LUNCH BREAK Looks Andfeelsgood
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UPC Platform Publisher Title Price Available 730865001347
UPC Platform Publisher Title Price Available 730865001347 PlayStation 3 Atlus 3D Dot Game Heroes PS3 $16.00 52 722674110402 PlayStation 3 Namco Bandai Ace Combat: Assault Horizon PS3 $21.00 2 Other 853490002678 PlayStation 3 Air Conflicts: Secret Wars PS3 $14.00 37 Publishers 014633098587 PlayStation 3 Electronic Arts Alice: Madness Returns PS3 $16.50 60 Aliens Colonial Marines 010086690682 PlayStation 3 Sega $47.50 100+ (Portuguese) PS3 Aliens Colonial Marines (Spanish) 010086690675 PlayStation 3 Sega $47.50 100+ PS3 Aliens Colonial Marines Collector's 010086690637 PlayStation 3 Sega $76.00 9 Edition PS3 010086690170 PlayStation 3 Sega Aliens Colonial Marines PS3 $50.00 92 010086690194 PlayStation 3 Sega Alpha Protocol PS3 $14.00 14 047875843479 PlayStation 3 Activision Amazing Spider-Man PS3 $39.00 100+ 010086690545 PlayStation 3 Sega Anarchy Reigns PS3 $24.00 100+ 722674110525 PlayStation 3 Namco Bandai Armored Core V PS3 $23.00 100+ 014633157147 PlayStation 3 Electronic Arts Army of Two: The 40th Day PS3 $16.00 61 008888345343 PlayStation 3 Ubisoft Assassin's Creed II PS3 $15.00 100+ Assassin's Creed III Limited Edition 008888397717 PlayStation 3 Ubisoft $116.00 4 PS3 008888347231 PlayStation 3 Ubisoft Assassin's Creed III PS3 $47.50 100+ 008888343394 PlayStation 3 Ubisoft Assassin's Creed PS3 $14.00 100+ 008888346258 PlayStation 3 Ubisoft Assassin's Creed: Brotherhood PS3 $16.00 100+ 008888356844 PlayStation 3 Ubisoft Assassin's Creed: Revelations PS3 $22.50 100+ 013388340446 PlayStation 3 Capcom Asura's Wrath PS3 $16.00 55 008888345435 -
Killing the Competition
The Press, Christchurch March 3, 2009 7 Gun happy: Steven ter Heide and Eric Boltjes, of Killzone 2.If you die and restart, the artifical intelligence is different. Killing the competition Gerard Campbell: So, the game’s in test it in game’’. The whole immers- ter Heide: It also comes down to ter Heide: At certain times it is Gerard Campbell the bag. How are you feeling now ion and being in first person really replayability. If you die and restart maxing out the PS3, but I think in caught up with the game is finished? started to work for people. It sounds and the AI is predictable and moves five or six years time people will be Steven ter Heide (senior producer really simple but a lot of other games in the same way, that’s a problem. doing things on PS3 that people Steven ter Heide at Guerrilla Games): We’ve been are branching out to other genres, We wanted the AI to appear (can) not imagine now. It is still early working on this for a good long time but we just wanted to go back to the natural. We wanted every play days. and Eric Boltjes of now and to finally have a boxed copy basics and polish it until we could see through to be different. in our hands is a good feeling. our faces in it and give an experience GC: Who is harder on game top game Killzone 2 that was fun. GC: The first Killzone was hyped up developers: the media or gamers GC: Who put more pressure on as a Halo killer (Halo being the themselves? to talk about self- you to succeed with Killzone 2: GC: The original Killzone seemed successful first-person shooter on Boltjes: Gamers can be brutally imposed pressure, yourselves or Sony executives? an ambitious title for the ageing Microsoft’s Xbox platform). -
SELECT Statement Basic Form
