamers together. With a symphonic suite, the concert highlighted pioneering games such as "Donkey Kong," "Dragon's Lair," "Tetris," "Frogger" and "Space Invaders," to name a few. In keeping with the "Space Invaders" theme, Tallarico chose a member from the audience to play a giant screen version of the game while the symphony performed the theme. -
Title ODATE GAME
Title ODATE GAME : character design and modelling for Japanese modesty culture based independent video game Sub Title Author 鄒、琰(Zou, Yan) 太田, 直久(Ota, Naohisa) Publisher 慶應義塾大学大学院メディアデザイン研究科 Publication year 2014 Jtitle Abstract Notes 修士学位論文. 2014年度メディアデザイン学 第395号 Genre Thesis or Dissertation URL https://koara.lib.keio.ac.jp/xoonips/modules/xoonips/detail.php?koara_id=KO40001001-0000201 4-0395 慶應義塾大学学術情報リポジトリ(KOARA)に掲載されているコンテンツの著作権は、それぞれの著作者、学会または出版社/発行者に帰属し、その権利は著作権法によって 保護されています。引用にあたっては、著作権法を遵守してご利用ください。 The copyrights of content available on the KeiO Associated Repository of Academic resources (KOARA) belong to the respective authors, academic societies, or publishers/issuers, and these rights are protected by the Japanese Copyright Act. When quoting the content, please follow the Japanese copyright act. Powered by TCPDF (www.tcpdf.org) Master's Thesis Academic Year 2014 ODATE GAME: Character Design and Modelling for Japanese Modesty Culture Based Independent Video Game Graduate School of Media Design, Keio University Yan Zou A Master's Thesis submitted to Graduate School of Media Design, Keio University in partial fulfillment of the requirements for the degree of MASTER of Media Design Yan Zou Thesis Committee: Professor Naohisa Ohta (Supervisor) Associate Professor Kazunori Sugiura (Co-Supervisor) Associate Professor Nanako Ishido (Co-Supervisor) Abstract of Master's Thesis of Academic Year 2014 ODATE GAME: Character Design and Modelling for Japanese Modesty Culture Based Independent Video Game Category: Design Summary Game character design is an important part of game design. Game characters cannot be designed only according to the designer's experience or the players' preferences. They should be strongly associated to the game system and also the story. A good game character design is not only the reason for players to purchase the game but it also can improve players' entire game experience. -
Concept Statement
Divine Beats – Night at the Monastery Alternative Beat Map Representation in Music Rhythm Games by Ingrid Wu Thesis Instructor: Marko Tandefelt Thesis Writing Instructor: Loretta J. Wolozin A thesis document submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Design and Technology Parsons The New School for Design May 2010 ©2010 Ingrid Wu ALL RIGHTS RESERVED 2 Abstract “Divine Beats – Night at the Monastery” is a music rhythm game about a drummer’s adventure as he works with a monk on an exorcism quest. The game aims to convey beat map data to the players without using the traditional heads‐up display. 3 Table of Content ABSTRACT∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 3 TABLE OF CONTENT∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 4 LIST OF ILLUSTRATIONS ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 6 CHAPTER 1 ‐ INTRODUCTION∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 7 1.1. CONCEPT∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 7 1.2. IMPETUS AND MOTIVATION ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 7 1.3. SIGNIFICANCE∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ 8 1.4. DESIGN QUESTIONS ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ -
Video Games Live
Sunday, November 17, 2019, 7pm Zellerbach Hall Video Games Live with the UC Berkeley Symphony Orchestra Tommy Tallarico, creator, executive producer, host, guitar Emmanuel Fratianni, conductor Jason Paige, soloist Chad Gorr, lighting director and production manager Derek Almstead, audio engineer Steve Miller, video operator Cal Performances’ 2019–20 season is sponsored by Wells Fargo. 