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Becoming Human? Ableism and Control in <Em>Detroit: Become
Human-Machine Communication Volume 2, 2021 https://doi.org/10.30658/hmc.2.7 Becoming Human? Ableism and Control in Detroit: Become Human and the Implications for Human- Machine Communication Marco Dehnert1 and Rebecca B. Leach1 1 The Hugh Downs School of Human Communication, Arizona State University, Tempe, AZ, USA Abstract In human-machine communication (HMC), machines are communicative subjects in the creation of meaning. The Computers are Social Actors and constructivist approaches to HMC postulate that humans communicate with machines as if they were people. From this perspective, communication is understood as heavily scripted where humans mind- lessly apply human-to-human scripts in HMC. We argue that a critical approach to com- munication scripts reveals how humans may rely on ableism as a means of sense-making in their relationships with machines. Using the choose-your-own-adventure game Detroit: Become Human as a case study, we demonstrate (a) how ableist communication scripts ren- der machines as both less-than-human and superhuman and (b) how such scripts manifest in control and cyborg anxiety. We conclude with theoretical and design implications for rescripting ableist communication scripts. Keywords: human-machine communication, ableism, control, cyborg anxiety, Computers are Social Actors (CASA) Introduction Human-Machine Communication (HMC) refers to both a new area of research and concept within communication, defined as “the creation of meaning among humans and machines” (Guzman, 2018, p. 1; Fortunati & Edwards, 2020). HMC invites a shift in perspective where CONTACT Marco Dehnert • The Hugh Downs School of Human Communication • Arizona State University • P.O. Box 871205 • Tempe, AZ 85287-1205, USA • [email protected] ISSN 2638-602X (print)/ISSN 2638-6038 (online) www.hmcjournal.com Copyright 2021 Authors. -
The Role of Audio for Immersion in Computer Games
CAPTIVATING SOUND THE ROLE OF AUDIO FOR IMMERSION IN COMPUTER GAMES by Sander Huiberts Thesis submitted in fulfilment of the requirements for the degree of PhD at the Utrecht School of the Arts (HKU) Utrecht, The Netherlands and the University of Portsmouth Portsmouth, United Kingdom November 2010 Captivating Sound The role of audio for immersion in computer games © 2002‐2010 S.C. Huiberts Supervisor: Jan IJzermans Director of Studies: Tony Kalus Examiners: Dick Rijken, Dan Pinchbeck 2 Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. 3 Contents Abstract__________________________________________________________________________________________ 6 Preface___________________________________________________________________________________________ 7 1. Introduction __________________________________________________________________________________ 8 1.1 Motivation and background_____________________________________________________________ 8 1.2 Definition of research area and methodology _______________________________________ 11 Approach_________________________________________________________________________________ 11 Survey methods _________________________________________________________________________ 12 2. Game audio: the IEZA model ______________________________________________________________ 14 2.1 Understanding the structure -
DETROIT: BECOME HUMAN Author of the Review QUANTIC DREAM: Detroit: Become Human (Playstation 4 Ver- Sion)
BIBLIOGRAPHY The state of Online Gaming – 2018. Market Research. [online]. [2020-03-22]. Available at: <https:// www.limelight.com/resources/white-paper/state-of-online-gaming-2018/>. DETROIT: BECOME HUMAN Author of the review QUANTIC DREAM: Detroit: Become Human (PlayStation 4 ver- sion). [digital game]. Tokyo, San Mateo, CA : Sony Interactive Kateryna Nykytchenko, CSc. Entertainment, 2018. Kyiv National Linguistic University Faculty of Translation Studies Velyka Vasylkivska 73 Łukasz P. Wojciechowski 036 80 Kyiv UKRAINE “I’ve learned a lot since I met you, Connor. Maybe there’s something to this… Maybe [email protected] you really are alive. Maybe you’ll be the ones to make the world a better place… Go ahead, and do what you gotta do.” Hank Anderson, police lieutenant (human) works with his part- ner, Connor (android). Detroit: Become Human by author David Cage is a third-person adventure, similar to the previous games from the studio Quantic Dream1, Heavy Rain2 or Beyond: Two Souls3. And, just like the previous ones, they put a strong emphasis on ramifications of the story, choosing replicas of dialogues or emotional settings, which significantly affect the story and thus create more endings as well. The game follows the implementation of the three rules of robotics by Isaac Asimov that ensure the obedience of androids and their inability to hurt their human owners. The game follows the story of three androids, two of whom are beginning to show signs of faultiness and who strive to cope with their artificial origin, their human needs, wishes and desires. Those androids that ‘wake up’ and evolve beyond their original settings by the CyberLife company are referred to as ‘deviants’. -
Playstation Blast 16.Pdf
