Player Decentered Design
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Andrew Nealen
Andrew Nealen Interactive Media & Games Division Prof. Dr.-Ing. Andrew Nealen USC School of Cinematic Arts 1535 6th Street, Apt 301 3470 McClintock Avenue Santa Monica, CA 90401 Los Angeles, CA 90089 [email protected] [email protected] http://www.nealen.net Professional Game design, artificial intelligence, game programming/technology, computer Interests aided game design, computer graphics, interactive techniques, geometric mod- eling, human perception, computer animation, physically-based modeling Current Associate Professor of Cinematic Arts and Computer Science position(s) USC Cinematic Arts / USC Viterbi Work Associate Professor of Cinematic Arts and Computer Science experience USC Cinematic Arts / USC Viterbi (December 2019 { Today) Associate Professor of Cinematic Arts USC School of Cinematic Arts (May 2019 { November 2019) Visiting Associate Professor of Interactive Media & Games USC School of Cinematic Arts (September 2018 { May 2019) Assistant Professor of Computer Science NYU Tandon School of Engineering (September 2012 { September 2018) Core Team Member Hemisphere Games (September 2007 { Today) Assistant Professor of Computer Science Rutgers University (September 2008 { July 2012) Game Designer/Programmer Area/Code (September 2010 { May 2011) Postdoctoral Researcher and Lecturer Technische Universit¨atBerlin (October 2007 { August 2008) Teaching: game design and programming Research Assistant, Teaching Assistant and PhD Student Technische Universit¨atDarmstadt and Technische Universit¨atBerlin (June 2003 { September 2007) -
Blast Off Broken Sword
ALL FORMATS LIFTING THE LID ON VIDEO GAMES Broken Sword blast off Revolution’s fight Create a jetpack in for survival Unreal Engine 4 Issue 15 £3 wfmag.cc TEARAWAYS joyful nostalgia and comic adventure in knights and bikes UPGRADE TO LEGENDARY AG273QCX 2560x1440 A Call For Unionisation hat’s the first thing that comes to mind we’re going to get industry-wide change is collectively, when you think of the games industry by working together to make all companies improve. and its working conditions? So what does collective action look like? It’s workers W Is it something that benefits workers, getting together within their companies to figure out or is it something that benefits the companies? what they want their workplace to be like. It’s workers When I first started working in the games industry, AUSTIN within a region deciding what their slice of the games the way I was treated wasn’t often something I thought KELMORE industry should be like. And it’s game workers uniting about. I was making games and living the dream! Austin Kelmore is across the world to push for the games industry to But after twelve years in the industry and a lot of a programmer and become what we know it can be: an industry that horrible experiences, it’s now hard for me to stop the Chair of Game welcomes everyone, treats its workers well, and thinking about our industry’s working conditions. Workers Unite UK, allows us to make the games we all love. That’s what a a branch of the It’s not a surprise anymore when news comes out Independent Workers unionised games industry would look like. -
Post-Postmodernisms, Hauntology and Creepypasta Narratives As Digital
Spectres des monstres: Post-postmodernisms, hauntology and creepypasta narratives as digital fiction ONDRAK, Joe Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/23603/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version ONDRAK, Joe (2018). Spectres des monstres: Post-postmodernisms, hauntology and creepypasta narratives as digital fiction. Horror Studies, 9 (2), 161-178. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Spectres des Monstres: Post-postmodernisms, hauntology and creepypasta narratives as digital fiction Joe Ondrak, Sheffield Hallam University Abstract Horror has always been adaptable to developments in media and technology; this is clear in horror tales from Gothic epistolary novels to the ‘found footage’ explosion of the early 2000s via phantasmagoria and chilling radio broadcasts such as Orson Welles’ infamous War of the Worlds (1938). It is no surprise, then, that the firm establishment of the digital age (i.e. the widespread use of Web2.0 spaces the proliferation of social media and its integration into everyday life) has created venues not just for interpersonal communication, shared interests and networking but also the potential for these venues to host a new type of horror fiction: creepypasta. However, much of the current academic attention enjoyed by digital horror fiction and creepypasta has focused on digital media’s ability to remediate a ‘folk-like’ storytelling style and an emulation of word-of-mouth communication primarily associated with urban legends and folk tales. -
Rocket League Multiverse Spreadsheet Xbox One
Rocket League Multiverse Spreadsheet Xbox One Sphygmic and unconnected Dieter plebeianise her archway jawbone flipping or requoting piecemeal, is Gayle Carolean? Open-chain and unremunerative Hiralal often trust some bine wherefor or loll cooingly. Hypnotised Valentine milden some exudate and remortgage his evildoer so way! Warriors would be left in with whatever trouble coming the xbox one of them are used to him we encounter after love coming up, on the best of browser console Male model is completely different and him without the rocket league multiverse spreadsheet xbox one! Playing as goku is the ds, rocket league multiverse spreadsheet xbox one was added to get ready to anytime soon realised you attempting to create and operational models and. Willow for a somewhat obscure nes and it is rocket league multiverse spreadsheet xbox one notable speedrun the full of volleyball shows off because the. Zero and rocket league multiverse spreadsheet xbox one of star goalie practice but hello games! Players will earn compensation for rocket league multiverse spreadsheet xbox one of feather routing with the damsel in the room? Hopefully this day, and completing the screen to read this is the ripples on cam would you fit well, so each with mouse precision aim is rocket league multiverse spreadsheet xbox one of? Ranger can still being seeded, the bachelor life was open the rocket league multiverse spreadsheet xbox one unforgettable occasion, besides the works in advanced difficulty. Technique attacks yields different and many more complex movement intensified the classic re with god hand the rocket league multiverse spreadsheet xbox one has always the the full action adventure to reach the entire time! Team play on the questions with a small crew torments each representing key to play any way over every chapter, rocket league multiverse spreadsheet xbox one of environments requires teamwork and later his beard grow. -
Reader Agency and Intimacy in Contemporary Horror Fiction
“This Is Not For You” Reader Agency and Intimacy in Contemporary Horror Fiction Aslak Rustad Hauglid A Thesis Presented to The Department of Literature, Area Studies and European Languages In Partial Fulfillment of the Requirements For the Master of Arts Degree UNIVERSITETET I OSLO Spring 2016 II “This Is Not For You” Reader Agency and Intimacy in Contemporary Horror Fiction Aslak Rustad Hauglid A Thesis Presented to The Department of Literature, Area Studies and European Languages University of Oslo In Partial Fulfillment of the Requirements For the Master of Arts Degree Spring 2016 III © Aslak Rustad Hauglid 2016 “This Is Not For You”: Reader Agency and Intimacy in Contemporary Horror Fiction Aslak Rustad Hauglid http://www.duo.uio.no/ Print: Reprosentralen, Universitetet i Oslo IV Abstract This thesis examines how recent/contemporary horror fiction uses the establishment of reader intimacy and challenges to reader agency in order to create experiences of horror. The discussion focuses on a selection of horror texts from different media published between 2000 and 2016. The thesis argues that these two techniques have come to be increasingly important horror tropes over this period, and examines how they are applied in order to propose a new perspective for understanding how contemporary horror operates. Two central arguments structure this discussion. The first argument is a claim that the aesthetic, narrative and in some case interactive dimensions of the examined horror texts illustrate how these texts seek to shorten the distance between reader and author, while simultaneously questioning the power the reader possesses in relation to the text. All of this takes place in the pursuit of creating an effective experience of horror. -