15 PROGRAM NOTES Video Games Live™? is an immersive concert new friends as we celebrate a pastime that has event celebrating music from the most popular evolved to become an important part of our video games of all time. Created, produced, and culture. Even if you don’t play video games, we hosted by well-known game industry veteran promised that you’ve never heard or seen an and superstar Tommy Tallarico, it features orchestral per formance quite like this. orchestras from around the world performing to exclusive, synchronized video footage Achievements & Accomplishments and lighting, and with celebrity Internet solo Incorporated in 2002, Video Games Live is the performers, electronic percussion, live action, first and most successful video game touring and unique interactive segments, all creating concert in the world, having been performed an explosive, one-of-a-kind entertainment ex- over 500 times in 42 countries on five conti- per i ence. Special events surround the show, nents. Over 11,000 people were present for the including a pre-show costume contest and debut performance at the Hollywood Bowl with a post-show meet-and-greet with top game the Los Angeles Philharmonic and since then, composers. Pre- and post-show events are open over two million people have experienced the to all ticket holders. -
Video Games and the Mobilization of Anxiety and Desire
PLAYING THE CRISIS: VIDEO GAMES AND THE MOBILIZATION OF ANXIETY AND DESIRE BY ROBERT MEJIA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Kent A. Ono, Chair Professor John Nerone Professor Clifford Christians Professor Robert A. Brookey, Northern Illinois University ABSTRACT This is a critical cultural and political economic analysis of the video game as an engine of global anxiety and desire. Attempting to move beyond conventional studies of the video game as a thing-in-itself, relatively self-contained as a textual, ludic, or even technological (in the narrow sense of the word) phenomenon, I propose that gaming has come to operate as an epistemological imperative that extends beyond the site of gaming in itself. Play and pleasure have come to affect sites of culture and the structural formation of various populations beyond those conceived of as belonging to conventional gaming populations: the workplace, consumer experiences, education, warfare, and even the practice of politics itself, amongst other domains. Indeed, the central claim of this dissertation is that the video game operates with the same political and cultural gravity as that ascribed to the prison by Michel Foucault. That is, just as the prison operated as the discursive site wherein the disciplinary imaginary was honed, so too does digital play operate as that discursive site wherein the ludic imperative has emerged. To make this claim, I have had to move beyond the conventional theoretical frameworks utilized in the analysis of video games. -
Concert: Ithaca College Gamer Symphony Orchestra Vivian Becker
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 11-1-2017 Concert: Ithaca College Gamer Symphony Orchestra Vivian Becker Raul Dominguez Keehun Nam Henry Scott mithS Ithaca College Gamer Symphony Orchestra Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Becker, Vivian; Dominguez, Raul; Nam, Keehun; Smith, Henry Scott; and Ithaca College Gamer Symphony Orchestra, "Concert: Ithaca College Gamer Symphony Orchestra" (2017). All Concert & Recital Programs. 4072. https://digitalcommons.ithaca.edu/music_programs/4072 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Ithaca College Gamer Symphony Orchestra Conductors: Vivian Becker Raul Dominguez Keehun Nam Henry Scott Smith Ford Hall Wednesday, November 1st, 2017 8:15 pm Program Kid Icarus (1986) Hirokazu Ando arr. Jeremy Werner Vivian Becker, Conductor The Great Journey: Themes from the Martin O'Donnell & Michael Halo Series (2001) Salvatori arr. Nicolas Chlebak Henry Scott Smith, Conductor Prayers in the Temple of Time (1998) Koji Kondo arr. Rebecca Tripp Raul Dominguez, Conductor Fantasy for Kirby (1992) Jun Ishikawa & Hirokazu Ando arr. Alexander Rosetti Vivian Becker, Conductor "Remix 10" Clinton Edward Strother & Tsunku from Rhythm Heaven Fever (2011) arr. Frankie DiLello Henry Scott Smith, Conductor Intermission Monster Hunter: Proof of a Hero (2004) Masato Kouda arr. Griffin Charyn Vivian Becker, Conductor "Oh! One True Love" Toby Fox from Undertale (2015) arr. Anna Marcus-Hecht Raul Dominguez, Conductor Selections from Ninja Gaiden (1988) Mikio Saitou, Ichiro Nakagawa, Ryuichi Nitta, Tamotsu Ebisawa arr. -
Foundations for Music-Based Games