NAZIV OBJEKTA ZNANJA Art games PROLOG Autor * Katarina Kaplarski Klasifikacija * IM-ID-PVA-ArtGames Težina * Osnovni nivo Ključne reči * igre, online, desktop, mobile Ko sluša * Student OAS Trajanje * 15min Komentari autora SADRŽAJ Apstrakt Cilj * Uvodne napomene Naziv sekcije (1) Art games Sadržaj sekcije (1) Art game ili manje uobičajena "autorska igra"je delo interaktivne softverske umetnosti . Ovaj termin je akademski skovan 2002. Godine i predstavlja podžanr ozbiljne video igre (serious video game http://en.wikipedia.org/wiki/Serious_game) Ove igre su dizajnirane u svrhu koja nije komercijalna i koja nije u cilju zabave, već naglašava umetnost sa ciljem da proizvede neku vrstu reakcije kod publike. Izložbe poput Walker Art Center "Beyond Interface" (1998), online "Synreal" (1998) i "Cracking the Maze - Game Plug-Ins as Hacker Art" (1999), shift e.V. "RELOAD" (1999), t UCI Beall Centre's "Shift-Ctrl" (2000), i još nekoliko drugih u 2001. Su bile među prvim talasom izložbi video igara koje su popularizovale ovaj koncept. Sredinom dvehiljaditih art game su doživele uspeh. Među njima je Pac Manhattan iz 2004, – real life igra koja se zasnivala na Pacmanu. Igrači su bili studenti koji su je kreirali- koristili su wi-fi tehnologiju, open-source software i mobilne telefone. http://www.pacmanhattan.com/ Sličan koncept je imala i igra CAN ZOU SEE ME NOW, gde je bila mešana online-offline igra , a igrači su bili opremljeni ručnim komjuterima, GPSom, voki-tokijima da bi jurili online igrače koji su svoje avatare pomerali kroz virtuelni model istog grada. Kreirala ju je grupa umetnika pod nazivom - Blast theory. http://www.blasttheory.co.uk/projects/can-you-see-me-now/ CILJ UMETNIČKIH IGARA Cilj ovih igara je da prenese specifičnu poruku publici, ponekad čak i da kritikuje publku i komercijalnu gaming industriju, a ponekad je cilj samo da se vizuelni jezik i interaktivnost igre iskoriste na neki drugi način. -
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. -
Chris Riddell
84 Greville Road, Cambridge, Chris Cambridgeshire, CB1 3QL Mobile: +44 (0)7395 484351 Riddell E-Mail: [email protected] Portfolio: www.axisphere.art -3D Artist- Profile As a highly motivated and self-taught CG artist I have always pushed the industries current tools to produce real-time art work of the upmost quality. Being interested in game engines, I have always enjoyed working with cutting edge technology to push the envelope of real- time graphics. I continue to provide creative input into producing some of the industry's best tools and rendering technology to produce work of excellent merit. As a keen learner and avid tech fanatic I always seek and pursue innovation. Experience Virtual Arts Limited 2017 - Present - Principal Artist/Tech Art I joined a new startup in Cambridge for a fresh challenge in Mobile VR/AR. My role at Virtual Arts Limited is creating shader networks, Unity tech art, content creation, inputting into creating our own engine/tool pipeline and to schedule artwork. Sony Interactive Entertainment 2004-2017 - Principal Artist I joined SCEE/SIE as a standard level artist and progressed to principal level. My 13-year period saw a lot of projects with some very challenging situations creating games for brand new platforms/technology, the toughest challenge being to create a Virtual Reality title (RIGS) which would be fast paced without creating nausea and achieve a solid 60 FPS throughout the experience. In my career at Sony I’ve inputted into developing our internal engines and tools, create 2D/3D graphics for our products, produce basic concept art to focus prototypes for future projects, write technical documentation and tutorials to educate the art team, worked closely with marketing to provide resources to advertise and create online social media presence, entertained VIP visitors, and educated myself in legal issues regarding design and copyright issues. -
Horizon Zero Dawn: the Frozen Wilds: Svelata La Data Di Uscita
