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The Poetics of Reflection in Digital Games
© Copyright 2019 Terrence E. Schenold The Poetics of Reflection in Digital Games Terrence E. Schenold A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2019 Reading Committee: Brian M. Reed, Chair Leroy F. Searle Phillip S. Thurtle Program Authorized to Offer Degree: English University of Washington Abstract The Poetics of Reflection in Digital Games Terrence E. Schenold Chair of the Supervisory Committee: Brian Reed, Professor English The Poetics of Reflection in Digital Games explores the complex relationship between digital games and the activity of reflection in the context of the contemporary media ecology. The general aim of the project is to create a critical perspective on digital games that recovers aesthetic concerns for game studies, thereby enabling new discussions of their significance as mediations of thought and perception. The arguments advanced about digital games draw on philosophical aesthetics, media theory, and game studies to develop a critical perspective on gameplay as an aesthetic experience, enabling analysis of how particular games strategically educe and organize reflective modes of thought and perception by design, and do so for the purposes of generating meaning and supporting expressive or artistic goals beyond amusement. The project also provides critical discussion of two important contexts relevant to understanding the significance of this poetic strategy in the field of digital games: the dynamics of the contemporary media ecology, and the technological and cultural forces informing game design thinking in the ludic century. The project begins with a critique of limiting conceptions of gameplay in game studies grounded in a close reading of Bethesda's Morrowind, arguing for a new a "phaneroscopical perspective" that accounts for the significance of a "noematic" layer in the gameplay experience that accounts for dynamics of player reflection on diegetic information and its integral relation to ergodic activity. -
Game Design Und Produktion“
Leseprobe zu „Game Design und Produktion“ von Gunther Rehfeld Print-ISBN: 978-3-446-46315-8 E-Book-ISBN: 978-3-446-46367-7 E-Pub-ISBN: 978-3-446-46645-6 Weitere Informationen und Bestellungen unter http://www.hanser-fachbuch.de/978-3-446-46315-8 sowie im Buchhandel © Carl Hanser Verlag, München Vorwort zur 2. Auflage Seit dem Erscheinen des Buchs vor mehr als sechs Jahren hat sich an der technologischen Front einiges geändert. Anderes ist beim Alten geblieben. So sind VR (Virtual Reality) und AR (Augmented Reality) zurzeit in aller Munde. Zudem nimmt der Vertrieb von Spielen über digitale Plattformen wie Steam immer mehr Raum ein. Die Game-Engines werden immer komplexer, gleichzeitig aber auch effizienter und einfacher zu bedienen. Virtual Reality (VR) ist zurzeit ein viel diskutierter Trend. Auf der anderen Seite ist das, was ein Spiel ausmacht, gleich geblieben. Die Grundlagen des Game Design werden sich ebenso wenig verändern wie der Prozess der Kreativität, der Umgang mit Spielelementen und -mechaniken, der Kern dessen, was eine gute Geschichte ausmacht etc. Sicherlich, immer neue Formate betreten den Markt. Oft als Moden, die 6 Vorwort zur 2. Auflage jedoch nicht nur auf den Bereich von Games (Computerspielen) beschränkt sind. Ein Beispiel hierfür sind die sogenannten Exit- oder Escape-Games. Sie erfreuen sich zurzeit sowohl digital, als auch als analoge Formate einer großen Beliebtheit. Nach wie vor treiben Games als gemeinschaftliche Interaktion die digitalen Märkte an. Mul- tiplayer-Survival-Titel wie Ark:Survival Evolved (Studio Wildcard, 2017), Blockbuster wie Fortnite (Epic Games, 2017) bis hin zu Browser-Games sind immer wieder an den Spitzen der Charts zu finden. -
CTIN 483 Intro to Game Development Syllabus 2013-1
