Professor George DJ Phillies, Advisor
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Activision Licenses Epic Games' Unreal® Engine 3
Activision Licenses Epic Games' Unreal® Engine 3 Santa Monica, CA – February 23, 2007 – Activision, Inc. (Nasdaq: ATVI) announced today that it has entered into an agreement to license the Unreal® Engine 3 from Epic Games, Inc., for an upcoming as-yet-unannounced action game. "The Unreal Engine is one of the most technically advanced engines on the market and is a perfect fit for our upcoming action game," said Laird Malamed, head of production for Activision. "The engine's robust suite of programming tools will enable our development team to deliver what is sure to be an amazing game experience." "We're extremely excited to be working with Activision" said Mark Rein, vice president of Epic Games, Inc. "We've admired them for a long time and we're pleased that they've chosen to use Unreal Engine 3 and we're confident they're going to make a great game with it." About Unreal Engine 3 The award-winning Unreal Engine is known for cutting-edge graphics and a best-of-breed toolset. Unreal Engine 3 is expected to maintain those features while adding massive world support, multi-processor support, next-generation console optimizations, and one of the most mature tool pipelines in the industry. Unreal Engine 3's new toolset is designed specifically to accelerate developers' productivity for ultra-complex, next-generation content. Additional information on Unreal Engine can be obtained at www.unrealtechnology.com. About Epic Games Epic Games, Inc., based in Cary, NC and established in 1991, develops cutting-edge games and game engine technology for PC and console. -
The Genre STEM Switch Guide
The Genre STEM Switch Guide Ellen KW Brennan & Dr. R. Keith Duncan INTRODUCING GENRE AS A CONCEPT The goal of this activity is to provide students with a concrete understanding of the concept of genre as it applies in the sciences, how it is related to communication modes, and how leveraging genre conventions can impact the efficacy of their message. To begin the exercise, we first need a definition of “genre.” As such, the introduction begins with the following discussion: 1. “We typically find the concept of genre applied in the arts, in categories such as literature, movies, and music. Let’s work together to complete this table. What are some examples of genres in each of those areas?” Complete table. Category Example Genres Literature [Sci-fi, Mystery, Biography, Manga] Movies [Action, Comedy, Romance, Anime] Music [Country, Rap, Jazz, Ska] 2. “When we think about genre, what separates each of these from the others?” Here, we are trying to drive students to a common understanding of genre, namely that there is a set of conventions that both the communicator/artist and the audience agree upon and provides a common ground for both parties to relate. It may be best to focus on a particular category and genre to unpack this fully. For example, using “science fiction books” as the focus here, some possible discussion points might include: It gives you an idea of the setting (i.e. outer space or far into the future); It tells you the values of the society (i.e. scientific progress and innovation); It includes common tropes (i.e. -
Efficacy of Genres in Training Videos for Emergency First Responders
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2011 Efficacy of genres in training videos for emergency first responders Kerry Jenkins Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Communication Commons Recommended Citation Jenkins, Kerry, "Efficacy of genres in training videos for emergency first responders" (2011). LSU Master's Theses. 2624. https://digitalcommons.lsu.edu/gradschool_theses/2624 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. EFFICACY OF GENRES IN TRAINING VIDEOS FOR EMERGENCY FIRST RESPONDERS A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The Department of Communication Studies by Kerry Jenkins B.S., Louisiana State University, 2004 May 2011 TABLE OF CONTENTS LIST OF TABLES……………………………………………………………………………….iii LIST OF FIGURES……………………………………………………………………………...iv ABSTRACT………………………………………………………………………………………v CHAPTER 1. INTRODUCTION………………………………………………………………...1 1.1 Why Study the Efficacy of Training Videos for First Responders?......................................1 1.2 Organization of Thesis……………………………………………………………………...5 CHAPTER 2. LITERATURE REVIEW……………………………………………………….…7 2.1 Pedagogy and Adult Education………………………………………………………….…..7 2.2 Documentary Film and the Use of Narrative Elements……………………………………..8 CHAPTER 3. METHODS……………………………………………………………………….14 3.1 Population………………………………………………………………………………….14 3.2 Pilot Study………………………………………………………………………………….16 3.3 Current Study………………………………………………………………………………25 3.3.1 Videos………………………………………………………………………………….25 3.3.2 Procedure………………………………………………………………………………33 CHAPTER 4. -
Genrefication Best Practices