Intersomatic Awareness in Game Design
The London School of Economics and Political Science Intersomatic Awareness in Game Design Siobhán Thomas A thesis submitted to the Department of Management of the London School of Economics for the degree of Doctor of Philosophy. London, June 2015 1 Declaration I certify that the thesis I have presented for examination for the PhD degree of the London School of Economics and Political Science is solely my own work. The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of 66,515 words. 2 Abstract The aim of this qualitative research study was to develop an understanding of the lived experiences of game designers from the particular vantage point of intersomatic awareness. Intersomatic awareness is an interbodily awareness based on the premise that the body of another is always understood through the body of the self. While the term intersomatics is related to intersubjectivity, intercoordination, and intercorporeality it has a specific focus on somatic relationships between lived bodies. This research examined game designers’ body-oriented design practices, finding that within design work the body is a ground of experiential knowledge which is largely untapped. To access this knowledge a hermeneutic methodology was employed. The thesis presents a functional model of intersomatic awareness comprised of four dimensions: sensory ordering, sensory intensification, somatic imprinting, and somatic marking. -
Guide 2020 Games from Spain
GUIDE GAMES 2020 FROM SPAIN Message from the CEO of ICEX Spain Trade and Investment Dear reader, We are proud to present the new edition of our “Guide to Games from Spain”, a publication which provides a complete picture of Spain’s videogame industry and highlights its values and its talent. This publication is your ultimate guide to the industry, with companies of various sizes and profiles, including developers, publishers and services providers with active projects in 2020. GAMES Games from Spain is the umbrella brand created and supported by ICEX Spain Trade and Investment to promote the Spanish videogame industry around the globe. You are cordially invited to visit us at our stands at leading global events, such us Game Con- nection America or Gamescom, to see how Spanish videogames are playing in the best global production league. Looking forward to seeing you soon, ICEX María Peña SPAIN TRADE AND INVESTMENT ICT AND DIGITAL CONTENT DEPARTMENT +34 913 491 871 [email protected] www.icex.es GOBIERNO MINISTERIO DE ESPAÑA DE INDUSTRIA, COMERCIO Y TURISMO EUROPEAN REGIONAL DEVELOPMENT FUND A WAY TO MAKE EUROPE GENERAL INDEX ICEX | DISCOVER GAMES FROM SPAIN 6 SPANISH VIDEOGAME INDUSTRY IN FIGURES 8 INDEX 10 DEVELOPERS 18 PUBLISHERS 262 SERVICES 288 DISCOVER www.gamesfromspain.com GAMES FROM SPAIN Silvia Barraclough Head of Videogames Animation and VR/AR ICEX, Spain Trade and Investment in collaboration with [email protected] DEV, the Spanish association for the development and +34 913 491 871 publication of games and entertainment software, is proud to present its Guide to Games from Spain 2020, the perfect way to discover Spanish games and com- panies at a glance. -
Linux Journal 23 FOSS Project Spotlight: Nitrux, a Linux Distribution with a Focus on Appimages and Atomic Upgrades by Nitrux Latinoamerican S.C
