Rayman®3 Hoodlum Havoc
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Rayman M Manuel Dvd Pc Uk
STORYLINE 4 RAYMAN M INSTALLATION 5 A/ TECHNICAL REQUIREMENTS 5 B/ INSTALL THE GAME 5 NAVIGATING THROUGH THE MENUS 6 A/ MAIN MENU 6 B/ NEW GAME 6 C/ CONTINUE 7 D/ OPTION MENU 7 GAME RULES 10 A/ RACE GAME RULES 11 •Game modes 11 •Object Descriptions 12 B/ BATTLE GAME RULES 13 •Game modes 13 •Description of the Weapons 14 CHOOSING BETWEEN MULTIPLAYER AND SINGLE PLAYER MODES 16 A/ RAYMAN M CHARACTERS 16 •Description of the characters 16 •Character Selection 18 B/ SINGLE PLAYER MODE 19 •Map Selection 19 •Game mode selection 19 C/ MULTIPLAYER MODE 20 •General 20 •Game mode selection 20 CREDITS 22 3 N • Livret RAYMAN M • 120x180 mm • trame 150 • 3 Storyline Rayman M Install ayman and his famous acolytes face new challenges in a A/ TECHNICAL REQUIREMENTS unique sporting competition: they will confront these Rchallenges in hard and varied environments to become Minimum Requirements : THE winner of a surprising biathlon: Race and Battle modes. Operating System: Windows 98/ Windows XP/ Windows 2000 / Windows ME Pick your character and compete with your opponents in Processor specs: Pentium II 450 Mhz interactive environments littered with power-ups, extreme RAM: 64 Mo actions and shooting in hazardous arenas. Catch weapons to Video Card: TNT2 pinch your opponent’s lums, glide across bewitching lagoons Display Mode: 16 & 32 Bit and learn to be tough and nimble to take your adversaries Available Space: 550 Mb by surprise. CD ROM Drive: 4x DirectX (available on the CD): 8.0A Perhaps at least will you succeed to be tougher than Rayman… Other: Keyboard / Mouse. -
H1 FY12 Earnings Presentation
H1 FY12 Earnings Presentation November 08, 2011 Yves Guillemot, President and Chief Executive Officer Alain Martinez, Chief Financial Officer Jean-Benoît Roquette, Head of Investor Relations Disclaimer This statement may contain estimated financial data, information on future projects and transactions and future business results/performance. Such forward-looking data are provided for estimation purposes only. They are subject to market risks and uncertainties and may vary significantly compared with the actual results that will be published. The estimated financial data have been presented to the Board of Directors and have not been audited by the Statutory Auditors. (Additional information is specified in the most recent Ubisoft Registration Document filed on June 28, 2011 with the French Financial Markets Authority (l’Autorité des marchés financiers)). 2 Summary H1 : Better than expected topline and operating income performance with strong growth margin improvement H1 : Across the board performance : Online − Casual − High Definition H2 : High potential H2 line-up for casual and passionate players, targeting Thriving HD, online platforms and casual segments H2 : Quality improves significantly Online : Continue to strenghten our offering and expertise FY12 : Confirming guidance for FY12 FY13 : Improvement in operating income and back to positive cash-flows 3 Agenda H1 FY12 performance H2 FY12 line-up and guidance 4 H1 FY12 : Sales Q2 Sales higher than guidance (146 M€ vs 99 M€) Across the board performance : Online − Casual − HD Benefits -
Christian Ronchi Contact
CHRISTIAN RONCHI CONTACT 3D ARTIST [email protected] +39 347 0380446 christianronchi it.linkedin.com/in/christianronchi www.chricchio.com twitter.com/chricchio ABOUT ME WORK EXPERIENCE Hi, I am Christian Ronchi. I was born in Milan, Italy, 6th May 1978. from 2015 FORGE REPLY forgereply.eu In 1996 I graduated from Brera school of Arts after which I enrolled at the Lead Artist Academy of Belle Arti in the Faculty of Painting, in addition I also obtained Unannounced Project [PC - Nerxt Gen Consoles] a professional certificate for Computer Graphics through the Enaip Theseus VR [PS4VR - PC Oculus Rift - PC HTC Vive] institute in Milan. I spent the first couple of years of my