The Clan of the Scorpion Free
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Terry “Trickman” Minnich and Jeff Lee Home of Terry Minnich – Glendale Heights, IL
Terry “Trickman” Minnich and Jeff Lee Home of Terry Minnich – Glendale Heights, IL *** Date: October 13, 2015 Location: Home of Terry Minnich (157 Golden Dr.) – Glendale Heights, IL Interviewer(s): Jordan Mynes, Fulgencio Torres Transcription: Jared Wohn, Zhanna Badasyan, Silvia Nunez Length: 2 hours, 30 minutes, 15 seconds Project: History of CoinOp in Chicago [00:00:00] Jordan Mynes [JM]: Alright I’m Jordan Mynes Fulgencio Torres [FT]: And Fulgencio Torres JM: And we’re interviewing Trickman Terry and I forgot your name, sorry Jeff Lee [JL]: Jeff Lee! 2 JM: Jeff Lee, and this is for our class History of Video Games with Carly Kocurek and the Chicago CoinOp Archive and just real quick tell us about yourselves, how’d you first get into video games? Terry Trickman [TM]: You first or JL: Well I got into video games back in 1981. I was working as an artist I was working at Triton College in River Grove and I got a call one day from a friend of mine, Richard Tracy, who I’ve known for a number of years socially. We played music together and he knew one of my hobbies was playing games war games, cards, and board games all kinds of stuff like that and he had recently taken a job at D. Gottlieb & Co. which was one of the three, four , five pinball companies in chicago. Chicago being the home of pinball and D. Gottlieb invented the flipper game back in the 30s and JM: It was mostly tilt before that right? JL: Yeah, I guess, I guess so that’s all they did All: [laughs] JL: Supposedly, supposedly, David Gottlieb or even probably one of his engineers invented the flipper then right and anyway the video game boom had commenced and a lot of the companies, Bally Midway, Williams, and Stern, had jumped on that bandwagon. -
SCMS 2019 Conference Program
CELEBRATING SIXTY YEARS SCMS 1959-2019 SCMSCONFERENCE 2019PROGRAM Sheraton Grand Seattle MARCH 13–17 Letter from the President Dear 2019 Conference Attendees, This year marks the 60th anniversary of the Society for Cinema and Media Studies. Formed in 1959, the first national meeting of what was then called the Society of Cinematologists was held at the New York University Faculty Club in April 1960. The two-day national meeting consisted of a business meeting where they discussed their hope to have a journal; a panel on sources, with a discussion of “off-beat films” and the problem of renters returning mutilated copies of Battleship Potemkin; and a luncheon, including Erwin Panofsky, Parker Tyler, Dwight MacDonald and Siegfried Kracauer among the 29 people present. What a start! The Society has grown tremendously since that first meeting. We changed our name to the Society for Cinema Studies in 1969, and then added Media to become SCMS in 2002. From 29 people at the first meeting, we now have approximately 3000 members in 38 nations. The conference has 423 panels, roundtables and workshops and 23 seminars across five-days. In 1960, total expenses for the society were listed as $71.32. Now, they are over $800,000 annually. And our journal, first established in 1961, then renamed Cinema Journal in 1966, was renamed again in October 2018 to become JCMS: The Journal of Cinema and Media Studies. This conference shows the range and breadth of what is now considered “cinematology,” with panels and awards on diverse topics that encompass game studies, podcasts, animation, reality TV, sports media, contemporary film, and early cinema; and approaches that include affect studies, eco-criticism, archival research, critical race studies, and queer theory, among others. -
An Argument for Non-Formalist Level Generation in Super Mario Bros
``What is a Super Mario level anyway?'' An Argument For Non-Formalist Level Generation in Super Mario Bros. Tommy Thompson Anglia Ruskin University Cambridge, UK [email protected] ABSTRACT The video game series Super Mario Bros. has proven immensely popular in the field of artificial intelligence research within the last 10 years. Procedural content generation re- search in Super Mario continues to prove popular to this day. However much of this work is based largely on the notions of creating ‘Mario-like’ level designs, patterns or structures. In this paper, we argue for the need to diversify the generative systems used for level cre- ation within the Super Mario domain through the introduction of more aesthetic-driven and ‘non-formalist’ approaches towards game design. We assess the need for a broader approach to automated design of Mario artefacts and gameplay structures within the context of Super Mario Maker: a Super Mario Bros. level creation tool. By assessing a number of top-ranked levels established within the player community, we recognise a populist movement for more radical level design that the AI community should seek to embrace. Keywords Procedural content generation, level design, Super Mario Bros. INTRODUCTION Automated game design (AGD) is a field of research and development that focusses on the creation of entire games: ranging from traditional card and board games to that of video games. This is a immensely tasking yet creative field, with a large body of research typ- ically found within the procedural content generation (PCG) community: where emphasis is placed on creating specific assets such as the interactive space (levels/maps), weaponry, quests and story-lines. -
GOLBEZ : A Video Games Tournament Written and Edited by Jason Thompson
