Defining and Understanding the Save Mechanic
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Hydrax-Manual
BCI The game "Hydrax" is a new concept in Adventure Games. It seeks to combine the best features of an Adventure Game with the action and graphics of an Arcade Game. As an adventurer you will be required to solve puzzles and riddles while exploring a vast underground world in your quest to find and defeat Hydrax. As an arcader you will use a joystick to control the hero and to fight various unfriendly creatures which inhabit the cave. The game is played in two ways, by means of the joystick, when fast action to defeat an enemy is required, and by typed commands if a more thoughtful solution is required. Pressing the space bar on the computer will freeze all action and allow you to type in a command. Commands may be single words or sentences. e.g. (i) LOOK-will tell you about the room (ii) OFFER 10 GOLD PIECES TO WITCH SOME USE.FUL COMMANDS INVENTORY - tells what you are currently carrying and how many life points you have left. SAVE GAME - saves game to disk (see note). EXITS FROM CAVERN The exits are left, right, back, front, up, and down. A cavern may have only one exit or any combination of six. All exits are normally visible on the screen except the front. The joystick can be used to walk through a left or right exit. JOYSTICK The joystick is used for walking, jumping, ducking, swimming and fighting. To fight you must carry a sword. Press fire button and direction of the joystick will point the sword. -
08-1448 Brown V. Entertainment Merchants Assn. (06/27/2011)
(Slip Opinion) OCTOBER TERM, 2010 1 Syllabus NOTE: Where it is feasible, a syllabus (headnote) will be released, as is being done in connection with this case, at the time the opinion is issued. The syllabus constitutes no part of the opinion of the Court but has been prepared by the Reporter of Decisions for the convenience of the reader. See United States v. Detroit Timber & Lumber Co., 200 U. S. 321, 337. SUPREME COURT OF THE UNITED STATES Syllabus BROWN, GOVERNOR OF CALIFORNIA, ET AL. v. ENTERTAINMENT MERCHANTS ASSOCIATION ET AL. CERTIORARI TO THE UNITED STATES COURT OF APPEALS FOR THE NINTH CIRCUIT No. 08–1448. Argued November 2, 2010—Decided June 27, 2011 Respondents, representing the video-game and software industries, filed a preenforcement challenge to a California law that restricts the sale or rental of violent video games to minors. The Federal District Court concluded that the Act violated the First Amendment and permanently enjoined its enforcement. The Ninth Circuit affirmed. Held: The Act does not comport with the First Amendment. Pp. 2–18. (a) Video games qualify for First Amendment protection. Like pro- tected books, plays, and movies, they communicate ideas through fa- miliar literary devices and features distinctive to the medium. And “the basic principles of freedom of speech . do not vary” with a new and different communication medium. Joseph Burstyn, Inc. v. Wil- son, 343 U. S. 495, 503. The most basic principle—that government lacks the power to restrict expression because of its message, ideas, subject matter, or content, Ashcroft v. American Civil Liberties Un- ion, 535 U. -
Ethics at Play in Undertale: Rhetoric, Identity and Deconstruction
Ethics at Play in Undertale: Rhetoric, Identity and Deconstruction Frederic SERAPHINE The University of Tokyo – ITASIA Program Graduate School of Interdisciplinary Information Studies 7-3-1 Hongo, Bunkyo-ku, Tokyo 113-0033, JAPAN +81-3-5841-8769 Seraphine[at]g.ecc.u-tokyo.ac.jp ABSTRACT This paper focuses on the effect of ethical – and unethical – actions of the player on their perception of the self towards game characters within Toby Fox’s (2015) independent Role Playing Game (RPG) Undertale, a game often perceived as a pacifist text. With a focus on the notions of guilt and responsibility in mind, a survey with 560 participants from the Undertale fandom was conducted, and thousands of YouTube comments were scraped to better understand how the audience who watched or played the different routes of the game, refer to its characters. Through the joint analysis of the game’s semiotics, survey data, and data scraping, this paper argues that, beyond the rhetorical nature of its story, Undertale is operating a deconstruction of the RPG genre and is harnessing the emotional power of gameplay to evoke thoughts about responsibility and raise the player’s awareness about violence and its consequences. Keywords rhetoric, ethics, deconstruction, pacifism, violence, character, avatar, meta-storytelling INTRODUCTION There are some artistic experiences that stick with us for a very long time, aesthetic memories, that one may put between their first kiss and their first fight. For many of its players, a game like Undertale seems to fall into this category. Because its story puts the player in the situation of making choices that affect dramatically the course of the narrative, and the survival of its characters, it seems people who played this game grow an attachment to its fictional characters comparable to the attachment to a friend in their real life. -
Quake Manual
