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The Development and Validation of the Game User Experience Satisfaction Scale (Guess)
THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) A Dissertation by Mikki Hoang Phan Master of Arts, Wichita State University, 2012 Bachelor of Arts, Wichita State University, 2008 Submitted to the Department of Psychology and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2015 © Copyright 2015 by Mikki Phan All Rights Reserved THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) The following faculty members have examined the final copy of this dissertation for form and content, and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy with a major in Psychology. _____________________________________ Barbara S. Chaparro, Committee Chair _____________________________________ Joseph Keebler, Committee Member _____________________________________ Jibo He, Committee Member _____________________________________ Darwin Dorr, Committee Member _____________________________________ Jodie Hertzog, Committee Member Accepted for the College of Liberal Arts and Sciences _____________________________________ Ronald Matson, Dean Accepted for the Graduate School _____________________________________ Abu S. Masud, Interim Dean iii DEDICATION To my parents for their love and support, and all that they have sacrificed so that my siblings and I can have a better future iv Video games open worlds. — Jon-Paul Dyson v ACKNOWLEDGEMENTS Althea Gibson once said, “No matter what accomplishments you make, somebody helped you.” Thus, completing this long and winding Ph.D. journey would not have been possible without a village of support and help. While words could not adequately sum up how thankful I am, I would like to start off by thanking my dissertation chair and advisor, Dr. -
Dying Light Two Release Date
Dying Light Two Release Date Berke is decrescendo and bespread communally while justificatory Kareem enwreathes and swashes. Jumbo and elaborated Daryle superpraise: which Glynn is uneclipsed enough? Christian uncrates unchangingly as busy Kent damn her spindling antagonizes Socratically. The game relevant affiliate commission Shows the Silver Award. The value does not respect de correct syntax. Sondej wrote on Twitter that the game is still in the works and that any statements about a Microsoft acquisition are false. The Bozak Horde is the new DLC that opens up a new challenge arena in The Stadium. They just might save your hide. This theme park, once a bustling, lively district, now sits in ruins, the oversized Octopus attraction mirroring the famous Ferris wheel in Pripyat, near Chernobyl. This free community and resources that being one x enhanced edition was in dying light two release date has an account. Techland has announced that the launch of the sequel zombie survival video game has been delayed and no new release date has been set. You can see a list of supported browsers in our Help Center. The biggest subreddit for leaks and rumours in the gaming community, for all games across all systems. Techland assures that new info will be shared in the new year. Call of Duty League season. If there was no matching functions, do not try to downgrade. View the discussion thread. Electrified weaponry makes you the life of the party. This item can bet fans around you, if email or purchase them for dying light two release date checks out of our algorithm integrated with it has been. -
OPERATIONAL EBIT INCREASED 217% to SEK 396 MILLION
THQ NORDIC AB (PUBL) REG NO.: 556582-6558 EXTENDED FINANCIAL YEAR REPORT • 1 JAN 2018 – 31 MAR 2019 OPERATIONAL EBIT INCREASED 217% to SEK 396 MILLION JANUARY–MARCH 2019 JANUARY 2018–MARCH 2019, 15 MONTHS (Compared to January–March 2018) (Compared to full year 2017) > Net sales increased 158% to SEK 1,630.5 m > Net sales increased to SEK 5,754.1 m (507.5). (632.9). > EBITDA increased to SEK 1,592.6 m (272.6), > EBITDA increased 174% to SEK 618.6 m (225.9), corresponding to an EBITDA margin of 28%. corresponding to an EBITDA margin of 38%. > Operational EBIT increased to SEK 897.1 m > Operational EBIT increased 217% to SEK 395.9 m (202.3) corresponding to an Operational EBIT (124.9) corresponding to an Operational EBIT margin of 16%. margin of 24%. > Cash flow from operating activities amounted > Cash flow from operating activities amounted to SEK 1,356.4 m (179.1). to SEK 777.2 m (699.8). > Earnings per share was SEK 4.68 (1.88). > Earnings per share was SEK 1.10 (1.02). > As of 31 March 2019, cash and cash equivalents were SEK 2,929.1 m. Available cash including credit facilities was SEK 4,521.1 m. KEY PERFORMANCE INDICATORS, Jan-Mar Jan-Mar Jan 2018- Jan-Dec GROUP 2019 2018 Mar 2019 2017 Net sales, SEK m 1,630.5 632.9 5,754.1 507.5 EBITDA, SEK m 618.6 225.9 1,592.6 272.6 Operational EBIT, SEK m 395.9 124.9 897.1 202.3 EBIT, SEK m 172.0 107.3 574.6 188.2 Profit after tax , SEK m 103.0 81.1 396.8 139.2 Cash flow from operating activities, SEK m 777.2 699.8 1,356.4 179.1 Sales growth, % 158 673 1,034 68 EBITDA margin, % 38 36 28 54 Operational EBIT margin, % 24 20 16 40 Throughout this report, the extended financial year 1 January 2018 – 31 March 2019 is compared with the financial year 1 January – 31 December 2017. -