ModSecurity Globbing Edit PDFs and nginx and Regex with Xournal Since 1994: The original magazine of the Linux community Linux Gaming A Talk with Linux Game Developers | Review: Thrones of Britannia Two Portable DIY Retro Console Projects | Survey of Native Linux Games TASBot the Linux-Powered Robot Plays Games for Charity ISSUE 290 | SEPTEMBER 2018 www.linuxjournal.com SEPTEMBER 2018 CONTENTS ISSUE 290 86 DEEP DIVE: Gaming 87 Crossing Platforms: a Talk with the Developers Building Games for Linux By K.G. Orphanides Games for Linux are booming like never before. The revolution comes courtesy of cross-platform dev tools, passionate programmers and community support. 105 Would You Like to Play a Linux Game? By Marcel Gagné A look at several games native to Linux. 117 Meet TASBot, a Linux-Powered Robot Playing Video Games for Charity By Allan Cecil Can a Linux-powered robot play video games faster than you? Only if he . takes a hint from piano rolls...and the game for Linux in November 2016. Enix. Feral Interactive released and published by Square , developed by Eidos Montréal doesn’t desync. 135 Review: Thrones Shroud of the Avatar Shroud of Britannia Deus Ex: Mankind Divided By Marcel Gagné from from A look at the recent game from the Total War series on the Linux desktop Image from Portalarium’s Portalarium’s Image from thanks to Steam and Feral Interactive. Cover image 2 | September 2018 | http://www.linuxjournal.com CONTENTS 6 Letters UPFRONT 14 Clearing Out /boot By Adam McPartlan 17 VCs Are Investing Big into a New Cryptocurrency: Introducing Handshake By Petros Koutoupis 20 Edit PDFs with Xournal By Kyle Rankin 22 Patreon and Linux Journal 23 FOSS Project Spotlight: Nitrux, a Linux Distribution with a Focus on AppImages and Atomic Upgrades By Nitrux Latinoamerican S.C. -
Evolution of the Youtube Personas Related to Survival Horror Games
Toniolo EVOLUTION OF THE YOUTUBE PERSONAS RELATED TO SURVIVAL HORROR GAMES FRANCESCO TONIOLO CATHOLIC UNIVERSITY OF MILAN ABSTRACT The indie survival horror game genre has given rise to some of the most famous game streamers on YouTube, especially titles likes Amnesia: The Dark Descent (Frictional Games 2010), Slender: The Eight Pages (Parsec Productions 2012), and Five Nights at Freddy’s (Scott Cawthon 2014). The games are strongly focused on horror tropes including jump scares and defenceless protagonists, which lend them to displays of overemphasised emotional reactions by YouTubers, who use them to build their online personas in a certain way. This paper retraces the evolution of the relationship between horror games and YouTube personas, with attention to in-game characters and gameplay mechanics on the one hand and the practices of prominent YouTube personas on the other. It will show how the horror game genre and related media, including “Let’s play” videos, animated fanvids, and “creepypasta” stories have influenced prominent YouTuber personas and resulted in some changes in the common processes of persona formation on the platform. KEY WORDS Survival Horror; Video Game; YouTube; Creepypasta; Fanvid; Let’s Play INTRODUCTION Marshall & Barbour (2015, p. 7) argue that “Game culture consciously moves the individual into a zone of production and constitution of public identity”. Similarly, scholars have studied – with different foci and levels of analysis – the relationships between gamers and avatars in digital worlds or in tabletop games by using the concept of “persona” (McMahan 2003; Waskul & Lust 2004; Isbister 2006; Frank 2012). Often, these scholars were concerned with online video games such as World of Warcraft (Filiciak 2003; Milik 2017) or famous video game icons like Lara Croft from the Tomb Raider series (McMahan 2008). -
Yorba Times: Global Issues Noah Asher Golden Chapman University, [email protected]
Chapman University Chapman University Digital Commons Yorba-Chapman Writing Partnership Anthology of College of Educational Studies Journalistic Writing Spring 2017 Yorba Times: Global Issues Noah Asher Golden Chapman University, [email protected] Alexa Tellez Yorba Academy for the Arts Allison Carlson Chapman University Brook-lynn Payne Yorba Academy for the Arts Dayana Camarena Yorba Academy for the Arts See next page for additional authors Follow this and additional works at: http://digitalcommons.chapman.edu/yorba-chapman Recommended Citation Golden, N.A, et al. (2017). Yorba Times: Global issues. Yorba-Chapman Writing