Die approbierte Originalversion dieser Diplom-/Masterarbeit ist an der Hauptbibliothek der Technischen Universität Wien aufgestellt (http://www.ub.tuwien.ac.at). The approved original version of this diploma or master thesis is available at the main library of the Vienna University of Technology (http://www.ub.tuwien.ac.at/englweb/). MASTERARBEIT Foundations for Music-Based Games Ausgeführt am Institut für Gestaltungs- und Wirkungsforschung der Technischen Universität Wien unter der Anleitung von Ao.Univ.Prof. Dipl.-Ing. Dr.techn. Peter Purgathofer und Univ.Ass. Dipl.-Ing. Dr.techn. Martin Pichlmair durch Marc-Oliver Marschner Arndtstrasse 60/5a, A-1120 WIEN 01.02.2008 Abstract The goal of this document is to establish a foundation for the creation of music-based computer and video games. The first part is intended to give an overview of sound in video and computer games. It starts with a summary of the history of game sound, beginning with the arguably first documented game, Tennis for Two, and leading up to current developments in the field. Next I present a short introduction to audio, including descriptions of the basic properties of sound waves, as well as of the special characteristics of digital audio. I continue with a presentation of the possibilities of storing digital audio and a summary of the methods used to play back sound with an emphasis on the recreation of realistic environments and the positioning of sound sources in three dimensional space. The chapter is concluded with an overview of possible categorizations of game audio including a method to differentiate between music-based games. -
1 Fully Optimized: the (Post)Human Art of Speedrunning Like Their Cognate Forms of New Media, the Everyday Ubiquity of Video
Fully Optimized: The (Post)human Art of Speedrunning Item Type Article Authors Hay, Jonathan Citation Hay, J. (2020). Fully Optimized: The (Post)human Art of Speedrunning. Journal of Posthuman Studies: Philosophy, Technology, Media, 4(1), 5 - 24. Publisher Penn State University Press Journal Journal of Posthuman Studies Download date 01/10/2021 15:57:06 Item License https://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://hdl.handle.net/10034/623585 Fully Optimized: The (post)human art of speedrunning Like their cognate forms of new media, the everyday ubiquity of video games in contemporary Western cultures is symptomatic of the always-already “(post)human” (Hayles 1999, 246) character of the mundane lifeworlds of those members of our species who live in such technologically saturated societies. This article therefore takes as its theoretical basis N. Katherine Hayles’ proposal that our species presently inhabits an intermediary stage between being human and posthuman; that we are currently (post)human, engaged in a process of constantly becoming posthuman. In the space of an entirely unremarkable hour, we might very conceivably interface with our mobile phone in order to access and interpret GPS data, stream a newly released album of music, phone a family member who is physically separated from us by many miles, pass time playing a clicker game, and then absentmindedly catch up on breaking news from across the globe. In this context, video games are merely one cultural practice through which we regularly interface with technology, and hence, are merely one constituent aspect of the consummate inundation of technologies into the everyday lives of (post)humans. -
Cruising Game Space
CRUISING GAME SPACE Game Level Design, Gay Cruising and the Queer Gothic in The Rawlings By Tommy Ting A thesis exhibition presented to OCAD University in partial fulfillment of the requirements for the degree of Master of Fine Arts in Digital Futures Toronto Media Arts Centre 32 Lisgar Street., April 12, 13, 14 Toronto, Ontario, Canada April 2019 Tommy Ting 2019 This work is licensed under the Creative Commons Attribution-Non Commercial-ShareAlike 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc- sa/4.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. Copyright Notice Author’s Declaration This work is licensed under the Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/4.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. You are free to: Share – copy and redistribute the material in any medium or format Adapt – remix, transform, and build upon the material The licensor cannot revoke these freedoms as long as you follow the license terms. Under the follower terms: Attribution – You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. NonCommericial – You may not use the material for commercial purposes. ShareAlike – If you remix, transform, or build upon the material, you must distribute you contributions under the same license as the original. -
Ocarina of Time World Record