Introduction to Game Development – Spring, 2013 Syllabus USC School of Cinematic Arts, CTIN 483 (Sections 18354 & 18355) For any class questions, send email to: [email protected] Instructor: Student Assistant: Jeremy Gibson Will Hellwarth (434) 321-8624 (310) 422-3054 [email protected] [email protected] Course Rationale: Being a game designer requires an understanding of several different things, just a few of which are psychology, systems, fun, and storytelling. Each designer has different levels of expertise in each of these areas, and some only excel in one or two, but one thing that all designers need is the ability to communicate their ideas to others. Because games are a medium which, for the most part, must be experienced to be understood, rapid prototyping is often the best possible way to communicate your design ideas to others, and the ability of game designers to prototype can be thought of as equivalent to the ability of cinematographers to sketch; it's not the core skill of game design, but it does make it drastically easier for a game designer to communicate. This course will teach you the basic knowledge you need to be able to create digital prototypes of your own ideas. While you should not expect to come out of this course a great programmer, you will come out a better designer. This course is also required preparation for CTIN 484: Intermediate Game Development, in which students work in pairs to create a single, released game by the end of the semester. Course Description: This production class is focused on rapidly developing game prototypes. -
Sony Computer Entertainment Inc
FOR IMMEDIATE RELEASE SONY COMPUTER ENTERTAINMENT INC. INTRODUCES PLAYSTATION®4 (PS4™) PS4’s Powerful System Architecture, Social Integration and Intelligent Personalization, Combined with PlayStation Network with Cloud Technology, Delivers Breakthrough Gaming Experiences and Completely New Ways to Play New York City, New York, February 20, 2013 –Sony Computer Entertainment Inc. (SCEI) today introduced PlayStation®4 (PS4™), its next generation computer entertainment system that redefines rich and immersive gameplay with powerful graphics and speed, intelligent personalization, deeply integrated social capabilities, and innovative second-screen features. Combined with PlayStation®Network with cloud technology, PS4 offers an expansive gaming ecosystem that is centered on gamers, enabling them to play when, where and how they want. PS4 will be available this holiday season. Gamer Focused, Developer Inspired PS4 was designed from the ground up to ensure that the very best games and the most immersive experiences reach PlayStation gamers. PS4 accomplishes this by enabling the greatest game developers in the world to unlock their creativity and push the boundaries of play through a system that is tuned specifically to their needs. PS4 also fluidly connects players to the larger world of experiences offered by PlayStation, across the console and mobile spaces, and PlayStation® Network (PSN). The PS4 system architecture is distinguished by its high performance and ease of development. PS4 is centered around a powerful custom chip that contains eight x86-64 cores and a state of the art graphics processor. The Graphics Processing Unit (GPU) has been enhanced in a number of ways, principally to allow for easier use of the GPU for general purpose computing (GPGPU) such as physics simulation. -
Copyright Issues and Fair Use in Youtube "Let's Plays" and Video Game Livestreams
Intellectual Property Brief Volume 7 Issue 1 Article 1 2020 Fair Play: Copyright Issues and Fair Use in Youtube "Let's Plays" and Video Game Livestreams Sebastian C. Mejia Follow this and additional works at: https://digitalcommons.wcl.american.edu/ipbrief Part of the Intellectual Property Law Commons Recommended Citation Mejia, Sebastian C. (2020) "Fair Play: Copyright Issues and Fair Use in Youtube "Let's Plays" and Video Game Livestreams," Intellectual Property Brief: Vol. 7 : Iss. 1 , Article 1. Available at: https://digitalcommons.wcl.american.edu/ipbrief/vol7/iss1/1 This Article is brought to you for free and open access by the Washington College of Law Journals & Law Reviews at Digital Commons @ American University Washington College of Law. It has been accepted for inclusion in Intellectual Property Brief by an authorized editor of Digital Commons @ American University Washington College of Law. For more information, please contact [email protected]. Fair Play: Copyright Issues and Fair Use in Youtube "Let's Plays" and Video Game Livestreams This article is available in Intellectual Property Brief: https://digitalcommons.wcl.american.edu/ipbrief/vol7/iss1/1 FAIR PLAY: COPYRIGHT ISSUES AND FAIR USE IN YOUTUBE "LET'S PLAYS" AND VIDEOGAME LIVESTREAMS SEBASTIAN C. MEJIA INTRODUCTION While videogames used to be a small, niche hobby, they have become a worldwide, multi-billion dollar industry.' Games like Call of Duty: Black Ops II and Grand Theft Auto V are not only the biggest sellers in the videogame industry, but are also among the biggest entertainment properties in the world, both reaching the $1 billion sales milestone in record times.2 The high level of success has caused the growth of a large * J.D. -