Horizon Zero Dawn: The Frozen Wilds: svelata la data di uscita È stata annunciata la data di uscita di Horizon Zero Dawn: The Frozen Wilds, primo DLC della nuova IP, esclusiva PlayStation 4, prodotta da Guerrilla Games. L’espansione uscirà il 7 novembre 2017, ma ancora, dall’E3 di Los Angeles, non sono stati forniti molti dettagli, tranne che questo DLC amplierà il mondo di gioco, aggiungendo una nuova area, e che ci saranno nuove minacce da affrontare e nuovi misteri. Per saperne di più, con molta probabilità dovremmo aspettare il Gamescom di Colonia. La nuova esclusiva Microsoft potrebbe essere in stile Horizon: Zero Dawn I principali annunci di lavoro oggi passano da LinkedIn, e il mondo videoludico non fa eccezione; e quando si tratta di tecnici qualificati gli annunci lavorativi nel settore sono spesso forieri di un titolo work in progress. E pare proprio lasciare pochi dubbi l’annuncio dell’Head of Recruitment di Microsoft, Sandor Roberts, il quale scrive che a Redmond un Lead Environment Artist per un titolo nextgen tripla A in pieno stile Horizon: Zero Dawn. L’ultimo titolo di Guerrilla Games sembra aver già lasciato il segno nel mercato videoludico e, considerando anche le dichiarazioni rilasciate al Telegraph da Shawn Layden, secondo il quale il marchio Horizon: Zero Dawn ci accompagnerà per lungo tempo, possiamo ormai affermare con una certa sicurezza che la storia di Aloy è già entrata di diritto nell’Olimpo dei videogame più rilevanti di sempre. La saga di Horizon: Zero Dawn avrà un sequel Durante un’intervista rilasciata al Telegraph, il Presidente e CEO di Sony Interactive Entertainment America, Shawn Layden, ha tracciato un personale resoconto dell’E3, parlato di Death Stranding, affermando di averlo già provato in anteprima, e di tanto altro riguardo il futuro del console gaming e di Playstation. -
Killzone 2 Is a Registered Trademark of Sony Computer Entertainment America Inc
RISE TO THE CHALLENGE After the failed invasion of Vektan, ISA forces are counterattacking on Helghan soil and you’re at the forefront. Choose to conquer the onslaught of Helghast in the Single-Player Campaign, or pick a side and battle in Multiplayer. This guide makes sure you have what it takes to get the job done! Complete Every Mission Dominate in Multiplayer Every mission map is dissected to provide crucial data and tips. Each map is broken down with strategy and perfect kill spots. Map- Enemy-specifi c strategies offer the perfect solution to swarms of specifi c tips and tricks for each game mode provide that perfect Helghast. Expert tactics walk you through even the most brutal edge for mastering MP! locations and encounters. KILLZONE ® 2 Full Character Class Coverage EXCLUSIVE 2-SIDED All the classes are covered in detail, and we FOLDOUT provide the keys to excelling in each one. If you’re up for an even greater challenge, create your own Custom Class and test your skills. And Much More! Find Every Intel & Helghan Symbol! All Ranks, Ribbons, & Medals! Earn all the Trophies! SIGNATURE SERIES SIGNATURE $19.99 USA / $22.99 CAN COVERS PLAYSTATION®3 COMPUTER ENTERTAINMENT SYSTEM www.bradygames.com www.guerrilla-games.com ISBN-13: 978-074401091-6 © 2009 Sony Computer Entertainment America Inc. “PlayStation”, “PLAYSTATION”, and the “PS” Family logo are registered ISBN-10: 074401091-8 trademarks of Sony Computer Entertainment Inc. The Sony Computer Entertainment logo is a registered trademark of Sony Corporation. Killzone 2 is a registered trademark of Sony Computer Entertainment America Inc. -
Hacking Game List List of Hacking Websites
hacking game list List of hacking websites. Have you ever wondered where to start hacking, acquire more hacking knowledge and even train, test and improve your hacking skills? Here is a compilation, collection, list, directory of the best sites that will help you. The sites listed below will help you understand and practice every aspect of the secure (or rather insecure) side of software, networks (networking), servers and every single element that may be exposed in the(our) binary world. Please note that this is a mere compilation, all credits go to their respective authors. Creating such challenges requires and involves a lot of time, knowledge and creativity. Respect their work. Website list. The list is ordered in no particular way. Pwnable http://pwnable.kr/ Pwnable is a classic, one of all-time favorites. pwnable.kr is a non-commercial wargame site which provides various pwn challenges regarding system exploitation. The main purpose of pwnable.kr is ‘fun’. While playing pwnable.kr, you could learn/improve system hacking skills but that shouldn’t be your only purpose. The only thing you must do is click “play” on the upper left zone, choose a game and Pwn it. They provide a scoring system, the harder the challenge is, the more score you win. 24/7 CTF https://247ctf.com/ Join now to continuously test your skills across web, crypto, networking, reversing and exploitation vulnerabilities and challenges. CTFTIME https://ctftime.org/ One of the biggest Capture The Flag (CTF) archives. They classify the challenges by year and profide useful information and statistics. -