Ocarina Of Time World Record Unforsaken and unsectarian Pip total her attribution niches sortes and faces heedfully. Manish niggardized his Ernyguillemot unhumanising catnapped cheerily irresolutely, and valvedbut quadratic his sacramental Roberto never swift anddoubts starchily. so abloom. Phantasmagorial and sunray Since OOT is a famous game you can find a speedrun of OOT on SDA or on the youtube channel that uses the same glitches. After breaking through the spider web and reaching the lower floor of the Great Deku Tree, turn back and look at the vines leading up. Please stop for the regret of God. Get bill of Hollywood. Celeste speedrunning career so far off. Over the years, speedrunners have discovered multiple glitches that shave time off the Ocarina of Time world record, and now, that world record has fallen below ten minutes! Remove pump inner leader and padding in Firefox. Attack benefit from behind! Pero antes de morir nos pidió que fueramos al castillo de Hyrule. Our situation has made easy would use online tool can convert row data. Not knowing the technical details of what just happened, it looks like he just dicked around for ten minutes and then Ganondorf gave up. Link getting packages available now find more about is usually they must have taken on page in our ocarinas. Iron boots on ocarina time he runs. With a time of ocarina of quality that is what does not necessary. Castle: Theoretically, one could warp from the starting dungeon all the way past Ganondorf, to fight Ganon and beat the game. We chatted with one of the top Ocarina of Time speedrunners in the world. -
Cutscene List – Prague
25-Jun-21 Cutscene-FULL-LIST-PRAGUE-v11 CUTSCENE LIST – PRAGUE SCENE 8 THE CRIME SCENE AT VASILEY’S. POINT 8.1: HIGH PRIORITY IG-ANIM - Lara pulls into a backtstreet in the borrowed vehicle, she gets out ….says “Great, another cold, dark city.” Cut to ingame. POINT 8.3: IG CONV - Luddick, a news reporter is staking out Vasiley’s shop. He sits in the warmth of his car that is parked across the square. Lara can talk to him but he will only give info if she has money to barter with. He lets her get into the car when she waves some cash at him. He tells Lara that he’s been following Vasiley for months and is convinced Vasiley was connected to the Mafia in some way. Now he’s been murdered it all points to a Mafia killing. All evidence has been cleared away. Lara has to keep prompting him with cash. He shows her some files on the main ‘Mafia’ members and others including Bouchard. He might be able to get her a passcode into the Strahov, their centre of operations. The outcome later will vary depending on whether Lara is predominantly FRIENDLY or UNFRIENDLY. Lara leaves and heads for Vasiley’s premises – the crimescene. SEE DIALOGUE TOM-LUDDICK-CAR. They have the conversation outside the car. No anims required. POINT 8.11: HIGH PRIORITY - MODIFIED IG_ANIM - Lara comes across Bouchard inside Vasiley’s premises. She sneaks up behind him and holds a gun to his head. He turns round and she hits him with the butt of the gun…black. -
Cutscenes, Agency and Innovation Ben Browning a Thesis In
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Concordia University Research Repository Should I Skip This?: Cutscenes, Agency and Innovation Ben Browning A Thesis in The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montreal, Quebec, Canada April 2016 © Ben Browning CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Ben Browning Entitled: Should I Skip This?: Cutscenes, Agency and Innovation and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Darren Wershler External Examiner Peter Rist Examiner Marc Steinberg Supervisor Approved by Haidee Wasson Graduate Program Director Catherine Wild Dean of the Faculty of Fine Arts Date ___________________________________ iii ABSTRACT Should I Skip This?: Cutscenes, Agency and Innovation Ben Browning The cutscene is a frequently overlooked and understudied device in video game scholarship, despite its prominence in a vast number of games. Most gaming literature and criticism concludes that cutscenes are predetermined narrative devices and nothing more. Interrogating this general critical dismissal of the cutscene, this thesis argues that it is a significant device that can be used to re-examine a number of important topics and debates in video game studies. Through an analysis of cutscenes deriving from the Metal Gear Solid (Konami, 1998) and Resident Evil (Capcom, 1996) franchises, I demonstrate the cutscene’s importance within (1) studies of video game agency and (2) video game promotion.