career as a freelance Artist making commercials for various companies, until 2001 when I joined Ubisoft 2001-2014 UBISOFT www.ubisoft.com Studios in Milan where I have worked since December 2014. Senior 3D Specialized Artist - Lighting & Visual Effects Currently I’m working at Forge Reply as Lead Artist on an unannounced Just Dance 2014 [Wii - WiiU - Xbox360 - Ps3 - Xbox One - Ps4] project for Pc / Next-Gen Console. Just Dance 4 [Wii - WiiU - Xbox360 - Ps3] Rabbids: Alive and Kicking [Xbox360 + Kinect] In my career I have been involved in a number of projects, filling a wide array of functions, working with and creating: Models, Animation, Technical Art Director Lighting, Rendering, Composition & Visual Effects for both Real-Time and MotionSports [Xbox360 + Kinect] Cinematics. We Dare [Wii] My Secret World [Nintendo DS] In June 2014 I collaborated with other game industry experts in the production of Game Development Tool Essentials, a book dedicated to Senior 3D Artist game development. -
Ludic Dysnarrativa: How Can Fictional Inconsistency in Games Be Reduced? by Rory Keir Summerley
Ludic Dysnarrativa: How Can Fictional Inconsistency In Games Be Reduced? by Rory Keir Summerley A Thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy (PhD) at the University of the Arts London In Collaboration with Falmouth University December 2017 Abstract The experience of fictional inconsistencies in games is surprisingly common. The goal was to determine if solutions exist for this problem and if there are inherent limitations to games as a medium that make storytelling uncommonly difficult. Termed ‘ludic dysnarrativa’, this phenomenon can cause a loss of immersion in the fictional world of a game and lead to greater difficulty in intuitively understanding a game’s rules. Through close textual analysis of The Stanley Parable and other games, common trends are identified that lead a player to experience dysnarrativa. Contemporary cognitive theory is examined alongside how other media deal with fictional inconsistency to develop a model of how information (fictional and otherwise) is structured in media generally. After determining that gaps in information are largely the cause of a player feeling dysnarrativa, it is proposed that a game must encourage imaginative acts from the player to prevent these gaps being perceived. Thus a property of games, termed ‘imaginability’, was determined desirable for fictionally consistent game worlds. Many specific case studies are cited to refine a list of principles that serve as guidelines for achieving imaginability. To further refine these models and principles, multiplayer games such as Dungeons and Dragons were analysed specifically for how multiple players navigate fictional inconsistencies within them. While they operate very differently to most single-player games in terms of their fiction, multiplayer games still provide useful clarifications and principles for reducing fictional inconsistencies in all games. -
The Case of Ubisoft
XXVIIe Conférence Internationale de Management Stratégique Processes and socio-material presence in Performing leadership : the case of ubisoft David Massé Télécom ParisTech (i3-SES) [email protected] Thomas Paris CNRS, GREGHEC; HEC Paris & École polytechnique (i3-CRG) [email protected] Heloise Berkowitz CNRS (UMR5303), TSM-Research [email protected] Résumé : How does a leader perform, i.e. shape, her organization? Communicative Constitution of Organizing (CCO) approaches describe leadership either as a combination of microprocesses and influential acts, or as human and nonhuman agency, that give shape to organizations. This paper seeks to bridge the gap between these two approaches to provide a comprehensive understanding of leadership as a necessary coupling of processes and socio-material devices. Based on a longitudinal case study of a video game developer, this paper explores the emergence of a singular leader’s vision. We study the operational