ÍNDICE Pegue a pipoca e vamos além A discussão em torno de jogos cinematográficos não é de hoje, mas parece estar prestes a ganhar um novo foco de debates, o esperado Beyond: Two Souls (PS3). Nós não só preparamos uma Prévia desse grande lançamento, como também trouxemos um Blast from the Past de outra pérola da Quantic Dream: Indigo Prophecy (PS2). E se você acha que a participação de Ellen Page na captura de movimentos de Beyond era um fato extraordinário, nós ainda trazemos um Especial com vários personagens inspirados em personalidades reais. Você confere isso e muito mais sobre os últimos lançamentos da família PlayStation! – Rafael Neves BLAST FROM THETOP PAST 10 ESPECIAL Indigo of Personagens e 04 Prophecy (PS2) suas Inspirações 43 PRÉVIA TOP 5 Beyond Two 5 Jogos da Disney 10 Souls (PS3) para Playstation 47 ANÁLISE ANÁLISE MAIS ONLINE! Persona 3 16 Portable (PSP) Heavy Rain (PS3) ANÁLISE ESPECIAL Killzone: Mercenary Jogos 22 (PSVita) Cinematográficos ANÁLISE PRÉVIA Dragon’s Crown(PS3) Killzone: Shadow 30 Fall (PS4) DISCUSSÃO DISCUSSÃO Jogos Tornam Diversão Deixou de 36 Alguém Violento? Ser Prioridade? playstationblast.com.br 2 / 52 HQ BLAST Os Dramas da Alma por Sybellyus Paiva DIRETOR GERAL / EDITORIAL / PROJETO GRÁFICO Sérgio Estrella DIRETOR DE PAUTAS Rodrigo Estevam DIRETOR DE REVISÃO Alberto Canen DIRETOR DE DIAGRAMAÇÃO Guilherme Vargas REDAÇÃO Thomas Schulze Samuel Coelho Alex Campos Fillipe Salles Rodrigo Estevam Rayner Lacerda Alberto Canen Rafael Neves REVISÃO Vitor Tibério Bruna Lima Rafael Neves Samuel Coelho Ramon de Oliveira José Carlos Alves DIAGRAMAÇÃO David Vieira Lucas Paes Eidy Tasaka Gabriel Leles Breno Madureira Leonardo Correia Ítalo Lourenço Tiffany B. -
Trigger Happy: Videogames and the Entertainment Revolution
Free your purchased eBook form adhesion DRM*! * DRM = Digtal Rights Management Trigger Happy VIDEOGAMES AND THE ENTERTAINMENT REVOLUTION by Steven Poole Contents ACKNOWLEDGMENTS............................................ 8 1 RESISTANCE IS FUTILE ......................................10 Our virtual history....................................................10 Pixel generation .......................................................13 Meme machines .......................................................18 The shock of the new ...............................................28 2 THE ORIGIN OF SPECIES ....................................35 Beginnings ...............................................................35 Art types...................................................................45 Happiness is a warm gun .........................................46 In my mind and in my car ........................................51 Might as well jump ..................................................56 Sometimes you kick.................................................61 Heaven in here .........................................................66 Two tribes ................................................................69 Running up that hill .................................................72 It’s a kind of magic ..................................................75 We can work it out...................................................79 Family fortunes ........................................................82 3 UNREAL CITIES ....................................................85 -
Assassins, Gods, and Androids: How Narratives and Game Mechanics Shape Eudaimonic Game Experiences
Media and Communication (ISSN: 2183–2439) 2021, Volume 9, Issue 1, Pages 49–61 DOI: 10.17645/mac.v9i1.3205 Article Assassins, Gods, and Androids: How Narratives and Game Mechanics Shape Eudaimonic Game Experiences Rowan Daneels 1,*, Steven Malliet 1,2, Lieven Geerts 3, Natalie Denayer 1, Michel Walrave 1 and Heidi Vandebosch 1 1 Department of Communication Studies, University of Antwerp, 2000 Antwerp, Belgium; E-Mails: [email protected] (R.D.), [email protected] (S.M.), [email protected] (N.D.), [email protected] (M.W.), [email protected] (H.V.) 2 Inter-Actions Research Unit, LUCA School of Arts, 3600 Genk, Belgium 3 Department of Sociology, University of Antwerp, 2000 Antwerp, Belgium; E-Mail: [email protected] * Corresponding author Submitted: 29 April 2020 | Accepted: 21 June 2020 | Published: 6 January 2021 Abstract Emerging research has suggested that digital games can generate entertainment experiences beyond hedonic enjoyment towards eudaimonic experiences: Being emotionally moved, stimulated to reflect on one’s self or a sense of elevation. Studies in this area have mainly focused on individual game characteristics that elicit singular and static eudaimonic game moments. However, such a focus neglects the interplay of multiple game aspects as well as the dynamic nature of eudai- monic experiences. The current study takes a novel approach to eudaimonic game research by conducting a qualitative game analysis of three games (Assassin’s Creed Odyssey, Detroit: Become Human, and God of War) and taking system- atic notes on game experiences shortly after playing. Results reveal that emotionally moving, reflective, and elevating eudaimonic experiences were elicited when gameplay notes suggested a strong involvement with the game’s narrative and characters (i.e., narrative engagement) and, in some cases, narrative-impacting choices. -
Two Souls and Detroit: Become Human Are Avai- Lable on Steam