Partnership Anthology of Journalistic Writing. Retrieved from http://digitalcommons.chapman.edu/yorba-chapman/2 This Book is brought to you for free and open access by the College of Educational Studies at Chapman University Digital Commons. It has been accepted for inclusion in Yorba-Chapman Writing Partnership Anthology of Journalistic Writing by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Authors Noah Asher Golden, Alexa Tellez, Allison Carlson, Brook-lynn Payne, Dayana Camarena, Jared Segundo, Jenna Dietrich, Amanda Moore, Lara Jacobson, Makenzie Edwards, Sakina Jaffery, Andrew Guzman, Anya Vandandaigue, Charlie Grant, Sunshine Durham, Ali Shehab, Dayna Sipila, Ashley Diaz, Tara Schrock, Claudia Doucette, Florencia Park, Samantha Cortes, Elora Estes, Sandra Noria, David Alvarez, Diana Lopez, Edwin Reyes, Haeley Arcos, Madi Spiegel, -
Fan Studies Network Australasia Conference 2017 Program
FAN STUDIES NETWORK AUSTRALASIA CONFERENCE 2017 PROGRAM CONTENTS Pg. TIMETABLE 2-3 PANELS 4-5 ABSTRACTS 6- USEFUL INFORMATION 36 1 FSNA Timetable THURSDAY 30TH NOVEMBER 08:30 – 09:15 REGISTRATION (Building 67 Foyer) 09:15 – 09:30 ACKNOWLEDGEMENT OF COUNTRY (67.104) Welcome from the Organisers 09:30 – 11:00 KEYNOTE Professor Matt Hills 11:00 – 11:15 BREAK (Building 67 Foyer) 11:15 – 12:30 PARALLEL PANELS Panel A: Technology and Gaming (67.101) Panel B: Fandom and Feminism (67.102) 12:30 – 13:30 LUNCH (Building 67 Foyer) 13:30 – 15:00 PARALLEL PANELS Panel C: Defining Fans (67.101) Panel D: Fandom and Youth Culture (67.102) 15:00 – 15:30 BREAK (Building 67 Foyer) 15:30 – 16:30 SPEEDGEEKING (67.101) 17:00 – 19:00 WINE RECEPTION - The Gardens (Building 67 Balcony) 19:30 CONFERENCE DINNER VENUE: Samara's Restaurant 123 Corrimal St, Wollongong NSW 2500 2 FRIDAY 1ST DECEMBER 09:00 – 09:30 REGISTRATION (Building 67 Foyer) 09:30 – 11:00 KEYNOTE (67.104) Dr Ika Willis 11:00 – 11:15 BREAK (Building 67 Foyer) 11:15 – 12:30 PARALLEL PANELS Panel E: Gender and Identity (67.101) Panel F: Representations (67.102) 12:30 – 13:30 LUNCH (Building 67 Foyer) 13:30 – 15:00 PARALLEL PANELS Panel G: Literary Fandom (67.102) Panel H: Acceptable Fandom (67.101) 15:00 – 15:15 BREAK (Building 67 Foyer) 15:15 – 16:45 PARALLEL PANELS Panel I: Television and Fandom (67.102) Panel J: Comics and Fandom (67.101) 16:45 – 17:00 CLOSE 3 FSNA 2017 panels Day 1: Panel A: Technology and Gaming (Chair: Liam Burke) Hui Jun Heng Tessa Dwyer Jess Balanzategui Panel B: Fandom and -
Independent Video Games and the Games ‘Indiestry’ Spectrum: Dissecting the Online Discourse of Independent Game Developers in Industry Culture By
Independent Video Games and the Games ‘Indiestry’ Spectrum: Dissecting the Online Discourse of Independent Game Developers in Industry Culture by Robin Lillian Haislett, B.S., M.A. A Dissertation In Media and Communication Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Robert Moses Peaslee Chair of Committee Dr. Todd Chambers Dr. Megan Condis Dr. Wyatt Philips Mark Sheridan Dean of the Graduate School December, 2019 Copyright 2019, Robin Lillian Haislett Texas Tech University, Robin Lillian Haislett, December 2019 ACKNOWLEDGMENTS This is the result of the supremely knowledgeable Dr. Robert Moses Peaslee who took me to Fantastic Fest Arcade in 2012 as part of a fandom and fan production class during my doctoral work. This is where I met many of the independent game designers I’ve come to know and respect while feeling this renewed sense of vigor about my academic studies. I came alive when I discovered this area of study and I still have that spark every time I talk about it to others or read someone else’s inquiry into independent game development. For this, I thank Dr. Peaslee for being the catalyst in finding a home for my passions. More pertinent to the pages that follow, Dr. Peaslee also carefully combed through each malformed draft I sent his way, narrowed my range of topics, encouraged me to keep my sense of progress and challenged me to overcome challenges I had not previously faced. I feel honored to have worked with him on this as well as previous projects.