translation and deployment of this vision in the organization through three stages of performativity, both successes and failures. We contribute to debates on CCO and leadership by showing the role of translators and trainers in coupling the leader’s vision to its socio-material presence, as well as the importance of device density. Mots-clés : intra-organizational performativity, visionary leadership, creative industries, devices, communication as constitutive of organizations 1 Montpellier, 6-8 juin 2018 XXVIIe Conférence Internationale de Management Stratégique INTRODUCTION How does a leader shape her organization? The recent literature on discursive leadership has shifted its focus from a leader’s abilities such as personality traits or charisma, to her interactions with followers and institutional settings, or her material presence. -
Game Crediting Guide 9.2
Game Crediting Guide 9.2 August 2014 This work is licensed under the Creative Commons Attribution-Non Commercial-ShareAlike License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/2.5/ IGDA® Game Crediting Guide 9.2 Table of Contents INTRODUCTION USE OF THIS GUIDE RULE SETS INCLUSION RULES ATTRIBUTION RULES USAGE RULES METHODOLOGY QUESTION AND ANSWER APPENDIX I – IGDA STANDARDIZED ROLES II – FUTURE INITIATIVES III – CONTRIBUTORS IV – CONTACT & FEEDBACK About the International Game Developers Association (IGDA®) The International Game Developers Association is a non-profit professional society that is committed to advancing the careers and enhancing the lives of game developers by connecting members with their peers, promoting professional development, and advocating on issues that affect the developer community. For more information on the IGDA, please visit www.igda.org. (Note: This guide is still in beta form: readers are encouraged to send all feedback to the IGDA Credits Committee. See Appendix IV below. ) 2 IGDA® Game Crediting Guide 9.2 Introduction In the game industry, it is often said that “you’re only as good as your last game”. Unfortunately, many members of the industry have a hard time proving what their last game was due to the largely arbitrary crediting methods used by their employers. Far from following a set of coherent, logical crediting standards, game credits are often inconsistent from game to game, even within the same company. Employees are often mislabeled, unlabeled, or left off, though they may have given years of their life to bring a game to market. -
It's Meant to Be Played
Issue 07 THE WAY It’s Meant To Be Played Peter Jackson’s King Kong Age Of Empires III Serious Sam 2 Blockbusters Enjoy the season’s hottest games onon thethe hottesthottest gaminggaming platfplatform Chronicles Of Narnia: The Lion, The Witch City Of Villains F.E.A.R And The Wardrobe The way it’s meant to be played 3 6 7 8 Welcome Welcome to Issue 7 of The Way It’s Meant To Be Played, the magazine that showcases 12 13 the very best of the latest PC games. All the 30 titles featured in this issue are participants in NVIDIA’s The Way It’s Meant To Be Played programme, a campaign designed to deliver the very best playing experience possible. Development teams taking part in the programme are given access to 14 19 NVIDIA’s hardware, with NVIDIA’s developer technology engineers on hand to help them to get the very best graphics and effects into their new games. The games are then rigorously tested by NVIDIA for compatibility, stability and reliability to ensure that customers can buy any games with the TWIMTBP logo on the box, confident that the game will deliver the ultimate ‘install- and-play’ experience when played with an Contents NVIDIA GeForce-based graphics card. 3 NVIDIA news 14 Chronicles Of Narnia: The Lion, Games developers today like to use The Witch And The Wardrobe Shader Model 3.0 technology for stunning, TWIMTBP games 15 Peter Jackson’s King Kong complex cinematic effects – a technology 4 Vietcong 2 16 F.E.A.R. -
Eric Chahi,Boxboy!