PARIS, JUNE 18 2020 HEAVY RAIN, BEYOND: TWO SOULS AND DETROIT: BECOME HUMAN ARE AVAI- LABLE ON STEAM. The Detroit: Community Play Twitch extension and two Stream Packs are also available for free at DetroitCom- munityPlay.com. Quantic Dream’s official eshop launches today preorders for the Detroit: Become Human Collector’s Edition on PC Quantic Dream S.A. announces the availability of its flagship titles on PC, on the online digital distribution service Steam: Heavy RainTM, Beyond: Two SoulsTM and Detroit: Become HumanTM. These three games are available directly on their dedicated Steam pages: • Heavy Rain : https://store.steampowered.com/app/960910/Heavy_Rain • Beyond: Two Souls : https://store.steampowered.com/app/960990/Beyond_Two_Souls • Detroit: Become Human : https://store.steampowered.com/app/1222140/Detroit_Become_Human Heavy RainTM and Beyond: Two SoulsTM are each available for 19,90€. Detroit: Become HumanTM is available for 39,90€. The Detroit: Become Human Collector’s Edition, exclusive to PC, is now available for preorders on the official Quan- tic Dream eshop: https://shop.quanticdream.com/products/detroit-become-human-collectors-edition This limited edition, with only 2500 units available worldwide, contains an exclusive set of 3 pins featuring key icons from the game, as well as a new 27-cm statue of the Android “Kara”, set atop a base illuminated by a halo of LED lights, with integrated movable robot arms. Meanwhile, the Detroit: Community Play experience is also making its debut and is available here: DetroitCommunityPlay.com Announced during the first-ever Quantic Stream on the studio’s official Twitch channel at twitch.com/QuanticDream, this interactive stream extension for the PC version of Detroit: Become HumanTM was designed by the team behind the game and is exclusively available for Twitch. -
Fahrenheit and the Premature Burial of Interactive Movies Jonathan Lessard Eludamos
Vol. 3, No. 2 (2009) http:/www.eludamos.org Fahrenheit and the premature burial of interactive movies Jonathan Lessard Eludamos. Journal for Computer Game Culture. 2009; 3 (2), p. 195-205 Fahrenheit and the premature burial of interactive movies JONATHAN LESSARD The role reserved for interactive movies in video game histories can usually be summed up like this: a short-lived experiment having created such great expectations that can only be compared to the consequent disappointment. The genre is pretty much considered dead and the appellation ‘interactive movie’ is even pejoratively used to describe games with too many non-interactive narrative sequences. The lesson to be learned from the experience, it seems, is that mixing video games and cinema can only lead to a product that is both a bad movie and a bad game. Interactive movies are, in the best cases, last-gen material. Yet, almost ten years after the release of the last ‘major’ interactive movie games like Gabriel Knight: The Beast Within (Sierra On-Line 1995) or Pandora Directive (Access Software, 1996), a game is published claiming to be “a unique combination of gaming and cinematography […]”.1 The game is Fahrenheit (Quantic Dream 2005), published in North America as Indigo Prophecy. This ‘original’ concept seems to please since the game reaches top positions of best-selling charts and now exceeds 700 000 copies sold. 2 Critical reception is also very positive if we are to believe the compiled scores from Metacritic.com: 85% and Mobygames.com: 83%. In his post-mortem published in the Game Developer journal, David Cage (2006) insists on the game’s special blend of cinema and video games: The cinematographic approach in Indigo Prophecy was an essential aspect of the game concept from the very beginning. -
UBC High Notes
UBC High Notes Fall 2011 Newsletter of the School Music at the University of British Columbia Director’s Welcome Welcome to the thirteenth edition of High Notes, our annual chronicle of the recent activities and major achievements of faculty, students, and alumni of the UBC School of Music. The variety, quality, and international impact of these contributions to scholarship and public life are inspiring and impressive, and each year brings a stream of new work and echoing accolades. After our exciting “year of renewal” in 2010/2011, we are now taking full advantage of our revitalized facilities. The handsomely renovated Roy Barnett Recital Hall is acoustically brilliant and well equipped, and is the heart of our teaching and performing activities every day. The beautiful and historic Old Auditorium has been thoroughly modernized as a teaching, rehearsal, and performance space perfect for classical opera, and also for concerts, recitals, and other events. The splendid Chan Centre, with its contemporary design and acoustic radiance, is home for our Symphony Orchestra, Symphonic Wind Ensemble, Concert Winds, University Singers, and Choral Union, plus one fully staged opera each season by the UBC Opera Ensemble. The Chan Centre also features its own programming and numerous community partnerships. These three wonderful venues add depth and richness to the musical life of UBC. Thanks to significant investments by the Province, University, Faculty of Arts, the School of Music itself, and the support of many generous private donors, our faculty and students enjoy facilities that few institutions Photo credit: Martin Dee can match. We are always delighted to welcome the community to our many performances in these three superb venues. -
Diplomatic List – Fall 2018
United States Department of State Diplomatic List Fall 2018 Preface This publication contains the names of the members of the diplomatic staffs of all bilateral missions and delegations (herein after “missions”) and their spouses. Members of the diplomatic staff are the members of the staff of the mission having diplomatic rank. These persons, with the exception of those identified by asterisks, enjoy full immunity under provisions of the Vienna Convention on Diplomatic Relations. Pertinent provisions of the Convention include the following: Article 29 The person of a diplomatic agent shall be inviolable. He shall not be liable to any form of arrest or detention. The receiving State shall treat him with due respect and shall take all appropriate steps to prevent any attack on his person, freedom, or dignity. Article 31 A diplomatic agent shall enjoy immunity from the criminal jurisdiction of the receiving State. He shall also enjoy immunity from its civil and administrative jurisdiction, except in the case of: (a) a real action relating to private immovable property situated in the territory of the receiving State, unless he holds it on behalf of the sending State for the purposes of the mission; (b) an action relating to succession in which the diplomatic agent is involved as an executor, administrator, heir or legatee as a private person and not on behalf of the sending State; (c) an action relating to any professional or commercial activity exercised by the diplomatic agent in the receiving State outside of his official functions. -- A diplomatic agent’s family members are entitled to the same immunities unless they are United States Nationals. -
The Greatest Four-Letter Word
✱ Iman✱ the greatest four-letter word IMAN is more in the moment than ever, even when she’s needlepointing for her grandkids by ERIC WILSON photographed by ANTHONY MAULE styled by NINA STERGHIOU Let it be known that it was Iman’s idea to wear a wet T-shirt. With a career that has spanned four decades, Iman is “I suggested it,” she says over a glass of pinot grigio, such a reliably adaptable and yet physically unaltered sitting in the lobby of the Mercer hotel in New York City fixture of popular culture that most people wouldn’t know shortly after the photo shoot where the accompanying im- she actually retired from the runways in 1989. She hasn’t age of one super-soaked supermodel was created. Iman had so much as attended a fashion show since, though she been asked to wear a Supreme T-shirt as a simple homage continues to outpace even some of her youngest peers both to her stature as an unrivaled deity of the modeling world, a in relevancy and in ad pages, most recently appearing in trailblazing cosmetics entrepreneur, and a long-standing campaigns for Valentino and Balmain. Fans on Instagram advocate for women. are obsessed with unearthing glamorous photos of Iman Too basic for Iman. She had other ideas. from the heyday of ’80s fashion, when she appeared in “I’m 63—why would I have a Supreme T-shirt?” she says. Thierry Mugler shows and attended galas with Calvin “It’s just a boring T-shirt. It’s too young and too hip. -
The Player in Detroit: Become Human (2018)
„Acta Humana” 9 (2018) Mgr Agata Waszkiewicz Uniwersytet Marii Curie-Skłodowskiej e-mail: [email protected] (Trans)humanism and the Postmodern Identities: the Player in Detroit: Become Human (2018) Introduction: from humanism to posthumanism Detroit: Become Human is a third-person adventure game released in 2018 exclusively for the PlayStation 4 console. Published by the Quantic Dream studio it is the newest game written and directed by David Cage, after such critically ac- claimed games as Fahrenheit (2005), Heavy Rain (2010) and Beyond: Two Souls (2013), all of which share the strong emphasis on the branching storyline, choice regarding both dialogue options, and the decisions on a grand scale, affecting the narrative, and, consequently, multiple endings (Lebowitz, Klug 2011). The game follows the three “deviant” androids placed around the android rebellion, but shown from their three distinctly different points of view. While the gameplay al- lows the player to freely explore the environment through the controlled character, most of the interactions, including the fight sequences, base on the so called Quick Time Event (QTE) system. Furthermore, the games adapt to the player’s choices, offering different outcomes and multiple endings. The player choices do have grave consequences: each of the three main player-controlled characters, Kara, Marcus, and Connor, can die during various points of the gameplay and each character’s death has different impact. Despite the rather complex branching narrative, of- fering a multitude of possible outcomes, endings, and influencing the characters in meaningful ways, the game offers a rather predictable storyline without the depth of some of its predecessors from variety of media, which strive to juxtapose the artificial origin of the androids with their human needs, wishes, and desires.