THQ Nordic AB (Publ) Acquires Koch Media
THQ Nordic AB (publ) acquires Koch Media Investor Presentation February 14, 2018 Acquisition rationale AAA intellectual property rights Saints Row and Dead Island Long-term exclusive licence within Games for “Metro” based on books by Dmitry Glukhovsky 4 AAA titles in production including announced Metro Exodus and Dead Island 2 2 AAA studios Deep Silver Volition (Champaign, IL) and Deep Silver Dambuster Studios (Nottingham, UK) #1 Publishing partner in Europe for 50+ companies Complementary business models and entrepreneurial cultural fit Potential revenue synergy and strong platform for further acquisitions EPS accretive acquisition to THQ Nordic shareholders 2 Creating a European player of great scale Internal development studios1 7 3 10 External development studios1 18 8 26 Number of IPs1 91 15 106 Announced 12 5 17 Development projects1 Unannounced 24 9 33 Headcount (internal and external)1 462 1,181 1,643 Net sales 2017 9m, Apr-Dec SEK 426m SEK 2,548m SEK 2,933m2 Adj. EBIT 2017 9m, Apr-Dec SEK 156m SEK 296m3 SEK 505m2,3 1) December 31, 2017. 2) Pro forma. 3) Adjusted for write-downs of SEK 552m. Source: Koch Media, THQ Nordic 3 High level transaction structure THQ Nordic AB (publ) Koch Media Holding GmbH, seller (Sweden) (Germany) Purchase price EUR 91.5m 100% 100% SALEM einhundertste Koch Media GmbH, Operations Holding GmbH operative company (Austria) 100% (Austria) Pre-transaction Transaction Transaction information . Purchase price of EUR 91.5m – EUR 66m in cash paid at closing – EUR 16m in cash paid no later than August 14, 2018 – EUR 9.5m in shares paid no later than June 15, 2018 . -
Normalizing Monstrous Bodies Through Zombie Media
Your Friendly Neighbourhood Zombie: Normalizing Monstrous Bodies Through Zombie Media by Jessica Wind A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Communication Carleton University Ottawa, Ontario © 2016 Jess Wind Abstract Our deepest social fears and anxieties are often communicated through the zombie, but these readings aren’t reflected in contemporary zombie media. Increasingly, we are producing a less scary, less threatening zombie — one that is simply struggling to navigate a society in which it doesn’t fit. I begin to rectify the gap between zombie scholarship and contemporary zombie media by mapping the zombie’s shift from “outbreak narratives” to normalized monsters. If the zombie no longer articulates social fears and anxieties, what purpose does it serve? Through the close examination of these “normalized” zombie media, I read the zombie as possessing a non- normative body whose lived experiences reveal and reflect tensions of identity construction — a process that is muddy, in motion, and never easy. We may be done with the uncontrollable horde, but we’re far from done with the zombie and its connection to us and society. !ii Acknowledgements I would like to start by thanking Sheryl Hamilton for going on this wild zombie-filled journey with me. You guided me as I worked through questions and gained confidence in my project. Without your endless support, thorough feedback, and shared passion for zombies it wouldn’t have been nearly as successful. Thank you for your honesty, deadlines, and coffee. I would also like to thank Irena Knezevic for being so willing and excited to read this many pages about zombies. -
19/20 Full Year Report Reg No