C’era una volta ad…Hollywood – Analisi senza spoiler 1992-2019 Sono passati esattamente 27 anni dal folgorante esordio al cinema di questo talentuoso cineasta, quando con Reservoir Dogs (da noi banalizzato semplicemente in Le Iene) Quentin Tarantino è entrato di prepotenza nell’immaginario collettivo di milioni di persone. Una sceneggiatura praticamente senza sbavature, una regia matematicamente perfetta ed una conduzione degli attori impeccabile. Tarantino ha sempre sfoderato una sensibilità rispettosa verso certi canoni classici, ritraducendoli in chiave moderna o Pulp, come piace dire a certa critica. E di certo Lui non si tira indietro davanti a certe etichette preconfezionate, da buon amatore del cinema di genere, ed ecco che consegna il suo capolavoro stampando sulla copertina quello stesso termine che da lì in poi marchierà indelebilmente la sua dialettica: Pulp Fiction; appunto la finzione del cinema cosparso sopra la superficie di quella verità arida e a volte cruda che è la vita. Era il 1994, gli albori di quegli anni ’90 ormai disillusi e privi dello sfarzo tipico del decennio precedente. Si può tranquillamente affermare che il cinema di Tarantino è il ritratto sincero di quel periodo, insieme ad altri illustri colleghi come i fratelli Coen. Ma adesso siamo nel 2019, i tempi cambiano e la visione del mondo segue il corso degli eventi. C’è chi sostiene che il regista texano abbia sparato tutte le sue cartucce migliori, che non abbia più nulla da dire. Un artista fatto e finito, che ha compiuto totalmente il suo percorso e arranca nel disperato tentativo di non uscire dal circuito mediatico. -
Hi, My Name Is… Michel Ancel,Nostalgia,E3
Hi, my name is… Michel Ancel Nella storia dell’industria videoludica la maggior parte dei giochi in grado di trainare intere generazioni di designer e giocatori nascono da un’idea semplice, elementare ma che nella loro immediata intuitività lasciano un solco indelebile, un passaggio obbligato per tutto quello che verrà da quel momento in poi. È l’esempio della saga, ormai diventato uno dei franchising più redditizi del mercato, di Super Mario Bros. o quella di Sonic the Hedgehog rispettivamente di Nintendo e Sega. Prodotti che hanno saputo creare due icone indelebili del videogioco e che ancora oggi vengono facilmente identificati come simboli dell’intero settore. Come si può mai pensare di arrivare a concepire un personaggio con una forza iconica tale da essere accostato a questi due giganti? Un buffo omino francese è riuscito nell’impresa nell’ormai lontano 1995, ritagliandosi un piccolo spazio nella legenda: stiamo parlando di Michel Ancel, il papà di Rayman. Classe 1972, Michel Ancel inizia la sua avventura come graphic artist allaLankhor curando l’estetica dei mecha inMechanic Warriors. L’abilità di riuscire a sfruttare la pochezza dell’hardware corrente riuscendo a disegnare splendidi sprite in pixel art convince la dirigenza di una giovane Ubisoft a chiamarlo tra le sue fila, affidandogli il delicatissimo compito di sviluppare un gioco che potesse donare alla compagnia un’identità, in grado di distinguerla dalla concorrenza. Ancel accetta la sfida e recupera il concept di un personaggio disegnato anni prima, influenzato da vecchie fiabe dell’est Europa. Inconfondibile, grazie al suo ciuffo biondo, il naso pronunciato e la pancia ovale dal colore di una melanzana; Ancel dà vita al personaggio di Rayman la prima vera e propria mascotte della compagnia transalpina. -
GAME DEVELOPER TOP 50 the Best Ideas Evolve
THE LEADING GAME INDUSTRY MAGAZINE VOL18 NO10 NOVEMBER 2011 INSIDE: THE GAME DEVELOPER TOP 50 The best ideas evolve. Great ideas don’t just happen. They evolve. Your own development teams think and work fast. Don’t miss a breakthrough. Version everything with Perforce. Software and firmware. Digital assets and games. Websites and documents. More than 5,000 organizations and 350,000 users trust Perforce SCM to version work enterprise-wide. Try it now. Download the free 2-user, non-expiring Perforce Server from perforce.com Or request an evaluation license for any number of users. Perforce Video Game Game Developer page ad.indd 1 06/07/2011 19:14 DEPARTMENTS CONTENTS.1111 VOLUME 18 NUMBER 10 2 GAME PLAN By Brandon Sheffield [EDITORIAL] Journalistic Rage 4 HEADS UP DISPLAY [NEWS] Indiecade illustrated, GDC Online Award winners, and new Atari 2600 game found. 