Genrefication Best Practices Follett School Solutions ©2019 Contents Overview of Genrefication 4 What is genrefication? 4 About this guides 4 Getting help 4 What does a “typical” genrefication project entail? 4 What do I need to include in my plan? 5 Prepare and plan for the collection 5 Plan and prepare the physical library space 9 Plan and prepare the work of flipping the collection 9 Planning Your Library Space 11 Genre-organized shelf planning 11 Shelf-space calculations 11 Indicating genre on the shelves 13 Library signage 13 Using the Genre Collection Report 14 Elements of the report 14 How to use the Genre Collection Report 16 Adding Genre Data to Destiny 17 Genre Planning Checklist 22 Popular Fiction Genres, Titles and Authors 25 Adventure 25 Animal Stories 25 Classics 25 Dystopian 25 Fantasy 26 Graphic Novel 26 Historical Fiction 26 Horror/Scary Stories 26 Follett School Solutions ©2019 1 Humor 27 Mystery 27 Mythology 27 Poetry 27 Realistic Fiction 28 Romance 28 Science Fiction 28 Sports Fiction 28 Popular Nonfiction Genres, Titles and Authors 29 All About Me (Elementary) 29 Ancient World (Secondary) 29 Animals 29 Around the World (Elementary) 29 Biography 29 Business & Finance (Secondary) 30 Careers & College (Secondary) 30 Conservation & Environment (Secondary) 30 Cooking & Food 30 Criminal Justice & Law (Secondary) 30 Curiosities & Wonders (Secondary) 30 DIY 30 Dinosaurs (Elementary) 31 Drama (Secondary) 31 Earth Science (Secondary) 31 Economics (Secondary) 31 Fashion (Secondary) 31 Folklore (Elementary) 31 Fun Facts (Elementary) -
Fandom, Fan Fiction and the Creative Mind ~Masterthesis Human Aspects of Information Technology~ Tilburg University
Fandom, fan fiction and the creative mind ~Masterthesis Human Aspects of Information Technology~ Tilburg University Peter Güldenpfennig ANR: 438352 Supervisors: dr. A.M. Backus Prof. dr. O.M. Heynders Fandom, fan fiction and the creative mind Peter Güldenpfennig ANR: 438352 HAIT Master Thesis series nr. 11-010 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN COMMUNICATION AND INFORMATION SCIENCES, MASTER TRACK HUMAN ASPECTS OF INFORMATION TECHNOLOGY, AT THE FACULTY OF HUMANITIES OF TILBURG UNIVERSITY Thesis committee: [Dr. A.M. Backus] [Prof. dr. O.M. Heynders] Tilburg University Faculty of Humanities Department of Communication and Information Sciences Tilburg center for Cognition and Communication (TiCC) Tilburg, The Netherlands September 2011 Table of contents Introduction..........................................................................................................................................2 1. From fanzine to online-fiction, a short history of modern fandom..................................................5 1.1 Early fandom, the 1930's...........................................................................................................5 1.2 The start of media fandom, the 1960's and 1970's.....................................................................6 1.3 Spreading of media fandom and crossover, the 1980's..............................................................7 1.4 Fandom and the rise of the internet, online in the 1990's towards the new millennium............9 -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE SELF-PERCEPTION OF VIDEO GAME JOURNALISM: INTERVIEWS WITH GAMES WRITERS REGARDING THE STATE OF THE PROFESSION A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By Severin Justin Poirot Norman, Oklahoma 2019 THE SELF-PERCEPTION OF VIDEO GAME JOURNALISM: INTERVIEWS WITH GAMES WRITERS REGARDING THE STATE OF THE PROFESSION A DISSERTATION APPROVED FOR THE GAYLORD COLLEGE OF JOURNALISM AND MASS COMMUNICATION BY Dr. David Craig, Chair Dr. Eric Kramer Dr. Jill Edy Dr. Ralph Beliveau Dr. Julie Jones © Copyright by SEVERIN JUSTIN POIROT 2019 All Rights Reserved. iv Acknowledgments I’ve spent a lot of time and hand wringing wondering what I was going to say here and whom I was going to thank. First of all I’d like to thank my committee chair Dr. David Craig. Without his guidance, patience and prayers for my well-being I don’t know where I would be today. I’d like to also thank my other committee members: Dr. Eric Kramer, Dr. Julie Jones, Dr. Jill Edy, and Dr. Ralph Beliveau. I would also like to thank former member Dr. Namkee Park for making me feel normal for researching video games. Second I’d like to thank my colleagues at the University of Oklahoma who were there in the trenches with me for years: Phil Todd, David Ferman, Kenna Griffin, Anna Klueva, Christal Johnson, Jared Schroeder, Chad Nye, Katie Eaves, Erich Sommerfeldt, Aimei Yang, Josh Bentley, Tara Buehner, Yousuf Mohammad and Nur Uysal. I also want to extend a special thanks to Bryan Carr, who possibly is a bigger nerd than me and a great help to me in finishing this study. -
Emerging Leaders 2011 Team G Selection & Purchasing
