Finding Aid to the 11 Bit Studios Records, 2014-2019
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Reality Inspired Games: Expanding the Lens of Games’ Claims to Authenticity
Reality Inspired Games: Expanding the Lens of Games’ Claims to Authenticity Robyn McMillan, Darshana Jayemanne, Iain Donald School of Design and Informatics, Division of Games and Arts University of Abertay Bell Street, Dundee DD1 1HG +44 1382 308000 [email protected] [email protected] [email protected] ABSTRACT This paper considers the potentials of contemporary games staking claims to realism through documentary and journalistic techniques as part of a wide-ranging cultural and technological phenomenon– ‘Reality Inspired Games’ or RIGs (Maurin, 2018). We argue that RIGs employ design techniques and strategies of legitimation that are valuable to the reactive development cycles in the indie sector, whilst also being beneficial for academic research and development. Through examining traditional documentary and the concept of Bruzzi’s performative documentary (2006) we highlight how this concept may allow developers to negotiate performativity and authenticity in their videogames. We discuss examples of such games in the realm of indie productions, such as That Dragon, Cancer (2016), This War of Mine (2014), and My Child Lebensborn (2018) and Bury Me, My Love (2017). All of which represent new ground for game design, documentary and journalistic techniques that have influenced our work on the MacMillan project. Keywords Reality Inspired Games, Documentary, Performativity, Indie “Much like photographs, paintings, literature and music are capable of transmitting the full range of the human experience from one human to another, so too can games. Due to their interactivity, games are capable of a higher form of communication, one which actively engages the participant and makes them a part of the experience rather than a passive observer” (Brathwaite & Sharp, 2010, p315). -
The Development and Validation of the Game User Experience Satisfaction Scale (Guess)
THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) A Dissertation by Mikki Hoang Phan Master of Arts, Wichita State University, 2012 Bachelor of Arts, Wichita State University, 2008 Submitted to the Department of Psychology and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2015 © Copyright 2015 by Mikki Phan All Rights Reserved THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) The following faculty members have examined the final copy of this dissertation for form and content, and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy with a major in Psychology. _____________________________________ Barbara S. Chaparro, Committee Chair _____________________________________ Joseph Keebler, Committee Member _____________________________________ Jibo He, Committee Member _____________________________________ Darwin Dorr, Committee Member _____________________________________ Jodie Hertzog, Committee Member Accepted for the College of Liberal Arts and Sciences _____________________________________ Ronald Matson, Dean Accepted for the Graduate School _____________________________________ Abu S. Masud, Interim Dean iii DEDICATION To my parents for their love and support, and all that they have sacrificed so that my siblings and I can have a better future iv Video games open worlds. — Jon-Paul Dyson v ACKNOWLEDGEMENTS Althea Gibson once said, “No matter what accomplishments you make, somebody helped you.” Thus, completing this long and winding Ph.D. journey would not have been possible without a village of support and help. While words could not adequately sum up how thankful I am, I would like to start off by thanking my dissertation chair and advisor, Dr. -
11 Bit Studios Spółka Akcyjna
11 BIT STUDIOS SPÓŁKA AKCYJNA DOKUMENT INFORMACYJNY Sporządzony na potrzeby wprowadzenia akcji serii E spółki 11 bit studios S.A. do obrotu na rynku NewConnect prowadzonym jako alternatywny system obrotu przez Giełdę Papierów Wartościowych w Warszawie S.A. Niniejszy Dokument Informacyjny Uproszczony został sporządzony w związku z ubieganiem się o wprowadzenie instrumentów finansowych objętych tym dokumentem do obrotu w alternatywnym systemie obrotu prowadzonym przez Giełdę Papierów Wartościowych w Warszawie S.A. Wprowadzenie instrumentów finansowych do obrotu w alternatywnym systemie obrotu nie stanowi dopuszczenia ani wprowadzenia tych instrumentów do obrotu na rynku regulowanym prowadzonym przez Giełdę Papierów Wartościowych w Warszawie S.A. (rynku podstawowym lub równoległym). Inwestorzy powinni być świadomi ryzyka, jakie niesie za sobą inwestowanie w instrumenty finansowe notowane w alternatywnym systemie obrotu, a ich decyzje inwestycyjne powinny być poprzedzone właściwą analizą, a także, jeżeli wymaga tego sytuacja, konsultacją z doradcą inwestycyjnym. Treść niniejszego Dokumentu Informacyjnego nie była zatwierdzana przez Giełdę Papierów Wartościowych w Warszawie S.A. pod względem zgodności informacji w nim zawartych ze stanem faktycznym lub przepisami prawa. Warszawa, dnia 30 października 2012 roku Autoryzowany Doradca Capital One Advisers Sp. z o.o. Al. Ujazdowskie 41, 00-540 Warszawa, www.capitalone.pl Doradca prawny Kurek, Kościółek, Wójcik Kancelaria Radców Prawnych Sp.p. ul. Dekerta 24, 30-703 Kraków, www.kkw.pl Dokument Informacyjny Uproszczony Spółki 11 bit studios S.A. 11bit studios S.A. W imieniu Autoryzowanego Doradcy działa: Marcin Duszyński – Prezes Zarządu OŚWIADCZENIE AUTORYZOWANEGO DORADCY Oświadczam, że niniejszy Dokument Informacyjny Uproszczony został sporządzony zgodnie z wymogami określonymi w Załączniku Nr 1 do Regulaminu Alternatywnego Systemu Obrotu uchwalonego Uchwałą Nr 147/2007 Zarządu Giełdy Papierów Wartościowych w Warszawie S.A. -