26 TOOL BOX By Jeremy Putnam [REVIEW] Autodesk Maya 2012 POSTMORTEM 29 THE BUSINESS By Dave Voyles [BUSINESS] Promoting Indies 20 CRIMSON ALLIANCE 35 PIXEL PUSHER By Steve Theodore [ART] CRIMSON ALLIANCE is one of the first games on XBLA to use Gamma Drive Me Crazy! microtransactions. It also went for a different angle on the action RPG, by emphasizing action much more than role playing or stats 38 THE INNER PRODUCT By Andy Firth [PROGRAMMING] building. It turned out that one of the most important variables to Lighter Than Air fans enjoying both of these was the messaging—which developer 40 DESIGN OF THE TIMES By Damion Schubert [DESIGN] Certain Affinity feels could have been gone much better. -
Michel Ancel
Hi, my name is… Michel Ancel Nella storia dell’industria videoludica la maggior parte dei giochi in grado di trainare intere generazioni di designer e giocatori nascono da un’idea semplice, elementare ma che nella loro immediata intuitività lasciano un solco indelebile, un passaggio obbligato per tutto quello che verrà da quel momento in poi. È l’esempio della saga, ormai diventato uno dei franchising più redditizi del mercato, di Super Mario Bros. o quella di Sonic the Hedgehog rispettivamente di Nintendo e Sega. Prodotti che hanno saputo creare due icone indelebili del videogioco e che ancora oggi vengono facilmente identificati come simboli dell’intero settore. Come si può mai pensare di arrivare a concepire un personaggio con una forza iconica tale da essere accostato a questi due giganti? Un buffo omino francese è riuscito nell’impresa nell’ormai lontano 1995, ritagliandosi un piccolo spazio nella legenda: stiamo parlando di Michel Ancel, il papà di Rayman. Classe 1972, Michel Ancel inizia la sua avventura come graphic artist allaLankhor curando l’estetica dei mecha inMechanic Warriors. L’abilità di riuscire a sfruttare la pochezza dell’hardware corrente riuscendo a disegnare splendidi sprite in pixel art convince la dirigenza di una giovane Ubisoft a chiamarlo tra le sue fila, affidandogli il delicatissimo compito di sviluppare un gioco che potesse donare alla compagnia un’identità, in grado di distinguerla dalla concorrenza. Ancel accetta la sfida e recupera il concept di un personaggio disegnato anni prima, influenzato da vecchie fiabe dell’est Europa. Inconfondibile, grazie al suo ciuffo biondo, il naso pronunciato e la pancia ovale dal colore di una melanzana; Ancel dà vita al personaggio di Rayman la prima vera e propria mascotte della compagnia transalpina. -
Professionnelle
dossier - métiers dossier 10 11 omment vous est venue l’idée de Rayman ? Est-il encore possible de démarrer Cdans le jeu vidéo comme lorsque vous avez commencé ? Que pensez-vous de la nouvelle console Wii ? En quoi consiste le métier de game designer ? Y aura-t-il une suite à Beyond the Good and Evil ? Que pensez vous des écoles de formation ? Quelles possibilités d’emploi ? … Près de deux heures de rencontre avec Michel Ancel, pour venir à bout des questions d’un public venu en nombre, pour s’informer sur les métiers du jeu vidéo. Pari tenu pour l’Espace Montpellier Jeunesse qui cherche à développer ces temps de rencontre et d’échanges sur les cur- sus et l’orientation professionnelle. Une première initiative, organisée en novembre dernier, avait déjà profession permis une journée d’information autour des métiers de la musique. La rencontre organisée le 7 juin dernier, en partenariat avec l’équi- pe d’Ubisoft, encourage la Ville jeux de Montpellier, organisatrice de l’événement, à poursuivre l’initiative. A peine affiché sur le site www.montpellier.fr, l’événement s’est propagé de blogs en forums, suscitant commentaires et réactions diverses : « super sympa de leur part », « c’est clair, ça déchire », « ça a l’air pas mal », « dommage, y a pas ça du côté de chez moi », « j’essaierai de faire un petit reportage », « merde, c’est con, je boss moi… ». vidéo de rayman L’Espace Montpellier Jeunesse (6, rue Maguelone) à peter jackson invite régulièrement des professionnels pour se prêter en direct au jeu des questions-réponses.