Emerging Leaders 2011 Team G Selection & Purchasing Selection When selecting video games for a library collection, consider the following criteria: • Type of collection (e.g. circulating vs. non-circulating or programming collection). • Audience for collection (Is the collection for entertainment purposes or academic study? Will games be collected for children, teens, adults, or a combination of these?). • Curriculum support. • Game ratings. The Entertainment Software Rating Board (ESRB) gives each game a rating based on age appropriateness. Ratings include EC (Early Childhood), E (Everyone), E10+ (Everyone Ten and Older), T (Teen), and M (Mature). More information can be found on the ESRB website:http://www.esrb.org. • Game platforms. Games are available on many different platforms (e.g. Wii, PlayStation, etc.). Librarians will need to consider patron needs and budget constraints when considering which platform(s) to purchase for. As newer platforms are developed, consider whether to collect for these new platforms and whether it is necessary to keep games that are playable on older platforms. Conversely, platforms affect collection weeding; the Collection Maintenance section provides further details. • Collection of gaming items in addition to actual games (e.g. game consoles and accessories, game guides, gaming periodicals, and texts on the subject of games and gaming). • Reviews and recommendations for which games to purchase. • Qualities that make a game culturally significant. (See What Makes a Good Game.) The following resources -
The Sims and the Need for Fantasy Roxanne Daniels History of Computer Game Design Prof
The Sims and the Need for Fantasy Roxanne Daniels History of Computer Game Design Prof. Henry Lowood The Sims, which has become one of the most popular games on the planet, will soon see its sixth expansion pack, and has already been converted into both a console game and a massively multiplayer online experience. What was significant about the original game that it generated such a large and committed fan base? We will look first at reasons for the game’s popularity, and try to elucidate why it appeals to such a broad range of individuals, then move into the history of the game’s conception and the path of its development, from the original Sims to the Sims Online. Since its release in February of 2000, over 8 million copies of The Sims have been sold, making it “the biggest-selling computer game of all time.”1 In a chart complied by the NPD Group of the 2002 top ten best-selling PC games in North America, five of the ten slots are occupied by The Sims or one of its various expansion packs. The original game comes in at number five, almost three years after its initial release.2 Much of The Sims’ success is due to its wide appeal; it attracts women and men, committed and casual gamers, adults and children.3 This popularity can be contributed to a variety of factors. Serious gamers may appreciate the uniqueness of the game’s concept4, while casual gamers may appreciate the lack of violence5. These qualities alone, however, would not be sufficient to generate the obsessive devotion that can be observed on any number of Sims fan sites, nor would they probably sustain the sales of the expansion packs, which, as we noted above, are topping sales lists every year. -
Super League Gaming Acquires Framerate, One of the Fastest Growing Independent Social Video Networks in Esports
June 10, 2019 Super League Gaming Acquires Framerate, One of the Fastest Growing Independent Social Video Networks in Esports With 25 million video views in 2019 from gamers around the world, Framerate accelerates Super League’s position as a leading amateur esports community, content and gameplay platform SANTA MONICA, Calif., June 10, 2019 (GLOBE NEWSWIRE) -- Super League Gaming (“Super League” or the “Company”) (NasdaqCM: SLGG), a leading content and community platform providing competitive and social gameplay experiences across game titles, skill levels and venues, announced today it is has acquired Framerate, one of the largest and fastest growing independent social video networks in esports and gaming. “Framerate will be a major part of Super League’s drive to bring value to gamers through multiple forms of engagement,” said Ann Hand, CEO of Super League Gaming. “The company will be fully integrated into Super League, instantly expanding our audience reach, creating more awareness for our live and digital experiences, and becoming a foundational component of our content distribution network.” Framerate has experienced significant growth since its launch in 2018, boasting more than 100,000 followers and generating millions of video views and engagements per month across Instagram, InstagramTV, Facebook and Facebook Watch. With more than 700 million engagement actions occurring in gaming on Facebook, Twitter and Instagram in 2018 according to social media data platform Shareablee, social video has become a significant source of content consumption for gamers. Framerate has become the leading independent gaming media channel on Instagram over the last six months1. “You don’t need to be a top influencer or esports pro to make a great play,” said Marco Mereu, founder and CEO of Framerate. -