11 Bit Studios – Quaterly Report for Q1-Q3 2018
2 LETTER FROM THE MANAGEMENT BOARD ........................................................................................ 3 1. SELECTED FINANCIAL DATA ................................................................................................ 4 1.1. Statement of financial position .............................................................................................. 4 1.2. Statement of profit or loss ................................................................................................... 4 1.3. Statement of cash flows ...................................................................................................... 4 2. OVERVIEW ..................................................................................................................... 5 2.1. Company overview ............................................................................................................ 5 2.2. Covered periods ................................................................................................................ 5 2.3. Governing bodies as at September 30th 2018 ............................................................................. 5 2.4. Large holdings of Company shares as at the issue date of the report .................................................. 6 2.5. Holdings of Company shares by members of the management and supervisory staff as at September 30th 2018 ................................................................................................................................... 7 2.6. Headcount -
Im Geschichtsunterricht & in Der Politischen Bildung
DIGITALE SPIELE IM GESCHICHTSUNTERRICHT & IN DER POLITISCHEN BILDUNG Florian Aumayr Alexander Preisinger Stefan Ancuta 1 INHALT TEIL 1: EINLEITUNGSTEXTE von Florian Aumayr und Alexander Preisinger 4 Digitale Spiele als Unterrichtsmittel 6 Digitale Spiele in den Unterricht integrieren – Ideen für die Umsetzung 8 Allgemeine und historische Spieleanalyse In der Reihe „Digitales Lernen und Politische Bildung“ bereits erschienen: Politische Bildung und Klimawandel im digitalen digitales Lernen – Institu Spiel tionen, Tools und Spiele Andreas Endl, Alexander Alexander Preisinger, Christine Preisinger. Wien: Edition polis, Ottner. Wien: Edition polis, 2018. 12 Seiten. 2019. 28 Seiten. ISBN 978-3-902659-15-6. ISBN 978-3-902659-17-0. Das Heft für Lehrkräfte stellt Die Broschüre liefert Lehr- sechs Spiele zum Klimawan- kräften Ideen für den Einsatz del vor und prüft sie auf ihre digitaler Angebote und Basis- Einsetzbarkeit im Unterricht. informationen zu entsprechenden Einrichtungen. Der Dazu haben SchülerInnen der Schumpeter BHAK/ Aufbau des Hefts gliedert sich in Institutionen, exemp- BHAS (1130 Wien) mit Experten der Universität larische Tools und digitale Spiele. Bei der Auswahl Wien (Geschichtsdidaktik) und der Wirtschafts- wurde auf die rasche Einsetzbarkeit im Unterricht, die universität Wien (Nachhaltigkeitsmanagement) ein leichte Anwendbarkeit und den nach Möglichkeit kos- Analysesetting entwickelt und an Spielen in der Praxis tenlosen Zugang geachtet. Das elektronische Angebot erprobt. Die Texte der SchülerInnen dokumentieren soll dazu anregen, nicht einfach Altbewährtes zu ihre Spielerfahrung. Möglichst einfach wird so auch digitalisieren, sondern in neuen Bearbeitungsformen NichtspielerInnen vermittelt, dass es digitalen Spielen zu denken und handlungsorientiertes Unterrichten zu gelingen kann, ein anspruchsvolles Thema wie den Kli- gewährleisten. mawandel „erfahrbar“ zu machen. Zu jedem Spiel wird www.politik-lernen.at/pbunddigitaleslernen auch eine didaktische Umsetzung vorgeschlagen. -
GAMING GLOBAL a Report for British Council Nick Webber and Paul Long with Assistance from Oliver Williams and Jerome Turner