Game Developer Power 50 the Binding November 2012 of Isaac
THE LEADING GAME INDUSTRY MAGAZINE VOL19 NO 11 NOVEMBER 2012 INSIDE: GAME DEVELOPER POWER 50 THE BINDING NOVEMBER 2012 OF ISAAC www.unrealengine.com real Matinee extensively for Lost Planet 3. many inspirations from visionary directors Spark Unlimited Explores Sophos said these tools empower level de- such as Ridley Scott and John Carpenter. Lost Planet 3 with signers, artist, animators and sound design- Using UE3’s volumetric lighting capabilities ers to quickly prototype, iterate and polish of the engine, Spark was able to more effec- Unreal Engine 3 gameplay scenarios and cinematics. With tively create the moody atmosphere and light- multiple departments being comfortable with ing schemes to help create a sci-fi world that Capcom has enlisted Los Angeles developer Kismet and Matinee, engineers and design- shows as nicely as the reference it draws upon. Spark Unlimited to continue the adventures ers are no longer the bottleneck when it “Even though it takes place in the future, in the world of E.D.N. III. Lost Planet 3 is a comes to implementing assets, which fa- we defi nitely took a lot of inspiration from the prequel to the original game, offering fans of cilitates rapid development and leads to a Old West frontier,” said Sophos. “We also the franchise a very different experience in higher level of polish across the entire game. wanted a lived-in, retro-vibe, so high-tech the harsh, icy conditions of the unforgiving Sophos said the communication between hardware took a backseat to improvised planet. The game combines on-foot third-per- Spark and Epic has been great in its ongoing weapons and real-world fi rearms. -
Official Playstation Magazine! Get Your Copy of the Game We Called A, “Return to Form for the Legendary Spookster,” in OPM #108 When You Subscribe
ISSUE 114 OCTOBER 2015 £5.99 gamesradar.com/opm LARA COMES HOME TOMB RAIDER It’s official! First look as Rise Of The Tomb Raider heads to PS4 ASSASSIN’SBETTER ON PS4! CREED SYNDICATE Back to its best? Victorian London explored and PS4-exclusive missions uncovered in our huge playtest EXPERT PLAYTEST STAR WARS BATTLEFRONT Fly the Millennium Falcon in the mode of your dreams COMPLETED! RECORD-BREAKING TEN-PAGE METAL GEAR SOLID REVIEW DESTINY: MAFIA III COMES BACK FROM THE TAKEN KING THE DEAD TO MAKE OUR DAY We’ve finished it! All-access CALL OF DUTY SIDES WITH PS4: pass to the best DLC ever WHAT DOES IT MEAN FOR YOU? ISSUE 114 / OCT 2015 Future Publishing Ltd, Quay House, The Ambury, Welcome Bath BA1 1UA, United Kingdom Tel +44 (0) 1225 442244 Fax: +44 (0) 1225 732275 here’s just no stopping the PS4 train. Email [email protected] Twitter @OPM_UK Web www.gamesradar.com/opm With Sony’s super-machine on track to EDITORIAL Editor Matthew Pellett @Pelloki eventually overtake PS2 as the best- Managing Art Editor Milford Coppock @milfcoppock T Production Editor Dom Reseigh-Lincoln @furianreseigh selling console ever, developers keep News Editor Dave Meikleham flocking to Team PlayStation. This month we CONTRIBUTORS Words Alice Bell, Jenny Baker, Ben Borthwick, Matthew Clapham, Ian Dransfield, Matthew Elliott, Edwin Evans-Thirlwell, go behind the scenes of five of the best Matthew Gilman, Ben Griffin, Dave Houghton, Phil Iwaniuk, Jordan Farley, Louis Pattison, Paul Randall, Jem Roberts, Sam games due out this year to show you why Roberts, Tom Sykes, Justin Towell, Ben Wilson, Iain Wilson Design Andrew Leung, Rob Speed the biggest blockbusters of the gaming ADVERTISING world are set to be better on PS4. -
Fall Guys: Ultimate Knockout Und Super Bomberman R Online Treffen Sich Im Crossover