Review of Bertel Nathhorst, Formal Or Structural Studies of Traditional Tales
University of Pennsylvania ScholarlyCommons Department of Near Eastern Languages and Departmental Papers (NELC) Civilizations (NELC) 1972 Review of Bertel Nathhorst, Formal or Structural Studies of Traditional Tales: The Usefulness of Some Methodological Proposals Advanced by Vladimir Propp, Alan Dundes, Claude Lévi-Strauss and Edmund Leach Dan Ben-Amos University of Pennsylvania, [email protected] Follow this and additional works at: http://repository.upenn.edu/nelc_papers Part of the Cultural History Commons, Folklore Commons, and the Near and Middle Eastern Studies Commons Recommended Citation Ben-Amos, D. (1972). Review of Bertel Nathhorst, Formal or Structural Studies of Traditional Tales: The Usefulness of Some Methodological Proposals Advanced by Vladimir Propp, Alan Dundes, Claude Lévi-Strauss and Edmund Leach. The Journal of American Folklore, 85 (335), 82-84. http://dx.doi.org/10.2307/539134 This paper is posted at ScholarlyCommons. http://repository.upenn.edu/nelc_papers/101 For more information, please contact [email protected]. Review of Bertel Nathhorst, Formal or Structural Studies of Traditional Tales: The Usefulness of Some Methodological Proposals Advanced by Vladimir Propp, Alan Dundes, Claude Lévi-Strauss and Edmund Leach Abstract While formalism and structuralism became key concepts in linguistics, literary criticism, and the social sciences during the first half of the twentieth century, they appeared in folklore research only in the late fifties and early sixties, as a direct result of the publication of Claude Lévi-Strauss' "The trS uctural Study of Myth" (Journal of American Folklore, 68 [1955], 428-444) and the 1958 translation of Propp's Morfologija skazki (Moscow-Leningrad, 1928). Since then, structural studies in folklore have multiplied by the dozens, encompassing such genres as proverbs, riddles, ballads, and chants. -
Journct-Gameflow.Pdf
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Sweetser, Penny, Johnson, Daniel,& Wyeth, Peta (2012) Revisiting the GameFlow model with detailed heuristics. Journal of Creative Technologies, 2012(3), pp. 1-16. This file was downloaded from: https://eprints.qut.edu.au/58216/ c Copyright 2012 The Authors This journal and associated articles are licensed under a Creative Com- mons Attribution-NonCommercial-NoDerivs 3.0 New Zealand License. Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. http:// journal.colab.org.nz/ article/ 21 Revisiting the GameFlow Model with Detailed Heuristics Penelope Sweetser Daniel Johnson Peta Wyeth Queensland University of Technology Queensland University of Technology Queensland University of Technology Brisbane, Australia Brisbane, Australia Brisbane, Australia [email protected] [email protected] [email protected] ABSTRACT games, what makes RTS games enjoyable, and the relative The GameFlow model strives to be a general model of player importance of each GameFlow element to RTS games. The result enjoyment, applicable to all game genres and platforms. Derived was a set of insights into how GameFlow presents in RTS games. from a general set of heuristics for creating enjoyable player However, in order to provide actionable heuristics for design and experiences, the GameFlow model has been widely used in evaluation, a more detailed and specific set of guidelines need to evaluating many types of games, as well as non-game be created. -
A Step Towards the Future of Role-Playing Games: the Spyfeet Mobile RPG Project
Proceedings of the Seventh AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment A Step Towards the Future of Role-Playing Games: The SpyFeet Mobile RPG Project Aaron A. Reed, Ben Samuel, Anne Sullivan, Ricky Grant, April Grow, Justin Lazaro, Jennifer Mahal, Sri Kurniawan, Marilyn Walker, Noah Wardrip-Fruin Expressive Intelligence Studio / Natural Language and Dialogue Systems Lab University of California, Santa Cruz 1156 High Street, Santa Cruz, California {aareed,bsamuel,anne,rgrant,agrow,jlazaro,jkmahal,srikur,maw,nwf}@soe.ucsc.edu Abstract Wardrip-Fruin 2009). To give players meaningful choice in a story-based game has traditionally required the creation of Meaningful choice has often been identified as a key component in a player’s engagement with an interac- tremendous amounts of hand-authored story content. This tive narrative, but branching stories require tremendous authoring paradigm tends to introduce both structural and amounts of hand-authored content, in amounts that in- workload problems for RPG designers. Traditionally, story crease exponentially rather than linearly as more choice is presented through dialogue assembled in fragile, ad-hoc points are added. Previous approaches to reducing au- structures glued together with quest flags and conversation thorial burden for computer RPGs have relied on cre- trees. These brittle operational logics are prone to error since ating better tools to manage existing unwieldy struc- the relationship between each plot element or conversation tures of quests