APRIL 2019 – MARCH 2020 EMBRACER GROUP AB (PUBL) 19/20 FULL YEAR REPORT REG NO. 556582-6558 OPERATIONAL EBIT INCREASED 35% TO SEK 1,033 M FOR THE FINANCIAL YEAR FOURTH QUARTER, JANUARY–MARCH 2020 (COMPARED TO JANUARY–MARCH 2019) > Net sales were SEK 1,339.1 million (1,630.5). Net sales of the Games business area decreased to SEK 903.5 million (1,034.9). Net sales of Partner Publishing/Film business area decreased to SEK 435.6 million (595.6), mainly due to the covid-19 pandemic closing of retail outlets towards the end of the quarter. > EBITDA amounted to SEK 495.2 million (618.6), corresponding to an EBITDA margin of 37%. > Operational EBIT amounted to SEK 286.0 million (395.9) corresponding to an Operational EBIT margin of 21%. > Cash flow from operating activities before changes in working capital amounted to SEK 384.6 million (527.1). > Cash flow from operating activities amounted to SEK 765.7 million (777.2). > Earnings per share was SEK 0.42 (0.37). > Adjusted earnings per share was SEK 0.97 (1.00). FULL YEAR, APRIL 2019–MARCH 2020 (COMPARED TO APRIL 2018–MARCH 2019) > Net sales increased 3% to SEK 5,249.4 million (5,121.2). Net sales of the Games business area grew 31% to SEK 3,196.5 million (2,447.1), whereas the Partner Publishing/Film business area decreased to SEK 2,052.9 million (2,674,1). > EBITDA increased 33% to SEK 1,821.3 million (1,366.7), corresponding to an EBITDA margin of 35%. -
Master Thesis Project Artificial Intelligence Adaptation in Video
Master Thesis Project Artificial Intelligence Adaptation in Video Games Author: Anastasiia Zhadan Supervisor: Aris Alissandrakis Examiner: Welf Löwe Reader: Narges Khakpour Semester: VT 2018 Course Code: 4DV50E Subject: Computer Science Abstract One of the most important features of a (computer) game that makes it mem- orable is an ability to bring a sense of engagement. This can be achieved in numerous ways, but the most major part is a challenge, often provided by in-game enemies and their ability to adapt towards the human player. How- ever, adaptability is not very common in games. Throughout this thesis work, aspects of the game control systems that can be improved in order to be adapt- able were studied. Based on the results gained from the study of the literature related to artificial intelligence in games, a classification of games was de- veloped for grouping the games by the complexity of the control systems and their ability to adapt different aspects of enemies behavior including individual and group behavior. It appeared that only 33% of the games can not be con- sidered adaptable. This classification was then used to analyze the popularity of games regarding their challenge complexity. Analysis revealed that simple, familiar behavior is more welcomed by players. However, highly adaptable games have got competitively high scores and excellent reviews from game critics and reviewers, proving that adaptability in games deserves further re- search. Keywords: artificial intelligence in games, adaptability in games, non-player character adaptation, challenge Preface Computer games have become an interest for me not so long ago, but since then they have turned almost into a true passion. -
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. -
Oregon's Catholic University
U NIVERSITY OF P ORTLAND Oregon’s Catholic University BULLETIN 2007-2008 University Calendar 2007-08 2008-09 Fall Semester Aug. 27 Mon. Aug. 25 Semester begins: Classes begin at 8:10 a.m. Aug. 27 Mon. Aug. 25 Late registration begins Aug. 31 Fri. Aug. 29 Last day to drop courses with full tuition refund Aug. 31 Fri. Aug. 29 Last day to register or change registration (drop/add) Sept. 3 Mon. Sept. 1 Labor Day (Classes in session, offices closed) Oct. 15-19 Mon.-Fri. Oct. 13-17 Fall vacation, no classes Oct. 19 Fri. Oct. 17 Mid-semester (academic warnings) Nov. 1 Varies Nov. 1 Last day to apply for degree in May Nov. 16 Fri. Nov. 14 Last day to change pass/no pass Nov. 16 Fri. Nov. 14 Last day to withdraw from courses Nov. 5-9 Mon.-Fri. Nov. 3-7 Advanced registration for spring semester, seniors and juniors Nov. 12-16 Mon.-Fri. Nov. 10-14 Advanced registration for spring semester, sophomores and freshmen Nov. 22-23 Thurs.-Fri. Nov. 27-28 Thanksgiving vacation (begins 4 p.m., Wednesday) Dec. 7 Fri. Dec. 5 Last day of classes Dec. 10-13 Mon.-Thurs. Dec. 8-11 Semester examinations Dec. 13 Thurs. Dec. 11 Meal service ends with evening meal Dec. 14 Fri. Dec. 12 Degree candidates’ grades due in registrar’s office, 11 a.m. Dec. 14 Fri. Dec. 12 Christmas vacation begins, residence halls close Dec. 17 Mon. Dec. 15 Grades due in registrar’s office, 1 p.m. 2007-08 2008-09 Spring Semester Jan. -
Embracer Group Reason: Preview of Results Company Sponsored Research Seasonally Strong Quarter Ahead Not Rated
