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Activision and Lionhead Studios Roll out the Red Carpet at Retail Stores for the Movies (TM): Stunts & Effects Expansion Pack
Activision and Lionhead Studios Roll Out the Red Carpet at Retail Stores for the Movies (TM): Stunts & Effects Expansion Pack SANTA MONICA, June 6, 2006 /PRNewswire-FirstCall via COMTEX News Network/ -- PC gamers can make movie magic with Activision, Inc. (Nasdaq: ATVI) and Lionhead(R) Studios' The Movies(TM): Stunts & Effects Expansion Pack, which ships to retail stores nationwide today. Building on The Movies' critically acclaimed gameplay, The Movies: Stunts & Effects Expansion Pack gives players the tools to turn ordinary scripts into blockbuster films with the addition of stuntmen, astounding visual effects, a variety of dangerous stunts, a movie-making toolset, impressive new sets and an innovative "Freecam Mode" that allows players to adjust the camera location, angle, field of view and path. "The Movies: Stunts & Effects Expansion Pack allows players to create scenes that will have audiences on the edge their seats," said Dusty Welch, vice president of global brand management, Activision, Inc. "From car scenes that end in epic explosions to sci-fi thrillers that feature alien spaceships destroying an entire city, The Movies: Stunts & Effects gives fans what they need to make runaway smash hits." The Movies: Stunts & Effects Expansion Pack allows players to enhance each scene with a variety of options, including death- defying stunts and various particle and visual effects such as fireball explosions, shattering glass, smoke and lasers. Miniature sets, blue screens and green screens add to the spectacular action with dramatic sweeping angles, larger-than-life scale and the illusion of flying across diverse landscapes. Gamers are further immersed into the Hollywood lifestyle as they train and manage stuntmen, as well as compete for industry awards and achievements by uploading their movies to www.themoviesgame.com for the entire world to see. -
Media Violence Do Children Have Too Much Access to Violent Content?
Published by CQ Press, an Imprint of SAGE Publications, Inc. www.cqresearcher.com media violence Do children have too much access to violent content? ecent accounts of mass school shootings and other violence have intensified the debate about whether pervasive violence in movies, television and video R games negatively influences young people’s behavior. Over the past century, the question has led the entertain ment media to voluntarily create viewing guidelines and launch public awareness campaigns to help parents and other consumers make appropriate choices. But lawmakers’ attempts to restrict or ban con - tent have been unsuccessful because courts repeatedly have upheld The ultraviolent video game “Grand Theft Auto V” the industry’s right to free speech. In the wake of a 2011 Supreme grossed more than $1 billion in its first three days on the market. Young players know it’s fantasy, Court ruling that said a direct causal link between media violence some experts say, but others warn the game can negatively influence youths’ behavior. — particularly video games — and real violence has not been proved, the Obama administration has called for more research into the question. media and video game executives say the cause of mas shootings is multifaceted and c annot be blamed on the enter - I tainment industry, but many researchers and lawmakers say the THIS REPORT N industry should shoulder some responsibility. THE ISSUES ....................147 S BACKGROUND ................153 I CHRONOLOGY ................155 D CURRENT SITUATION ........158 E CQ Researcher • Feb. 14, 2014 • www.cqresearcher.com AT ISSUE ........................161 Volume 24, Number 7 • Pages 145-168 OUTLOOK ......................162 RECIPIENT Of SOCIETY Of PROfESSIONAL JOURNALISTS AwARD fOR BIBLIOGRAPHY ................166 EXCELLENCE N AmERICAN BAR ASSOCIATION SILvER GAvEL AwARD THE NEXT STEP ..............167 mEDIA vIOLENCE Feb. -