** PRESSEMELDUNG ** 27. Mai 2021 FALL GUYS: ULTIMATE KNOCKOUT UND SUPER BOMBERMAN R ONLINE TREFFEN SICH IM CROSSOVER SUPER BOMBERMAN R ONLINE erscheint heute für PlayStation, Xbox, Switch und Steam als Free-to-Play-Titel und lädt den “Bean Bomber” aus Fall Guys ein Konami Digital Entertainment B.V. und Mediatonic verkünden heute ein besonderes Crossover zwischen dem neu veröffentlichten SUPER BOMBERMAN R ONLINE und dem „bohnigen Stolper Royale“ Fall Guys: Ultimate Knockout. Als Teil der Zusammenarbeit können alle Spieler von SUPER BOMBERMAN R ONLINE einen exklusiven „Bean Bomber“-Spielcharakter* erhalten. Somit ist dies das erste Mal, dass es ein Fall Guy in ein anderes Spiel geschafft hat. *Bis auf Weiteres im Spiel auf allen Plattformen verfügbar. Kein zusätzlicher Kauf notwendig. Der “Bean Bomber” kann über das Schlachtfeld hechten, um nicht von unzähligen Bomben getroffen zu werden, während Spieler im neuen „Kampf 64“-Onlinemodus gegeneinander antreten. Zusätzlich wird auch die Bomberman-Reihe in Fall Guys: Ultimate Knockout Einzug halten, nämlich mit dem neuen „Bomberman“-Kostüm! Der ikonische Charakter schlägt am 4. Juni 2021 im Blunderdome ein und wird im Ingame-Shop von Fall Guys für insgesamt zehn Kronen erhältlich sein. “Bean Bomber”-Charakter in SBRO “Bomberman”-Kostüm in Fall Guys Gameplay des “Bean Bombers” in SBRO “Bean Bomber”-Profil in SBRO SUPER BOMBERMAN R ONLINE ist ab heute für PlayStation®4, Xbox One, Nintendo Switch™ und PC via Steam als downloadexklusiver Free-to-Play-Titel verfügbar. Das Spiel ist ebenfalls auf PlayStation®5 und Xbox Series X|S spielbar. PlayStation Store – LINK Microsoft Store (Xbox) – LINK Nintendo eShop – LINK Steam – LINK Google Stadia – LINK KONAMIs Richtlinien für erstellte Nutzerinhalte (bspw. -
Annual Report2011 Web (Pdf)
ANNUAL REPORT 2 011 INTRODUCTION 3 CHAPTER 1 The PEGI system and how it functions 4 TWO LEVELS OF INFORMATION 5 GEOGRAPHY AND SCOPE 6 HOW A GAME GETS A RATINg 7 PEGI ONLINE 8 PEGI EXPRESS 9 PARENTAL CONTROL SYSTEMS 10 CHAPTER 2 Statistics 12 CHAPTER 3 The PEGI Organisation 18 THE PEGI STRUCTURE 19 PEGI s.a. 19 Boards and Committees 19 PEGI Council 20 PEGI Experts Group 21 THE FOUNDER: ISFE 22 THE PEGI ADMINISTRATORS 23 NICAM 23 VSC 23 PEGI CODERS 23 CHAPTER 4 PEGI communication tools and activities 25 INTRODUCTION 25 SOME EXAMPLES OF 2011 ACTIVITIES 25 PAN-EUROPEAN ACTIVITIES 33 PEGI iPhone/Android app 33 Website 33 ANNEXES 34 ANNEX 1 - PEGI CODE OF CONDUCT 35 ANNEX 2 - PEGI SIGNATORIES 45 ANNEX 3 - PEGI ASSESSMENT FORM 53 ANNEX 4 - PEGI COMPLAINTS 62 INTRODUCTION © Rayman Origins -Ubisoft 3 INTRODUCTION Dear reader, PEGI can look back on another successful year. The good vibes and learning points from the PEGI Congress in November 2010 were taken along into the new year and put to good use. PEGI is well established as the standard system for the “traditional” boxed game market as a trusted source of information for parents and other consumers. We have almost reached the point where PEGI is only unknown to parents if they deliberately choose to ignore video games entirely. A mistake, since practically every child or teenager in Europe enjoys video games. Promoting an active parental involvement in the gaming experiences of their children is a primary objective for PEGI, which situates itself at the heart of that. -
Read the Sunday Times Supplement
September 10, 2017 Researched and compiled by Fast Track BRITAIN’S Title sponsor Main sponsors FASTEST TECH GROWING PRIVATE TECHNOLOGY TRACK 100 COMPANIES Britain’s brightest win global backing Our latest research shows a record number of hyper-growth tech companies have attracted investors, writes Chris Marshall Clever British tech entrepreneurs are vehicle of Autonomy co-founder Mike attracting cash from all over the world in Lynch. It has raised $180m (£138m), a vote of confidence for the UK’s thriving including $75m in July. Headquartered digital economy in spite of fears that in Cambridge and San Francisco, it is Brexit could stifle investment. among the 80 Tech Track 100 companies More than two-thirds (68) of this year’s that have generated revenue overseas. Sunday Times Hiscox Tech Track 100 Another is Farfetch (No 52), an online have raised money from private equity