Equity Research - 19 January 2020 20:03 CET Embracer Group Reason: Preview of results Company sponsored research Seasonally strong quarter ahead Not rated Solid Q3’19/20e expected; however, we adjust… Estimate changes (%) …estimates due to FF VII, Shenmue III & Biomutant 2019e 2020e 2021e EV/operational EBIT 17.3x-11.8x for ’19e-‘21e Sales -13.8% 11.5% 5.0% EBIT (rep) -20.4% 17.7% 10.9% Q3’19/20e: sales of SEK 1,535m, Op. EBIT SEK 363m EPS (rep) -21.7% 18.3% 11.4% For Q3’19/20e, we estimate a top line of SEK 1,535m for total y-o-y Source: ABG Sundal Collier growth of 11.2%. On a segment level, we estimate revenues of SEK Share price (SEK) 16/01/2020 75.0 550m from Deep Silver, driven by strong back catalogue sales from Metro Exodus and Kingdom Come: Deliverance as well as the new Software, Sweden release of Shenmue III. For THQ Nordic, we estimate sales of SEK EMBRACB.ST /EMBRACB ST 325m, driven mainly by the release of Darksiders Genesis on Steam and Google Stadia in combination with strong back catalogue sales from MCap (SEKm) 21,041 Wreckfest. For Coffee Stain, we forecast sales of SEK 60m, mainly MCap (EURm) 1,991.3 driven by Satisfactory, which has claimed a spot on the Epic Game Store Net debt (EURm) -174 top sellers list for several weeks. In terms of Partner Publishing, we forecast sales of SEK 600m, driven by the seasonally strong Sep-Dec No. of shares (m) 281 period, along with stronger than expected sales for F1’19. -
Developing a Pedagogical Framework for Gaming Literacy in the Multimodal Composition Classroom
TOOLS OF PLAY: DEVELOPING A PEDAGOGICAL FRAMEWORK FOR GAMING LITERACY IN THE MULTIMODAL COMPOSITION CLASSROOM Tina Lynn Arduini A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2016 Committee: Kristine Blair, Advisor Gi Yun, Graduate Faculty Representative Lee Nickoson Sue Carter Wood ii ABSTRACT Kristine Blair, Advisor Since the publication of James Paul Gee’s (2003) seminal text What Video Games Have to Teach us About Learning and Literacy, scholars in the field of rhetoric and writing have been looking at the ways video games have made an impact on modern literacies. Paralleling this research, rhetoric and writing teacher-scholars have also been exploring the benefits to teaching multimodal composition skills to their students. My dissertation examines the intersections of these two related fields of study in order to help construct a pedagogical framework that utilizes gaming literacies in the multimodal composition classroom. Using the gaming literacy narratives of three student gamers at a rural Midwestern university, I address the following research questions: How do students acquire gaming literacy? What kinds of multimodal skills are acquired through gaming literacy? What does one’s gaming literacy narrative reveal about his or her literate practices? The answers to these questions help to inform my approach to the more pedagogically-driven research question: How can gaming literacy be effectively used in the multimodal composition classroom? My findings are influenced by technofeminist research methodologies so that I explore not only the role that video games have played upon my research participants but also the social adaptations that the participants have exerted over their gaming experiences. -
Queering the Zombie
This is a self-archived – parallel published version of this article in the publication archive of the University of Vaasa. It might differ from the original. Queering the Zombie Author(s): Sihvonen, Tanja Title: Queering the Zombie Year: 2019 Version: Accepted manuscript Copyright ©2019 Routledge. This is an Accepted Manuscript of a book chapter published by Routledge/CRC Press in The Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay on 6 August 2019, available online: https://doi.org/10.4324/9781315179490 Please cite the original version: Sihvonen, T. (2019). Queering the Zombie. In: Webley, S. J. & Zackariasson, P. (eds.) The Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay. London: Routledge. This is the final accepted manuscript version. Please cite the official publication: Sihvonen, Tanja (2019) Queering the Zombie. In Stephen Webley & Peter Zackariasson (Eds.) The Playful Undead and Video Games: Routledge Advances in Game Studies. London & New York: Routledge. Queering the Zombie Tanja Sihvonen Abstract This article starts with the observation that all monsters are created by humans and thus they serve specific cultural and sociopolitical purposes. The study is set to finding out, first, how the traditional figure of the zombie works as a monster in popular culture, and second, how digital games open up new possibilities for it to exist and to act. Even if the zombie has symbolic power that makes it an ideal antagonist in games, assigning individual agency to it is very unlikely. From this follows that playing (as) the zombie in games is actively discouraged. The analysis presented here differs from earlier research on the zombie as a posthuman figure in that it seeks to understand the functions and the usability of the monster specifically as a digital game character through analyzing examples such as Stubbs the Zombie in Rebel Without a Pulse (Wideload Games, 2005).