Audio Transcription
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Program Guide Index Sgc Program Guide 2013
EVENT’S SCHEDULE Version 0.3 Updated 17.06.13 GUEST LIST MARKET PLACE SGC GROUND MAP AND MUCH MORE!!! JUNE 21ST - 23RD, 2013 HYATT REGENCY DALLAS SGCONVENTION.COM PROGRAM GUIDE INDEX SGC PROGRAM GUIDE 2013 PROGRAM’S CONTENT A quick look at the most amazing three day gaming party in the entire Southwest! This index is where you can find all the information you’re looking for with ease. SGC Woo! The Guest List What is SGC? PAGE PAGE Need more information Welcome to the convention! about your favorite 04 09 celebrities? The Schedule The Hotel PAGE PAGE For when you want to Where is SGC held, rooms be at the right place, and reservations. 05 14 at the right time. PAGE PAGE The SGC Map Where to Eat? It’s dangerous to go along. Hungry? 06 17 TAKE THIS! TABLE TOP ROOM Transport PAGE PAGE Get you card, board, dice, Arriving in Dallas and need and role-playing games directions? 08 18 ready! 2 INDEX SGC PROGRAM GUIDE 2013 PROGRAM’S CONTENT Dealer Room Want exclusive merchandise PAGE or even a rare game? We have you covered! 19 IRON MAN PAGE OF GAMING The only competition to test 24 a gamer’s skills across all consoles, genres, and eras. ARCADE ROOM Play with your fellow gamers PAGE by matching up on either retro, modern, or arcade classics! 20 COSPLAY CONTEST PAGE Of course we love cosplay at SGC! See the rules for this year’s 28 contest at SGC! MOVIE ROOM Love movies? Check out which PAGE movies we will be showing day and night! 22 THANK YOU! PAGE Thanking those who supported SGC on the 2012 Kickstarter. -
Can We Save Video Game Journalism? Can Grass Roots Media Contribute with a More Critical Perspective to Contemporary Video Game Coverage?
Fall 08 Can We Save Video Game Journalism? Can grass roots media contribute with a more critical perspective to contemporary video game coverage? Author: Alejandro Soler Supervisor: Patrick Prax MASTERS THESIS: TWO YEARS MASTERS THESIS | DEPARTMENT OF INFORMATICS AND MEDIA | MEDIA & COMMUNICATION STUDIES UPPSALA UNIVERSITY | SPRING 2014 Abstract Video game journalism has been accused for lack in journalistic legitimacy for decades. The historical relation between video game journalists and video game publishers has always been problematic from an objective point of view, as publishers have the power to govern and dictate journalistic coverage by withdrawing financial funding and review material. This has consequently lead to lack in journalistic legitimacy when it comes to video game coverage. However, as the grass roots media movement gained popularity and attention in the mid 2000s, a new more direct and personal way of coverage became evident. Nowadays, grass roots media producers operate within the same field of practice as traditional journalists and the difference between entertainment and journalism has become harder than ever to distinguish. The aim of this master thesis is to discover if grass roots media is more critical than traditional video game journalism regarding industry coverage. The study combines Communication Power theory, Web 2.0 and Convergence Culture, as well as Alternative Media and Participatory Journalistic theory, to create an interdisciplinary theoretical framework. The theoretical framework also guides our choice in methodology as a grounded theory study, where the aim of analysis is to present or discover a new theory or present propositions grounded in our analysis. To reach this methodological goal, 10 different grass roots media producers were interviewed at 6 different occasions. -
Fair Use, Fair Play: Video Game Performances and "Let's Plays" As Transformative Use Dan Hagen
Washington Journal of Law, Technology & Arts Volume 13 | Issue 3 Article 3 4-1-2018 Fair Use, Fair Play: Video Game Performances and "Let's Plays" as Transformative Use Dan Hagen Follow this and additional works at: https://digitalcommons.law.uw.edu/wjlta Part of the Intellectual Property Law Commons Recommended Citation Dan Hagen, Fair Use, Fair Play: Video Game Performances and "Let's Plays" as Transformative Use, 13 Wash. J. L. Tech. & Arts 245 (2018). Available at: https://digitalcommons.law.uw.edu/wjlta/vol13/iss3/3 This Article is brought to you for free and open access by the Law Reviews and Journals at UW Law Digital Commons. It has been accepted for inclusion in Washington Journal of Law, Technology & Arts by an authorized editor of UW Law Digital Commons. For more information, please contact [email protected]. Hagen: Fair Use, Fair Play: Video Game Performances and "Let's Plays" as WASHINGTON JOURNAL OF LAW, TECHNOLOGY & ARTS VOLUME 13, ISSUE 3 SPRING 2018 FAIR USE, FAIR PLAY: VIDEO GAME PERFORMANCES AND “LET’S PLAYS” AS TRANSFORMATIVE USE Dan Hagen* © Dan Hagen Cite as: 13 Wash. J.L. Tech. & Arts 245 (2018) http://digital.law.washington.edu/dspace-law/handle/1773.1/1816 ABSTRACT With the advent of social video upload sites like YouTube, what constitutes fair use has become a hotly debated and often litigated subject. Major content rights holders in the movie and music industry assert ownership rights of content on video upload platforms, and the application of the fair use doctrine to such content is largely unclear. -