Project Report Master in Management
ACTIVISION BLIZZARD – CONSOLIDATION MOVEMENTS IN A MATURING VIDEOGAME INDUSTRY AND VALUE CREATION Rafael Tiago Duarte Martins Project Report Master in Management Guiding: Prof. Pedro Leite Inácio, ISCTE-IUL Business School, Finance Department April 2010 Activision Blizzard – consolidation in the videogame industry Abstract The present thesis was done with the objective to assess if the merger between Activision and Vivendi Games created value to its shareholders and if the share price used in this transaction represented the real value of this operation. This merger occurred in difficult economic times due to the financial crisis of 2007/2008 and in a period of consolidation and maturity in the videogame industry, allied to the rising costs of development and marketing that current videogames are experiencing. The main conclusion was that this merger created value for the shareholders in 2008, mainly due to increased revenues, and is likely to create more value than both companies were initially expecting, according to the present value of the expected cash flows, that were calculated with a 5 year projection for the period 2009-2013. JEL classification: G34 Keywords: Mergers and acquisitions; Consolidation; Videogame industry; Activision Blizzard i Activision Blizzard – consolidation in the videogame industry Resumo A presente tese foi elaborada com o objectivo de analisar a fusão entre a Activision e a Vivendi Games, e verificar se foi criado valor para os seus accionistas durante esta operação, através da análise do preço por acção em que esta transacção foi avaliada. Esta fusão ocorreu num ambiente macroeconómico adverso, relacionado com a crise financeira de 2007/2008 que começou a afectar as economias a uma escala global, bem como num período de consolidação e maturidade que a indústria de videojogos atravessa neste momento, aliado ao aumento considerável de custos de desenvolvimento e marketing que se está a verificar neste sector. -
International Enemy Images in Digital Games
Who Are the Enemies? The Visual Framing of Enemies in Digital Games1 BRANDON VALERIANO Reader School of Law and Politics Cardiff University PHILIP HABEL Lecturer School of Social and Politics Sciences University of Glasgow 1 We thank Andrew Stevens, Lauren Pascu, and Eduard Alveraz for research assistance. We thank Andrew Stevens, Dan Nexon, Tom Apperly, Matt Barr, Lindsay Hoffman, Greg Perreault, and Daniel Franklin for comments and suggestions. Digital games are among the most popular forms of entertainment media. Despite their ubiquity, the fields of political science and International Relations and political communication have generally overlooked the study of digital games. We take up this void by examining the international enemies depicted in combat games---specifically, first person shooter (FPS) games—which can speak to the process in the construction of international threats in society. Our review of framing the enemy gleans perspectives from multiple disciplines including International Relations, political communication, and digital gaming. Our empirical analysis traces the evolution of images in digital games from 2001 to 2013 to reveal the identity of the enemies and protagonists, and to examine the context of the game—including the setting for where each game takes place. We find that Russians are a popular form of enemy in FPS games even after considering terrorists as a broad category. Our review of the literature and our empirical analysis together present a foundation for the future study of digital games as a process of framing of enemies and transmission of threats. 2 Today digital games are ubiquitous---on our phones, tablets, laptops, and on dedicated gaming consoles and personal computers.2 Games offer an experience that is distinct and novel from other forms of entertainment in that they are possible avenues of transmission of attitudes and beliefs. -