The Story QUAKE Background: You get the phone call at 4 a.m. By 5:30 you're in the secret installation. The commander explains tersely, "It's about the Slipgate device. Once we perfect these, we'll be able to use them to transport people and cargo from one place to another instantly. "An enemy codenamed Quake, is using his own slipgates to insert death squads inside our bases to kill, steal, and kidnap. "The hell of it is we have no idea where he's from. Our top scientists think Quake's not from Earth, but another dimension. They say Quake's preparing to unleash his real army, whatever that is. "You're our best man. This is Operation Counterstrike and you're in charge. Find Quake, and stop him ... or it ... You have full authority to requisition anything you need. If the eggheads are right, all our lives are expendable." Prelude to Destruction: While scouting the neighborhood, you hear shots back at the base. Damn, that Quake bastard works fast! He heard about Operation Counterstrike, and hit first. Racing back, you see the place is overrun. You are almost certainly the only survivor. Operation Counterstrike is over. Except for you. You know that the heart of the installation holds a slipgate. Since Quake's killers came through, it is still set to his dimension. You can use it to get loose in his hometown. Maybe you can get to the asshole personally. You pump a round into your shotgun, and get moving. System Requirements General Quake System Requirements IBM PC and Compatible Computers Pentium 75 MHz processor or better (absolutely must have a Math Co-Processor!) VGA Compatible Display or better Windows 95 Operation: 16MB RAM minimum, 24MB+ recommended CD-ROM drive required Hard Drive Space Needed: 80 MB Specialized Requirements For WinQuake (WINQUAKE.EXE): Windows 95/98/ME/NT/2000 For GLQuake (GLQUAKE.EXE): Windows 95/98/ME/NT/2000 Open GL Compatible Video Card GLQUAKE supports most 100% fully OpenGL compliant 3D accelerator cards. -
Army-Of-Two-The-Devil-S-Cartel-Manual
WARNING: PHOTOSENSITIVITY/EPILEPSY/SEIZURES A very small percentage of individuals may experience epileptic seizures or blackouts when exposed to certain light patterns CONTENTS or flashing lights. Exposure to certain patterns or backgrounds on a television screen or when playing video games may trigger epileptic seizures or blackouts in these individuals. These conditions may trigger previously undetected epileptic symptoms or GETTING STARTED. ......................2 HEADS-Up DIspLAY (HUD). ...........10 seizures in persons who have no history of prior seizures or epilepsy. If you, or anyone in your family, has an epileptic condition or INTRODUCTION. ...........................3 GETTING INTO THE ACTION. ..........12 has had seizures of any kind, consult your physician before playing. IMMEDIATELY DISCONTINUE use and consult your physician before resuming gameplay if you or your child experience any of the following health problems or symptoms: CONTROLS. ..................................4 WORKING TOGETHER. ..................18 ` dizziness ` eye or muscle twitches ` disorientation ` any involuntary movement MAIN MENU. ...............................5 WEAPON CUSTOMIZATION. ..........20 ` altered vision ` loss of awareness ` seizures or convulsion. MIssIONS. ...................................7 NEED HELP?. ................................21 RESUME GAMEPLAY ONLY ON APPROVAL OF YOUR PHYSICIAN. PLAYING THE GAME. ....................8 This product has been rated by the Entertainment Software Rating Board. For information about the ESRB rating please UN se A D HANDling OF VIDeo GAMes TO REDUCE THE LIKelihooD OF A SEIZURE visit www.esrb.org. ` Use in a well-lit area and keep as far away as possible from the television screen. ` Avoid large screen televisions. Use the smallest television screen available. NOTICES ` Avoid prolonged use of the PlayStation®3 system. Take a 15-minute break during each hour of play. -
Certificate for Approving the Dissertation
MIAMI UNIVERSITY The Graduate School Certificate for Approving the Dissertation We hereby approve the Dissertation of Kevin J. Rutherford Candidate for the Degree: Doctor of Philosophy Director (Jason Palmeri) Reader (Michele Simmons) Reader (Heidi McKee) Reader (Kate Ronald) Graduate School Representative (Bo Brinkman) ABSTRACT PACK YOUR THINGS AND GO: BRINGING OBJECTS TO THE FORE IN RHETORIC AND COMPOSITION by Kevin J. Rutherford This dissertation project focuses on object-oriented rhetoric (OOR), a perspective that questions the traditional notions of rhetorical action as solely a human province. The project makes three major, interrelated claims: that OOR provides a unique and productive methodology to examine the inclusion of the non-human in rhetorical study; that to some extent, rhetoric has always been interested in the way nonhuman objects interact with humans; and that these claims have profound implications for our activities as teachers and scholars. Chapter one situates OOR within current scholarship in composition and rhetoric, arguing that it can serve as a useful methodology for the field despite rhetoric’s traditional focus on epistemology and human symbolic action. Chapter two examines rhetorical history to demonstrate that a view of rhetoric that includes nonhuman actors is not new, but has often been marginalized. Chapter three examines two videogames as sites of theory and practice for object-oriented rhetoric, specifically focusing on a sense of metaphor to understand the experience of nonhuman rhetors. Chapter four interrogates the network surrounding a review aggregation website to argue that, while some nonhumans may be unhelpful rhetorical collaborators, OOR can assist us in improving relationships with them. -
Opera Acquires Yoyo Games, Launches Opera Gaming
Opera Acquires YoYo Games, Launches Opera Gaming January 20, 2021 - [Tuck-In] Acquisition forms the basis for Opera Gaming, a new division focused on expanding Opera's capabilities and monetization opportunities in the gaming space - Deal unites Opera GX, world's first gaming browser and popular game development engine, GameMaker - Opera GX hit 7 million MAUs in December 2020, up nearly 350% year-over-year DUNDEE, Scotland and OSLO, Norway, Jan. 20, 2021 /PRNewswire/ -- Opera (NASDAQ: OPRA), the browser developer and consumer internet brand, today announced its acquisition of YoYo Games, creator of the world's leading 2D game engine, GameMaker Studio 2, for approximately $10 million. The tuck-in acquisition represents the second building block in the foundation of Opera Gaming, a new division within Opera with global ambitions and follows the creation and rapid growth of Opera's innovative Opera GX browser, the world's first browser built specifically for gamers. Krystian Kolondra, EVP Browsers at Opera, said: "With Opera GX, Opera had adapted its proven, innovative browser tech platform to dramatically expand its footprint in gaming. We're at the brink of a shift, when more and more people start not only playing, but also creating and publishing games. GameMaker Studio2 is best-in-class game development software, and lowers the barrier to entry for anyone to start making their games and offer them across a wide range of web-supported platforms, from PCs, to, mobile iOS/Android devices, to consoles." Annette De Freitas, Head of Business Development & Strategic Partnerships, Opera Gaming, added: "Gaming is a growth area for Opera and the acquisition of YoYo Games reflects significant, sustained momentum across both of our businesses over the past year. -
View the Manual
© 2011 1C Company. Developed by Digitalmindsoft. All rights reserved. This product contains technology licensed by Best Way. Index ===== Installation.....................................2 System Requirements ............................2 Installation ...................................3 Launching the Game .............................3 Profile .........................................3 Main Menu........................................3 Single Player....................................4 Game Menu ......................................6 Game Interface .................................8 1. Main Screen ...............................8 2. Minimap ...................................9 3. Squads - Panel of Quick Unit Selection ..10 4. Message History ..........................10 5. Mission Objectives .......................10 6. Control Panel ............................10 Controls........................................12 Alternate Selection ...........................13 Game Controls .................................15 Direct Control ................................19 Context Commands ..............................20 Infantry ......................................21 Vehicles ......................................22 Weapons .......................................24 Inventory .....................................26 Using Items ...................................27 Cover and Camouflage ...........................27 Other Features ................................28 Multiplayer - LAN...............................29 LAN Game Interface ............................29 -
Game Narrative Review
Journey: Game Narrative Review ==================== Your name: Lauryn Gordon Your school: SMU Guildhall Your email: [email protected] Month/Year you submitted this review: November 2015 ==================== Game Title: Journey Platform: PS3 (eventual PS4) Genre: Adventure/Art Game Release Date: March 13, 2012 (PSN-NA); August 28, 2012 (Retail-NA) Developer: thatgamecompany; Tricky Pixels (eventual PS4 port) Publisher: Sony Computer Entertainment Game Director: Jenova Chan Overview Journey is a multiplayer game that tells the story of two anonymously paired online players struggling to survive a harsh and beautiful world. Each player begins as a small, red-cloaked figure with only the ability to run. After receiving their first scarf piece, players learn to fly and shout a musical sound. Unlike traditional adventure games, Journey has no leveling up, no in-game dialogue, and no skills system. Players rely on their ability to communicate through sound and flight to overcome puzzles in each level. The story of Journey is the story of player’s interactions. Journey’s anonymously pair system provides players a unique cooperative, storytelling experience. The designers of Journey intended players to play with another person. Still, both single-player and multi-player Journey exemplify how games can tell stories through players’ interactions with the world around them. Combining a limited controls scheme with the human need to communicate, Journey is the strongest example of a game where playing the game is the story. Every element in Journey supports the idea that narrative in a game is there to service the player’s experience of that game, not supplant it. Journey does not tell the story of the characters in their world. -
Silent Hill 2 PC Manual (Digital)
ABOUT PHOTOSENSITIVE SEIZURES A very small percentage of people may experience a seizure when exposed to certain visual images, including flashing lights or patterns that may appear in video games. Even people who have no history of seizures or epilepsy may have an undiagnosed condition that can cause these “photosensitive epileptic seizures” while watching video games. These seizures may have a variety of symptoms including: Lightheadedness, altered vision, eye or face twitching, jerking or shaking of arms or legs, disorientation, confusion, or momentary loss of awareness. Seizures may also cause loss of consciousness or convulsions that can lead to injury from falling down or striking nearby objects. Immediately stop playing and consult a doctor if you experience any of these symptoms. Parents should watch for or ask their children about the above symptoms–children and teenagers are more likely than adults to experience these seizures. The risk of photosensitive epileptic seizures may be reduced by: • sitting farther from the television screen, • using a smaller television screen, • playing in a well-lit room, and • not playing when you are drowsy or fatigued. If you or any of your relatives have a history of seizures or epilepsy, consult a doctor before playing. AVOID DAMAGE TO YOUR TELEVISION Do not use with certain televisions. Some televisions, especially front-or rear-projection types, can be damaged if any video games, including Xbox games, are played on them. Static images presented during the normal course of game play may “burn in” to the screen, causing a permanent shadow of the static image to appear at all times, even when video games are not being played. -
Received by NSD/FARA Registration Unit 06/28/2013 5:15:29 PM OMB NO
Received by NSD/FARA Registration Unit 06/28/2013 5:15:29 PM OMB NO. 1124-0002; Expires February 28,2014 U.S. Department of Justice Supplemental Statement Washington, DC 20530 Pursuant to the Foreign Agents Registration Act of 1938, as amended For Six Month Period Ending 5/31/13 (Insert date) I - REGISTRANT 1. (a) Name of Registrant (b) Registration No. Ogilvy Public Relations Worldwide 5807 (c) Business Address(es) of Registrant 1111 19th Street NW, 10th Floor Washington DC 20036 2. Has there been a change in the information previously furnished in connection with the following? (a) If an individual: (1) Residence address(es) YesD NoD (2) Citizenship YesD NoD (3) Occupation YesD NoD (b) If an organization: (1) Name YesD No0 "(2) Ownership or control YesD NoH (3) Branch offices YesD No 0 (c) Explain fully all changes, if any, indicated in Items (a) and (b) above. IF THE REGISTRANT IS AN INDIVIDUAL, OMIT RESPONSE TO ITEMS 3, 4, AND 5(a). 3. If you have previously filed Exhibit C1, state whether any changes therein have occurred during this 6 month reporting period. Yes • No ._<] Ifyes, have you filed an amendment to the Exhibit C? Yes • No • If no, please attach the required amendment. 1 The Exhibit C, for which no printed form is provided, consists of a true copy of the charter, articles of incorporation, association, and by laws of a registrant that is an organization. (A waiver of the requirement to file an Exhibit C may be obtained for good cause upon written application to the Assistant Attorney General, National Security Division, U.S. -
Creación De Una Simbología Para Un Videojuego
TFG CREACIÓN DE UNA SIMBOLOGÍA PARA UN VIDEOJUEGO Presentado por Carlos Mercé Vila Tutora: María Lorenzo Hernández Facultat de Belles Arts de Sant Carles Grado en Bellas Artes Curso 2016-2017 Simbología para videojuego. Carlos Mercé 2 RESUMEN Mi trabajo de fin de grado consiste en la realización de un videojuego indie 2D de género acción, aventura, RPG(1) abarcando su producción artística y la creación de un prototipo. Para la elaboración de la historia, ambientación, caracterización y personalización de los personajes precisaré referentes previos, desde lo relativo a otros videojuegos del mismo género, series de anime con las que siento afinidad, pasando por un estudio de mitologías y religiones del mundo, centrándome en la cultura precolombina inca. A partir del anterior estudio me introduciré en la parte práctica del proyec- to, la elaboración de bocetos y concept art para plasmar las ideas y poder trabajar sobre ellas. Después de eso, el siguiente paso consiste en diseñar el juego con un estilo Pixel Art: Personajes, fondos, efectos, menús, etc. La elección de esta estética se debe por la afinidad que me produce trabajar con el 2D y por la nostalgia que me da al recordar a los videojuegos con los que disfrutaba de niño. La última fase del trabajo consistirá en guardar el trabajo de forma ordenada y con el formato de comprensión adecuado para proporcionarlo al encargado de la programación del videojuego, pasando el turno de elaborarlo y darlo a probar a algunas personas escogidas anticipadamente para comprobar la línea de dificultad. Palabras clave: Videojuegos, Pixel Art, dioses incas, 2D, iconografía religiosa, indie, mecánicas.