G OLBEZ : A Video Games Tournament Written and edited by Jason Thompson w ith guest appearances by Billy Busse, Ike Jose, and Andrew Wang PACKET 2 ― Earth Pixie 1. In a Youtube video by user “Just a Pancake,” Unhelpful High School Teacher responds “clap clap clap” after Dora the Explorer performs this task, while the screen gradually turns red as Sora performs it interspersed with “HD 1.5 Remix,” “HD 2.8 Final Chapter Prologue,” and several other titles. In Chrono Cross, Sneff performs this action while snapping his fingers before turning the party into cats, while oddly lisping the final part of it. Calo Nord will attack the player if he (*) completes this action when the player tries to talk to him in a Taris cantina in Knights of the Old Republic. The final part of this action is replaced with “ta-da!” or “poof!” when a Pokemon forgets an old move to learn a new one. The Day of Defeat, Left 4 Dead, Portal, and Half-Life series are often cited as evidence that Gabe Newell and Valve can’t perform, for 10 points, what simple mathematical task? ANSWER: counting to 3 (accept counting 1...2...3 or 1...2...FREE! or clear equivalents; prompt on “count(ing)”) 2. One awesome-looking product by this company had a triangular base that featured a holstered light gun, steering wheel and gear shift, and two knobs on its three sides, respectively, corresponding to the games Quick Draw, Road Race, and Tennis. Arnold Greenberg was behind this company’s push of a disastrous product whose power supply, which was housed in its printer from some reason, could erase tapes in its tape deck with an electromagnetic surge by simply being turned on. -
Bottomfeeders William Linn University of South Carolina - Columbia
University of South Carolina Scholar Commons Theses and Dissertations 2015 Bottomfeeders William Linn University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Fiction Commons Recommended Citation Linn, W.(2015). Bottomfeeders. (Master's thesis). Retrieved from https://scholarcommons.sc.edu/etd/3086 This Open Access Thesis is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Bottomfeeders by William Linn Bachelor of Arts University of Mississippi, 2010 Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Fine Arts in Creative Writing College of Arts and Sciences University of South Carolina 2015 Accepted by: Elise Blackwell, Director of Thesis David Bajo, Reader Robert Brinkmeyer, Reader Julia Elliott, Reader Lacy Ford, Vice Provost and Dean of Graduate Studies © Copyright by William Linn, 2015 All Rights Reserved. ii Abstract Bottomfeeders is a collection of short fiction. It includes stories concerning life, death, hoboes, wrestling, videogames, and cropdusters, among other things. It is both very serious and impossibly dumb, as is the way of things. Table of Contents Abstract .............................................................................................................................. iii 1. Seventeen Neck, Thirty-Four Sleeve ...............................................................................1 -
Understanding Video Game Developers As an Occupational Community
1 Understanding Video Game Developers as an Occupational Community Johanna Weststar, Western University A fully edited, peer-reviewed version of this article was first published by Information, Communication and Society and should be cited as follows: Weststar, J. (2015, online). Understanding video game developers as an occupational community. Information, Communication and Society. DOI: 10.1080/1369118X.2015.1036094 The video game industry has rapidly expanded over the last four decades, yet there is limited research about the workers who make video games. In examining these workers, this article responds to calls for renewed attention to the role of the occupation in understanding project-based workers in boundaryless careers. Specifically, this article uses secondary analysis of online sources to demonstrate that video game developers can be understood as a unique social group called an occupational community. Once this classification has been made, the concept of occupational community can be used in future research to understand workers in terms of identity formation, competency development, career advancement and support, collective action, as well as adherence to and deviance from organizational and industry norms. Keywords: occupational community, video game industry, technical labor, cultural labor, creative labor Word count: 7750 Workers in project-based environments often experience boundaryless careers (Arthur & Rousseau, 1996). Such environments are typical in the creative/cultural industries such as film, theatre and television where the project (i.e., the movie) has a defined start and end and workers are hired to perform specific roles during specified periods of the project life-cycle. These environments are also common in information and communications technology (ICT) fields. -
A Day in the Life Long Remembered: the Making of Princess Leia’’S Stolen Death Star Plans
A Day in the Life Long Remembered: the Making of Princess LeiA’’s Stolen Death Star Plans by Dan Amrich, Jude Kelley, and Katrin Auch So May I Introduce To You...… DAN AMRICH: Jude and I both auditioned for a Bay Area between competitive Donkey Kong players Billy Mitchell and 80s cover band, Fast Times, in the late 90s. Jude played Steve Wiebe. I latched onto The Who’s Tommy and thought keytar and I was one of the two singers, though I occasion- it might fit – both tell the story of an amazingly skilled arcade ally played rhythm guitar. Jude gave me a ride home from re- player struggling to overcome unusual obstacles. A few lyrics hearsal every week, and we’d talk about sci-fi movies, arcade popped into my head — “See me, feel me, touch me, Wiebe” games (which Jude collects and restores), and other geek made me laugh, so I said I’d work on that. But a year later, stuff. One day we found ourselves discussing song parodies, that’s all I had. and we decided if we ever did video game parodies, we’d want a name that only gamers would even understand. For DAN: Jude lives outside Boston, and my wife Katrin Auch whatever reason, the Mortal Kombat reference “palette-swap and I went to lunch with him during PAX East in 2012. I ninja” made us both giggle the most. When Jude later mentioned that I couldn’t get the “Tommy Kong” project in relocated to the Boston area, we missed working together, gear.