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Editor: Henry Reichman, California State University, East Bay Founding Editor: Judith F. Krug (1940–2009) Publisher: Barbara Jones Office for Intellectual Freedom, American Library Association ISSN 1945-4546 March 2013 Vol. LXII No. 2 www.ala.org/nif Filtering continues to be an important issue for most schools around the country. That was the message of the American Association of School Librarians (AASL), a division of the American Library Association, national longitudinal survey, School Libraries Count!, conducted between January 24 and March 4, 2012. The annual sur- vey collected data on filtering based on responses to fourteen questions ranging from whether or not their schools use filters, to the specific types of social media blocked at their schools. AASL survey The survey data suggests that many schools are going beyond the requirements set forth by the Federal Communications Commission (FCC) in its Child Internet Protection explores Act (CIPA). When asked whether their schools or districts filter online content, 98% of the respon- dents said content is filtered. Specific types of filtering were also listed in the survey, filtering encouraging respondents to check any filtering that applied at their schools. There were in schools 4,299 responses with the following results: • 94% (4,041) Use filtering software • 87% (3,740) Have an acceptable use policy (AUP) • 73% (3,138) Supervise the students while accessing the Internet • 27% (1,174) Limit access to the Internet • 8% (343) Allow student access to the Internet on a case-by-case basis The data indicates that the majority of respondents do use filtering software, but also work through an AUP with students, or supervise student use of online content individually. -
Nordic Game Is a Great Way to Do This
2 Igloos inc. / Carcajou Games / Triple Boris 2 Igloos is the result of a joint venture between Carcajou Games and Triple Boris. We decided to use the complementary strengths of both studios to create the best team needed to create this project. Once a Tale reimagines the classic tale Hansel & Gretel, with a twist. As you explore the magical forest you will discover that it is inhabited by many characters from other tales as well. Using real handmade puppets and real miniature terrains which are then 3D scanned to create a palpable, fantastic world, we are making an experience that blurs the line between video game and stop motion animated film. With a great story and stunning visuals, we want to create something truly special. Having just finished our prototype this spring, we have already been finalists for the Ubisoft Indie Serie and the Eidos Innovation Program. We want to validate our concept with the European market and Nordic Game is a great way to do this. We are looking for Publishers that yearn for great stories and games that have a deeper meaning. 2Dogs Games Ltd. Destiny’s Sword is a broad-appeal Living-Narrative Graphic Adventure where every choice matters. Players lead a squad of intergalactic peacekeepers, navigating the fallout of war and life under extreme circumstances, while exploring a breath-taking and immersive world of living, breathing, hand-painted artwork. Destiny’s Sword is filled with endless choices and unlimited possibilities—we’re taking interactive storytelling to new heights with our proprietary Insight Engine AI technology. This intricate psychology simulation provides every character with a diverse personality, backstory and desires, allowing them to respond and develop in an incredibly human fashion—generating remarkable player engagement and emotional investment, while ensuring that every playthrough is unique. -
Different PEGI Age Labels and Their Effect on Aggressive Affect, Aggressive Cognition and Arousal
Different PEGI age labels and their effect on aggressive affect, aggressive cognition and arousal David van Duuren 0056316 Masterthesis C&M Eerste begeleider: Dr. Ard Heuvelman Tweede begeleider: Maurice Tan, Msc 1 Abstract This study investigated the effects of three different Pan European Game Information (PEGI) age labels on aggression. These three different age labels, 3+, 12+ and 18+, were a reflection of three different degrees of violence. Based on the General Aggression Model (GAM), aggressive affect, aggressive cognition and arousal were measured by means of an experiment. The results show that aggressive affect increased after playing 18+ labeled video games, which was in line with the GAM. Aggressive cognition decreased after playing 18+ labeled video games, which contradicted the GAM. For arousal, no effect was found. However, the arousal measurement turned out not to be a valid reflection of arousal in the GAM. Since no comparison between PEGI and other video game content rating systems has taken place and since there is uncertainty about the effect of violent video games on aggressive behavior in general, it is not possible to draw any conclusions about the academic value of PEGI. 2 Introduction The video game industry is a large industry, and growing. Having its origins in the 70s, video games at that time were very primitive compared to current standards. Hand in hand with technological innovations since that period, video games have become more and more realistic. Realism in video games can manifest itself in different ways: graphical improvement is an important one. In the beginning, video games were nothing more than a number of geometrical shapes, nowadays they are a clear resemblance of the real world. -
The First but Hopefully Not the Last: How the Last of Us Redefines the Survival Horror Video Game Genre
The College of Wooster Open Works Senior Independent Study Theses 2018 The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre Joseph T. Gonzales The College of Wooster, [email protected] Follow this and additional works at: https://openworks.wooster.edu/independentstudy Part of the Other Arts and Humanities Commons, and the Other Film and Media Studies Commons Recommended Citation Gonzales, Joseph T., "The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre" (2018). Senior Independent Study Theses. Paper 8219. This Senior Independent Study Thesis Exemplar is brought to you by Open Works, a service of The College of Wooster Libraries. It has been accepted for inclusion in Senior Independent Study Theses by an authorized administrator of Open Works. For more information, please contact [email protected]. © Copyright 2018 Joseph T. Gonzales THE FIRST BUT HOPEFULLY NOT THE LAST: HOW THE LAST OF US REDEFINES THE SURVIVAL HORROR VIDEO GAME GENRE by Joseph Gonzales An Independent Study Thesis Presented in Partial Fulfillment of the Course Requirements for Senior Independent Study: The Department of Communication March 7, 2018 Advisor: Dr. Ahmet Atay ABSTRACT For this study, I applied generic criticism, which looks at how a text subverts and adheres to patterns and formats in its respective genre, to analyze how The Last of Us redefined the survival horror video game genre through its narrative. Although some tropes are present in the game and are necessary to stay tonally consistent to the genre, I argued that much of the focus of the game is shifted from the typical situational horror of the monsters and violence to the overall narrative, effective dialogue, strategic use of cinematic elements, and character development throughout the course of the game. -
Pegi Annual Report
PEGI ANNUAL REPORT ANNUAL REPORT INTRODUCTION 2 CHAPTER 1 The PEGI system and how it functions 4 AGE CATEGORIES 5 CONTENT DESCRIPTORS 6 THE PEGI OK LABEL 7 PARENTAL CONTROL SYSTEMS IN GAMING CONSOLES 7 STEPS OF THE RATING PROCESS 9 ARCHIVE LIBRARY 9 CHAPTER 2 The PEGI Organisation 12 THE PEGI STRUCTURE 12 PEGI S.A. 12 BOARDS AND COMMITTEES 12 THE PEGI CONGRESS 12 PEGI MANAGEMENT BOARD 12 PEGI COUNCIL 12 PEGI EXPERTS GROUP 13 COMPLAINTS BOARD 13 COMPLAINTS PROCEDURE 14 THE FOUNDER: ISFE 17 THE PEGI ADMINISTRATOR: NICAM 18 THE PEGI ADMINISTRATOR: VSC 20 PEGI IN THE UK - A CASE STUDY? 21 PEGI CODERS 22 CHAPTER 3 The PEGI Online system 24 CHAPTER 4 PEGI Communication tools and activities 28 Introduction 28 Website 28 Promotional materials 29 Activities per country 29 ANNEX 1 PEGI Code of Conduct 34 ANNEX 2 PEGI Online Safety Code (POSC) 38 ANNEX 3 The PEGI Signatories 44 ANNEX 4 PEGI Assessment Form 50 ANNEX 5 PEGI Complaints 58 1 INTRODUCTION Dear reader, We all know how quickly technology moves on. Yesterday’s marvel is tomorrow’s museum piece. The same applies to games, although it is not just the core game technology that continues to develop at breakneck speed. The human machine interfaces we use to interact with games are becoming more sophisticated and at the same time, easier to use. The Wii Balance Board™ and the MotionPlus™, Microsoft’s Project Natal and Sony’s PlayStation® Eye are all reinventing how we interact with games, and in turn this is playing part in a greater shift. -
Please Biofeed the Zombies: Enhancing the Gameplay and Display of a Horror Game Using Biofeedback
Please Biofeed the Zombies: Enhancing the Gameplay and Display of a Horror Game Using Biofeedback Andrew Dekker Erik Champion Interaction Design, School of ITEE, Media Arts, COFA, UNSW, PO Box 259 University of Queensland, Ipswich, Australia Paddington, NSW 2021 Australia [email protected] [email protected] ABSTRACT commercial computer game, allowing for more dynamic, This paper describes an investigation into how real-time but unpredictable, but also more personalized and situated low-cost biometric information can be interpreted by game experiences. computer games to enhance gameplay without fundamentally changing it. We adapted a cheap sensor, (the The primary benefit of incorporating this technique into Lightstone mediation sensor device by Wild Divine), to computer games is that game developers can offer control record and transfer biometric information about the player over direction of game play and game events to the player. (via sensors that clip over their fingers) into a commercial Rather than the flow and progression within the game being game engine, Half-Life 2. linear and scripted [13], a series of events can be strung together in a sequence that better appeals to the individual. During game play, the computer game was dynamically modified by the player’s biometric information to increase For example, Rouse [12] agrees that allowing the system to the cinematically augmented “horror” affordances. These choose methods of conveying emotion dynamically rather included dynamic changes in the game shaders, screen then forcing players to take specific emotional journeys is a shake, and the creation of new spawning points for the fundamental aspect of enhancing computer games. -
Video Games and the Mobilization of Anxiety and Desire
PLAYING THE CRISIS: VIDEO GAMES AND THE MOBILIZATION OF ANXIETY AND DESIRE BY ROBERT MEJIA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Kent A. Ono, Chair Professor John Nerone Professor Clifford Christians Professor Robert A. Brookey, Northern Illinois University ABSTRACT This is a critical cultural and political economic analysis of the video game as an engine of global anxiety and desire. Attempting to move beyond conventional studies of the video game as a thing-in-itself, relatively self-contained as a textual, ludic, or even technological (in the narrow sense of the word) phenomenon, I propose that gaming has come to operate as an epistemological imperative that extends beyond the site of gaming in itself. Play and pleasure have come to affect sites of culture and the structural formation of various populations beyond those conceived of as belonging to conventional gaming populations: the workplace, consumer experiences, education, warfare, and even the practice of politics itself, amongst other domains. Indeed, the central claim of this dissertation is that the video game operates with the same political and cultural gravity as that ascribed to the prison by Michel Foucault. That is, just as the prison operated as the discursive site wherein the disciplinary imaginary was honed, so too does digital play operate as that discursive site wherein the ludic imperative has emerged. To make this claim, I have had to move beyond the conventional theoretical frameworks utilized in the analysis of video games. -
CHARLOTTE EMILY LOUISE ATKINSON GAMEPLAY ARTIST Technical Artist and Asset Creation
CHARLOTTE EMILY LOUISE ATKINSON GAMEPLAY ARTIST Technical Artist and Asset Creation +44 7584 061 091 | [email protected] Portfolio: https://www.artstation.com/artofcatkin LinkedIn: /artofcatkin | Twitter: @ArtofCatkin 1 AAA Title Shipped 1 Year Experience within the Games Industry. 5 Years of experience with 3D Software and Engines. PERSONAL STATMENT I am an enthusiastic technical gameplay artist with a background in environment art. I’ve got grit and determination; as a result, I like a good challenge. I’m polite, organized, and open-minded. I work well under Pressure and meet required deadlines. I enjoy and work well within a team, and capable of working independently. I am able and willing to take on responsibilities and leadership roles. I adapt and learn new skills quickly and adjust to new requirements/ changes with ease. I’ve been in the games industry for over a year, and have a wide range of skills and experiences. I graduated with Frist class BA Hons in Game Art (2016) and Distinction MA in Games Enterprise (2017) from the University of South Wales. I currently Work for the Warner Bros studio: Tt Games as a Junior Gameplay Artist. I am computer literate and have experience with Jira, SVN, and AAA pipelines. I am highly skilled in software packages, such as; 3Ds Max, Maya, ZBrush, Unreal Engine 4, and Photoshop. I have also acquired experience in Marmoset Toolbag 3, Quixel, Illustrator and traditional art forms. CREDITED TITLES EXPERIENCE 2018: LEGO DC Supervillains Nov 2018 - Current: JUNIOR GAMEPLAY ARTIST Tt Games, Knutsford. 2016: Koe I create, rig and animate interactive assets for Puzzles and Quest with in the Game hubs and pre 2016: Tungsten Valkyrie levels. -
08-1448 Brown V. Entertainment Merchants Assn. (06/27/2011)
(Slip Opinion) OCTOBER TERM, 2010 1 Syllabus NOTE: Where it is feasible, a syllabus (headnote) will be released, as is being done in connection with this case, at the time the opinion is issued. The syllabus constitutes no part of the opinion of the Court but has been prepared by the Reporter of Decisions for the convenience of the reader. See United States v. Detroit Timber & Lumber Co., 200 U. S. 321, 337. SUPREME COURT OF THE UNITED STATES Syllabus BROWN, GOVERNOR OF CALIFORNIA, ET AL. v. ENTERTAINMENT MERCHANTS ASSOCIATION ET AL. CERTIORARI TO THE UNITED STATES COURT OF APPEALS FOR THE NINTH CIRCUIT No. 08–1448. Argued November 2, 2010—Decided June 27, 2011 Respondents, representing the video-game and software industries, filed a preenforcement challenge to a California law that restricts the sale or rental of violent video games to minors. The Federal District Court concluded that the Act violated the First Amendment and permanently enjoined its enforcement. The Ninth Circuit affirmed. Held: The Act does not comport with the First Amendment. Pp. 2–18. (a) Video games qualify for First Amendment protection. Like pro- tected books, plays, and movies, they communicate ideas through fa- miliar literary devices and features distinctive to the medium. And “the basic principles of freedom of speech . do not vary” with a new and different communication medium. Joseph Burstyn, Inc. v. Wil- son, 343 U. S. 495, 503. The most basic principle—that government lacks the power to restrict expression because of its message, ideas, subject matter, or content, Ashcroft v. American Civil Liberties Un- ion, 535 U. -
05-15-14 Karlsen Digra Proofread
Analysing the history of game controversies Faltin Karlsen Norwegian School of Information Technology Schweigaardsgate 14 N-0185 +47 90 73 70 88 [email protected] ABSTRACT The aim of this paper is to discuss some of the controversies that have surrounded digital games. Within media studies, such controversies are often referred to as moral panics or media panics. They are understood as cyclical events that arise when new media or media phenomena are introduced into society. The paper’s point of departure is the controversy that erupted after the launch of Death Race in 1976, which initiated the first world- spanning debate concerning digital games and violence. Similar debates followed the launch of games like Doom and Mortal Kombat. More recent controversies about game violence have erupted specifically in the wake of school shootings. My analysis shows that, while these debates certainly share similarities, they also undergo important transformations over time. Via a historical perspective, I will demonstrate the importance of these changes to our understanding of the status of digital games in society. Keywords moral panic, media panic, game violence, media regulation, media history INTRODUCTION The concept of media panic is often invoked when public controversies arise around digital games or other media. A media panic is a heated public debate that is most often ignited when a new medium enters society. Concern is usually expressed on behalf of children or youth, and the medium is described as seductive, psychologically harmful, or immoral (Drotner 1999). While media panics tend to revolve around new media, slightly older media, like newspapers and television, are where these concerns are expressed.