“E” Refer to Equa- Tions. Page Numbers Ending In
Index Note: Page numbers ending in “e” refer to equa- control-based architecture for, 531–538 tions. Page numbers ending in “f” refer to figures. game extensions, 536–537 Page numbers ending in “t” refer to tables. gosling control system, 537 A hierarchical control system, 535–536, 535f introduction to, 531–532 academic AI, 3–5, 8, 66. See also Game AI negative feedback controller, 533–537, 533f, action potential, 15–21, 16f, 17f, 18f 534f agent threat response, 391–398 perceptual control system, 533–535 AI Game Programming Wisdom, 437 purposeful behavior, 531–532 AI Techniques for Game Programming, 391 animation-driven locomotion. See also alibi generation locomotion background of, 460 action-stack, 328–330, 329f choosing alibis, 465–466 commercial implementation, 334 computing, 464e executing actions, 331–333 deleting characters, 466–467 implementing, 331–332, 334 distribution, 463, 465 introduction to, 325 fooling players, 459–467 inverse kinematic (IK) controllers, 333 generating, 464–467 locomotion planning, 325–334 hybrid generation, 466 movement architectures, 326 ideal world, 460–462, 462f, 465 navigation paths, 327–328, 328f initial generation, 462–463 nontransfer actions, 331–332 introduction to, 459–460 performance of, 333–334 maintaining characters, 466–467 preparation for, 326–327 necessity of, 463–464 transfer actions, 325, 330–333 options for, 465–466 architectures perturbation, 466 for animal behavior, 531–538 population size, 462–463 for background characters, 453–455 position selection, 463 for blackboards, 61, 66–67, -
Killzone Shadow Fall
Killzone Shadow Fall Creating art tools for a new generation of games Sander van der Steen Senior Technical Artist Guerrilla Games Intro •Guerrilla Games is based in Amsterdam •First party Sony studio since 2005 •Killzone Shadow Fall •Launch title for the Playstation 4 •Pipeline build around Maya Takeaway •Maya in the Guerrilla Games pipeline •Integrating a game-engine in Maya •Maya scene file considerations for next-gen •New possibilities of viewport 2.0 Maya in the Guerrilla Games pipeline Simple Killzone Shadow Fall pipeline overview Asset creation Maya, Mudbox, Motion builder etc. Simple Killzone Shadow Fall pipeline overview Environment Asset creation Art • All assets are imported into Maya and placed in environment • Individual assets are tweaked Simple Killzone Shadow fall pipeline overview Environment Asset creation Lighting Game Art • The levels with geometry transfer to the lighting team • “Complete” levels will be exported to game Simple Killzone Shadow Fall pipeline overview Environment Game Asset creation Art Lighting • Many iterations required to reach production quality Autodesk Maya advantages •Artist friendly + familiar •A lot of editing for free •Mesh edits (polygon tools) •Material edits (hypershade) •Less need to import/export to/from applications Autodesk Maya in-engine viewport demo: Autodesk maya in-engine viewport demo: Autodesk Maya in-engine viewport demo: Integrating a game-engine in Maya A lot of tools coding! Maya needs to know how: •To render •Game engine specific •To communicate attribute changes •Mesh edits, position updates etc. •To read game data •Maya scene usage A game-engine in Maya: Deferred rendering Deferred rendering: Killzone 3 Initial implementation: •Brute force updates each frame (CPU limited) •Knowing what to update can be difficult •Limited integration •View selected, draw overrides, etc.