GAMING GLOBAL A report for British Council Nick Webber and Paul Long with assistance from Oliver Williams and Jerome Turner I Executive Summary The Gaming Global report explores the games environment in: five EU countries, • Finland • France • Germany • Poland • UK three non-EU countries, • Brazil • Russia • Republic of Korea and one non-European region. • East Asia It takes a culturally-focused approach, offers examples of innovative work, and makes the case for British Council’s engagement with the games sector, both as an entertainment and leisure sector, and as a culturally-productive contributor to the arts. What does the international landscape for gaming look like? In economic terms, the international video games market was worth approximately $75.5 billion in 2013, and will grow to almost $103 billion by 2017. In the UK video games are the most valuable purchased entertainment market, outstripping cinema, recorded music and DVDs. UK developers make a significant contribution in many formats and spaces, as do developers across the EU. Beyond the EU, there are established industries in a number of countries (notably Japan, Korea, Australia, New Zealand) who access international markets, with new entrants such as China and Brazil moving in that direction. Video games are almost always categorised as part of the creative economy, situating them within the scope of investment and promotion by a number of governments. Many countries draw on UK models of policy, although different countries take games either more or less seriously in terms of their cultural significance. The games industry tends to receive innovation funding, with money available through focused programmes. -
NG18 Program (Screen)
PROGRAM 2018 PROGRAM#nordicgame 2017 #nordicgame Welcome to Nordic Game 2018 It’s a great pleasure to welcome you to this fifteenth edition of Nordic Game, the only conference in the world with a dedicated focus on the entire Nordic games industry. Over the years we’ve evolved from a humble regional conference into a truly global industry event, as our vision of a strong, united games community and the values so many of us share - openness, innovation and diversity - have resonated with games industry professionals around the world, and they have been welcomed into our extended family. Of course, we continue to proudly celebrate the sheer quality and variety of games developed in the Nordic countries, and this year’s Nordic Game Awards (Thursday, 24 May from 18:00 in the Unreal Theatre) once again reflects the imagination and vitality of developers from the region we call home. However, our rapidly changing, interconnected industry doesn’t allow us to rest on our laurels, and our opening keynote (Wednesday, 23 May at 11:00 in the Unreal Theatre) brings together a panel of leaders from some of our most prominent Nordic studios to explore key challenges and opportunities for game developers moving forward. True to the many values we share with our extended global family, we’re also introducing a string of talks - the Impact sessions - that delve beyond the albeit important business and technical aspects of game development, to encourage all of us to think more deeply about the real impact of the games we create - and how we create them - on our world. -
11 Bit Studios
11 Bit Studios Game developer turned publisher 11 Bit Studios is a polish game developer and publisher founded by former CD-Projekt and Metropolis Software employees. The company has grown very fast and game publishing is becoming a larger and larger part of total revenues. They started out with just publishing their own developed games. They have now published five externally developed games since 2014. Introduction High growth and high-quality 11 Bit Studios was founded in 2010 by former CD Projekt and Metropolis Software employees. They released their first game in 2011 and their revenues have grown at a fast rate. Their real breakthrough was in 2018, when they released their biggest title to date, Frostpunk. The success of said title have enabled the company to grow its revenue with an average annual growth rate of 52% between 2013-2019. 1. Source: Värdeinvesteraren The company is a maker of high-quality games. Most of their games have a very high user score on Steam and on Metacritic. Their games are liked by critics and players alike. High growth and high- quality. One significant event is also that 41% of the company’s revenue was derived from publishing in 2019. That means that the income streams are more diversified and hence lowers the risk. The company is acting on a fast-growing market with tailwinds. Newzoo expects the gaming market to grow by an average annual growth-rate of 8% (“CAGR”) between 2020-2023. 2.Source: Statista Investment case Benefiting from digitalization and platform “war” – The move to digitalization helps drive higher margins. -
A Teoria De Aki J¨Arvinen: O Estudo Do Jogo This War Is Mine
SBC { Proceedings of SBGames 2018 | ISSN: 2179-2259 Culture Track { Full Papers Inclusao˜ do Elemento Cr´ıtica a` Teoria de Aki Jarvinen:¨ o estudo do jogo This War is Mine Lucas Mamede Barbalho∗ Georgia´ da Cruz Pereira† Glaudiney Moreira Mendonc¸a Junior‡ Universidade Federal do Ceara,´ Instituto UFC Virtual, Brasil Figura 1: Logo (esquerda) do Jogo This War of Mine. Fonte: Steam. RESUMO papel do jogo na formac¸ao˜ de seus usuarios,´ alguns alegando que Os jogos eletronicos,ˆ como m´ıdia interativa, temˆ se tornado um sao˜ alienantes e que geram comportamentos violentos em seus jo- meio utilizado por artistas e cr´ıticos para argumentos e reflexoes,˜ gadores, enquanto outros examinam sua capacidade social e cogni- com um historico´ de experimentac¸ao˜ na crescente industria.