Let's Playereiden Asema Pelijournalismissa
Let's Playereiden asema pelijournalismissa Lauri Pajunen Opinnäytetyö 20.12.2016 Tekijät Aloitusvuosi Lauri Pajunen 2013 Opinnäytetyön nimi Sivu- ja Lets Playereiden asema pelijournalismissa liitesivumäärä 49 + 2 Ohjaajat Miisa Jääskeläinen Tämä opinnäytetyö käsittelee verrattain uuden pelijournalistisen ilmiön, ns. letsplay- videoiden tekijöitä ja heidän asemaansa pelijournalismin kentällä. Kaikille avoimena media-alustana YouTube on antanut kenelle tahansa mahdollisuuden tuottaa omaa videomateriaalia ja levittää sitä ennennäkemättömän helposti ympäri maailman. Kuka tahansa kamerakännykällä varustautunut kansalainen saattaa tallentaa puhelimellaan seuraavan maailmaa kohahduttavan uutistapahtuman, editoimattomana ja paikan päällä, kommentoiden itse tuntemuksiaan tai antaen videomateriaalin puhua puolestaan. Pelijournalismin puolella tavalliset ihmiset nauhoittavat omaa pelaamistaan ja kommetoivat siihen päälle tuntemuksiaan pelistä, raa'an pelikuvan tahdittaessa videota. Tämä on antanut kuluttajille ennennäkemättömän mahdollisuuden tutustua peleihin ennen ostopäätöstä, sillä käytännössä nämä letsplayerit ovat aivan samanlaisia ihmisiä kuin kuka tahansa. Haastattelluista letsplayereistä suurin osa tunnistautui osaksi pelimediaa ja määritteli itsensä viihdyttäjän rooliin. Vaikka heidän tarkoituksensa onkin viihdyttää katsojiaan, niin siitä huolimatta kaikki haastateltavat myönsivät heidän videoillaan olevan jonkinlainen vaikutus pelin ostopäätöstä panttaaviin ihmisiin. Suomalaiset pelimediat tunnustavat letsplayerit samaan aikaan kilpailijoiksi, -
Angry Video Game Nerd Adventures
Angry Video Game Nerd Adventures The Angry Video Game Nerd Adventures, also known as Angry Video Games Nerd Adventures, AVGN Adventures, AVGNA, and TAVGNA, is video game develop by studio Freakzone Games and publish by Screw Attack Entertainment on September 20, 2013, on Steam after being greenlit. In this game, the player takes control of the Angry Nerd and has to make its way through a “shitty video game” that resembles the feel and the aesthetics of the '80s and 90´s video games while trying to save his friends. The title tries to emulate the difficulty of the old school video games, and at the same time, the title is purposely designed to be the most frustrating and unfair game in gaming history. It was also the last game to be review by the Angry Video Game Nerd on his YouTube channel. A sequel was announced at San Diego ComicCon, with plans to release the game on Steam and Nintendo consoles. The sequel, The Angry Video Game Nerd Adventures 2: ASSimilation, was released in Spring 2016. Parodying the infamous Cheetahmen opening, the game starts in a slide-show style cutscene of the Nerd and his friends playing an unidentified game. Suddenly, his friends are sucked into the television as the Nerd successfully escapes the vortex by retreating into the basement. However, a hand reaches out of the basement's TV and yanks the Nerd, via his testicles, into Game Land, an amalgamation of all of the shitty, frustrating games the Nerd has played over the decade. Formally guided by Naggi, the patronizing firefly (a parody of The Legend of Zelda: Ocarina of Time's Navi) the Nerd must traverse the unfair plains of Game Land and find his friends and his way out. -
Webtelevision, Webseries and Webcasting
Webtelevision, Webseries and Webcasting Case studies in the organization and distribution of television- style content produced online Dee Majek Filmvetenskapliga Institutionen / Department of Cinema Studies Examensarbete 15 hp / Masters of One Year Thesis 15 credits Filmvetenskap / Cinema Studies Magisterskurs (15-30 hp) / Masters of One Year course (15-30 credits) Vårterminen / Spring term 2012 Handledare / Supervisor: Maaret Koskinen Webtelevision, Webseries, and Webcasting Case studies in the organization and distribution of television-style content produced online Dee Majek Abstract This thesis outlines the structure and functionality of a selection of webseries, webshows, and eSports casting examples, in order to add to the discourse on online video. Webtelevision, or Web TV production, distribution, and financing systems will be detailed in the case studies made; and industry actors such as entrepreneurs, independents, corporations and conglomerates will be discussed and identified. Who are the producers, the advertisers, the distribution platforms, the sponsors, the rights holders, and how do they interact? In exploring the structure of some examples of Web TV, I wish to debunk the online-amateur association as an inaccurate or insufficient description which permeates much prior academic study on online video. Webshow content, business strategies, legal and copyright issues, as well as fan culture aspects will also be investigated; and in regards to eSports, the question of televised as opposed to streamcast tournaments will be