fashion platform that has raised £500m, houses, venture capital firms and busi- including $397m (£305m) from Chinese ness angels from Europe, Asia and Amer- ecommerce business JD.com in June. ica. This was up from 46 last year and the Farfetch is one of three unicorns in the highest since the league table was first table — small, fast-growing tech firms published in 2001. However, there are a with valuations of more than $1bn. The record 40 loss-making companies, com- others are currency exchange platform pared with 25 typically — and this comes TransferWise (No 5) and peer-to-peer amid growing concerns of another tech lending platform Funding Circle (No 27). bubble, not helped by worries over the Of the unicorns that appeared in the Tech future of Uber. -
55 Parsim Orrumpon
UNDER EMBARGO: 25 March 2019 Synova invests in Mediatonic Growth investor Synova Capital (“Synova”) is delighted to announce a significant investment into Mediatonic (the “Company”), a leading global developer and publisher of video games. Mediatonic is led by its two co-founders, Dave Bailey and Paul Croft, who started the Company in 2005. Since then Mediatonic has launched over 100 games in partnership with some of the world’s largest and fastest growing game publishers including Scopely and Square Enix. Its proven track record in delivering and operating high quality titles (particularly in the dynamic mobile and “free to play” game spaces) has led blue-chip publishers to partner with the Company to develop and manage some of their most significant intellectual properties including Gears Pop! (Gears of War, Microsoft) and Fantastic Beasts: Cases from the Wizarding World (Harry Potter, Warner Bros). Synova has partnered with Mediatonic to support the continuing growth of the Company including investment in strategic partnerships, development of its own original games and the support and publishing of niche games by third party developers such as the top selling PC Building Simulator and the forthcoming Good Company. Philip Shapiro, Managing Partner of Synova, commented: “The video games industry is a large and fast growth market, estimated to be £114bn in 2018 and larger than both the movie and music sectors combined. Mediatonic is an exceptional platform in this exciting space with a specific focus on the fast growing mobile games market; we are delighted to be partnering with Dave and Paul and look forward to supporting them in delivering the next exciting stage of the Company’s journey.” Dave Bailey, CEO of Mediatonic, said: “Partnering with a like-minded and ambitious investor is critical as we continue to scale our business, invest in new opportunities and expand our offering. -
Jessica Sage CV 2020.Pdf
JESSICA SAGE Email: [email protected] | Connect: https://www.linkedin.com/in/jessicalsage I am a Senior User Interface Artist who specialises in video games. SUMMARY OF QUALIFICATIONS Nine years’ experience in the video games industry Completed several game development projects across multiple platforms Versatile with a broad skill-set and an excellent range of art styles Good leadership, management and communication skills PROFESSIONAL EXPERIENCE Senior UI Artist at NaturalMotion March 2020 - present Co-ordinating internal and external UI teams Providing direction and feedback to UI Artists Representing the UI team during Leads meetings and reviews UI Artist at NaturalMotion 2018 - 2020 Developing and iterating UI for new features Delivering Live Ops UI to meet the standards of high-calibre clients Optimising, critiquing and improving the game's UI systems UI Artist/Motion Designer at Ludia 2013 - 2018 Creating and implementing 2D and 3D UI assets, including VFX and MFX Production of promotional imagery such as App Store icons and splash screens UI Artist at Curve Studios 2011 - 2013 Designing, creating, animating and exporting icons and menus Using Flash to build prototypes and implement menu systems Additional tasks including Web Design, promotional imagery and MFX Outsourced UI Artist at Crytek UK 2012 Creating icons with several designs and iterations Delivering a large quantity of work for a tight deadline Flash Designer at Localstars 2011 Creating animated Flash advertisements for a broad range of clients