´ Estu- tiva [5]. Com esses estudos, percebe-se que os jogos deixaram de dos temˆ sido feitos para compreender como o jogo pode ser utili- ser considerados apenas como um passatempo ou entretenimento zado para outros propositos´ alem´ da simples diversao,˜ e como clas- e, atualmente, pesquisas temˆ sido feitas sobre como e o queˆ os jo- sifica-los.´ Para o proposito´ deste trabalho, serao˜ estudados os jogos gadores adquirem para seu acervo cultural com a pratica´ do jogar: cr´ıticos (aqueles que procuram incitar discussoes˜ a respeito de de- [4, 11, 13]. Os jogos digitais vemˆ proporcionando cr´ıticas e reflexoes˜ [4]. terminado assunto) a fim de descobrir como passam argumentos ou 1 reflexoes˜ atraves´ de seus elementos de design. Como objeto de es- Plataformas como o Games for Change temˆ como objetivo reu- tudo e analise,´ foi escolhido o premiado jogo This War of Mine (por nir e divulgar os chamados Critical Games (Jogos Cr´ıticos) que, seu sucesso de cr´ıtica e venda) para ilustrar os objetivos deste tra- como a propria´ plataforma afirma, engajam problemas sociais con- balho. -
Chat Session with Individual Investors Held on 4 September 2020
Chat session with individual investors held on 4 September 2020 www.stockwatch.pl Moderator: Welcome to the investors’ chat with Adam Kiciński and Piotr Nielubowicz. Representatives of CD PROJEKT stand ready to answer your questions regarding the recent financial results and the Studio’s further plans. Moderator: Please allow me to remind you of our chat rules. Questions must first be sent to the moderator. Selected questions will be published along with replies. Any questions entered by you will be queued at the bottom of your screen. The moderator may reject questions which violate chat rules. Moderator: A notice for journalists covering today’s chat: quoting any excerpts from the conversation in your editorial content requires proper attribution. In case of questions or concerns please contact us at [email protected] Moderator: You may go ahead and ask your questions now. Our Guests will begin replying at 15:00 CET. If you are unable to view replies, please refresh the page. We also encourage participants to share the chat and comment upon it in social media using the #czatStockWatch hashtag. Adam Kiciński and Piotr Nielubowicz: We warmly welcome you to our investors’ chat concerning our H1 2020 earnings. You may go ahead and ask your questions. Marcin: Is Cyberpunk2077 geared towards next-gen consoles? I’m thinking specifically of PS5. Piotr Nielubowicz: From the moment the next-gen consoles hit the market, Cyberpunk 2077 will be playable on them owing to backwards compatibility features. Additionally, we plan to release a dedicated next-gen edition in the coming year. Michasx Blake: Do you organize any workshops for young programmers so that they can see the team in action and learn about role assignments? Adam Kiciński: Not at present; we need to focus on our development work. -
Shamdani Sara 2020 Phd.Pdf (3.001Mb)
AFFECT & PLAY: SOCIO-POLITICAL VIDEOGAMES AS A SITE OF FELT- KNOWLEDGE PRODUCTION SARA SHAMDANI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSPHY GRADUATE PROGRAM IN SOCIAL AND POLITICAL THOUGHT YORK UNIVERSITY TORONTO, ONTARIO NOVEMBER 2020 ©Sara Shamdani, 2020 ii Abstract Videogames are affective networks, made up of organic and in-organic matters that come to create a space, where the player learns through doing and watching herself do. For decades, videogames researchers and players have discussed the myriad of ways in which videogames carry enormous pedagogical potentials through their procedures and the creation of a space of play that immerses the player in those procedures and the story of the game. This dissertation builds on this body of knowledge by bringing together the different understandings of affect and affective capacities to further examine the pedagogical potentials of socio-political games through the creation of a felt-knowledge-producing assemblage. I argue this felt knowledge is achieved through the processes of acting in the space of play, watching that action while it takes place, and then engaging with the consequences of the said action. The socio-political videogames curated for the purposes of this research are primarily from the perspectives of civilians living in a warzone, engaging in revolutionary efforts, or civilians who are forced to cross borders as refugees and immigrants as a result of chaos and violence of their homelands. I examine the affective capacities of the space of play through the works of D. -
Worldbuilding Voices in the Soundscapes of Role-Playing Video Games
University of Huddersfield Repository Jennifer, Smith Worldbuilding Voices in the Soundscapes of Role Playing Video Games Original Citation Jennifer, Smith (2020) Worldbuilding Voices in the Soundscapes of Role Playing Video Games. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/35389/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Worldbuilding Voices in the Soundscapes of Role-Playing Video Games Jennifer Caron Smith A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield October 2020 1 Copyright Statement i. The author of this thesis (including any appendices and/ or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes.