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Retrocomputing As Preservation and Remix
Retrocomputing as Preservation and Remix Yuri Takhteyev Quinn DuPont University of Toronto University of Toronto [email protected] [email protected] Abstract This paper looks at the world of retrocomputing, a constellation of largely non-professional practices involving old computing technology. Retrocomputing includes many activities that can be seen as constituting “preservation.” At the same time, it is often transformative, producing assemblages that “remix” fragments from the past with newer elements or joining together historic components that were never combined before. While such “remix” may seem to undermine preservation, it allows for fragments of computing history to be reintegrated into a living, ongoing practice, contributing to preservation in a broader sense. The seemingly unorganized nature of retrocomputing assemblages also provides space for alternative “situated knowledges” and histories of computing, which can sometimes be quite sophisticated. Recognizing such alternative epistemologies paves the way for alternative approaches to preservation. Keywords: retrocomputing, software preservation, remix Recovering #popsource In late March of 2012 Jordan Mechner received a shipment from his father, a box full of old floppies. Among them was a 3.5 inch disk labelled: “Prince of Persia / Source Code (Apple) / ©1989 Jordan Mechner (Original).” Mechner’s announcement of this find on his blog the next day took the world of nerds by storm.1 Prince of Persia, a game that Mechner single-handedly developed in the late 1980s, revolutionized computer games when it came out due to its surprisingly realistic representation of human movement. After being ported to DOS and Apple’s Mac OS in the early 1990s the game sold 2 million copies (Pham, 2001). -
The Prince of Persia Returns
THE PRINCE OF PERSIA RETURNS ACTION-PACKED PRINCE OF PERSIA ® 2 (WORKING TITLE) BOASTS BRAND NEW FREE-FORM FIGHTING SYSTEM Paris, FRANCE - May 6, 2004 - Ubisoft, one of the world's largest video game publishers, today announced that the company‘s award-winning Montreal studio is currently developing Prince of Persia ® 2 (working title) , a follow-up to the most critically acclaimed game of 2003, Prince of Persia The Sands of Time™. The Prince has to embark upon a path of both carnage and mystery to defy his preordained death. His journey leads to the infernal core of a cursed island stronghold harboring mankind‘s greatest fears. Only through grim resolve, bitter defiance and the mastery of deadly new combat arts can the Prince rise to a new level of warriorship œ and emerge from this ultimate trial with his life. In order to accomplish his mission, the Prince benefits from a brand new free- form fighting system that allows gamers to channel his anger as they wage battle without boundaries. Each game fan will find his or her own unique fighting style as they manipulate their environment and control the Ravages of Time. You can dig into an arsenal of weapons that, when used in combination, create advanced arm attacks that verge on fatal artistry! Prince of Persia ® 2 promises that game fans will fight harder, and play longer, emerging from the experience as deadly-capable skilled masters of their own unique combat art form. —Prince of Persia The Sands of Time™ was the most critically acclaimed game of 2003,“ said Yves Guillemot, President and CEO of Ubisoft, —With Prince of Persia ® 2 , we intend to build on that masterpiece that will take Prince of Persia ® one step further to take over the action-combat genre. -
Theescapist 042.Pdf
putting an interview with the Garriott Games Lost My Emotion” the “Gaming at Keep up the good work. brothers, an article from newcomer Nick the Margins” series and even “The Play Bousfield about an old adventure game, Is the Thing,” you described the need for A loyal reader, Originally, this week’s issue was The Last Express and an article from games that show the consequences of Nathan Jeles supposed to be “Gaming’s Young Turks Greg Costikyan sharing the roots of our actions, and allow us to make and Slavs,” an issue about the rise of games, all in the same issue. I’ll look decisions that will affect the outcome of To the Editor: First, let’s get the usual gaming in Eastern Europe, both in forward to your comments on The Lounge. the game. In our society there are fewer pleasantries dispensed with. I love the development and in playerbase. I and fewer people willing to take magazine, read it every week, enjoy received several article pitches on the Cheers, responsibility for their actions or believe thinking about the issues it throws up, topic and the issue was nearly full. And that their actions have no consequences. and love that other people think games then flu season hit. And then allergies Many of these people are in the marketing are more than they may first appear. hit. All but one of my writers for this issue demographic for video games. It is great has fallen prey to flu, allergies or a minor to see a group of people who are interested There’s one game, one, that has made bout of forgetfulness. -
Engaging with Videogames
INTER - DISCIPLINARY PRESS Engaging with Videogames Critical Issues Series Editors Dr Robert Fisher Lisa Howard Dr Ken Monteith Advisory Board Karl Spracklen Simon Bacon Katarzyna Bronk Stephen Morris Jo Chipperfield John Parry Ann-Marie Cook Ana Borlescu Peter Mario Kreuter Peter Twohig S Ram Vemuri Kenneth Wilson John Hochheimer A Critical Issues research and publications project. http://www.inter-disciplinary.net/critical-issues/ The Cyber Hub ‘Videogame Cultures and the Future of Interactive Entertainment’ 2014 Engaging with Videogames: Play, Theory and Practice Edited by Dawn Stobbart and Monica Evans Inter-Disciplinary Press Oxford, United Kingdom © Inter-Disciplinary Press 2014 http://www.inter-disciplinary.net/publishing/id-press/ The Inter-Disciplinary Press is part of Inter-Disciplinary.Net – a global network for research and publishing. The Inter-Disciplinary Press aims to promote and encourage the kind of work which is collaborative, innovative, imaginative, and which provides an exemplar for inter-disciplinary and multi-disciplinary publishing. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without the prior permission of Inter-Disciplinary Press. Inter-Disciplinary Press, Priory House, 149B Wroslyn Road, Freeland, Oxfordshire. OX29 8HR, United Kingdom. +44 (0)1993 882087 ISBN: 978-1-84888-295-9 First published in the United Kingdom in eBook format in 2014. First Edition. Table of Contents Introduction ix Dawn Stobbart and Monica Evans Part 1 Gaming Practices and Education Toward a Social-Constructivist View of Serious Games: Practical Implications for the Design of a Sexual Health Education Video Game 3 Sara Mathieu-C. -
Ubisoft Announces Prince of Persia® Rival Swords for the Psp® System
UBISOFT ANNOUNCES PRINCE OF PERSIA® RIVAL SWORDS FOR THE PSP® SYSTEM The Prince of Persia Returns with New Multiplayer Feature Paris, FRANCE – SEPTEMBER 11, 2006 – Today Ubisoft, one of the world’s largest video game publishers, announced Prince of Persia® Rival Swords for the PSP® (PlayStation®Portable) system. Developed by Pipeworks Software, a division of Foundation 9 Entertainment, the game builds on last year’s console success’ Prince of Persia The Two Thrones™, and features original content such as additional levels and new multiplayer modes. The game is scheduled to ship for holiday 2006 in Europe and in 2007 in North America. In Prince of Persia Rival Swords, the Prince makes his way home to Babylon, bearing with him Kaileena, the enigmatic Empress of Time, and unspeakable scars from the Island of Time. But instead of the peace he longs for, he finds his kingdom ravaged by war and Kaileena the target of a brutal plot. When she is kidnapped, the Prince tracks her to the palace – only to see her murdered by a powerful enemy. Her death unleashes the Sands of Time, which strike the Prince and threaten to destroy everything he holds dear. Cast out on the streets, hunted as a fugitive, the Prince soon discovers that the Sands have tainted him, too. They have given rise to a deadly Dark Prince, whose spirit gradually possesses him. Key Features: • New multiplayer experience: Versus play in timed races as either the Prince or Dark Prince. Interrupt and impede your opponent’s progress by activating switches in your own level that will trigger traps and obstacles in their level. -
Ubisoft Assassins Brand Announcement EN
UBISOFT LAUNCHES NEW VIDEO GAME FRANCHISE: ASSASSIN’S CREED™ Ubisoft’s Award-Winning Montreal Studio Creates New Intellectual Property Paris FRANCE – May 2, 2006 – Today Ubisoft, one of the world’s largest video game publishers, announced the development of a new video game franchise: Assassin’s Creed™. Assassin’s Creed is being developed for PLAYSTATION®3 by an all-star team from Ubisoft’s world-class Montreal studio – the studio responsible for acclaimed franchises such as Prince of Persia ® and Tom Clancy’s Splinter Cell ®. The Assassin’s Creed franchise will combine compelling new gameplay, superb graphics, and an immersive and sophisticated storyline to deliver an epic experience that will launch the action genre into the next generation and beyond. “Assassin’s Creed is going to push the video game experience as we know it today into an entirely new direction,” said Yannis Mallat, chief executive officer at Ubisoft’s Montreal studio. “Assassin’s Creed’s compelling theme and storyline experienced through the next- generation console will captivate audiences and affect them on the same level as an epic novel or film.” The first game in the Assassin’s Creed franchise is set in 1191 AD, when the Third Crusade was tearing the Holy Land apart. Shrouded in secrecy and feared for their ruthlessness, the Assassins intend to stop the hostilities by suppressing both sides of the conflict. Players, assuming the role of the main character Altair, will have the power to throw their immediate environment into chaos and to shape events during this pivotal moment in history. Ubisoft has a strong record of creating some of the industry’s top-selling video game franchises and anticipates that Assassin’s Creed will experience the same success. -
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. -
A Clash Between Game and Narrative
¢¡¤£¦¥¦§¦¨©§ ¦ ¦¦¡¤¥¦ ¦¦ ¥¦§ ¦ ¦ ¨© ¦¡¤¥¦¦¦¦¡¤¨©¥ ¨©¦¡¤¨© ¦¥¦§¦¦¥¦ ¦¦¦ ¦¦¥¦¦¨©§¦ ¦!#" ¦$¦¥¦ %¤©¥¦¦¥¦©¨©¦§ &' ¦¦ () ¦§¦¡¤¨©¡*¦¡¤¥ ,+- ¦¦¨© ./¦ ¦ ¦¦¦¥ ¦ ¦ ./¨©¡¤¥ ¦¦¡¤ ¦¥¦0#1 ¦¨©¥¦¦§¦¨©¡¤ ,2 ¦¥¦ ¦£¦¦¦¥ ¦0#%¤¥¦$3¦¦¦¦46555 Introduction ThisistheEnglishtranslationofmymaster’sthesisoncomputergamesandinteractivefiction. Duringtranslation,Ihavetriedtoreproducemyoriginalthesisratherfaithfully.Thethesiswas completedinFebruary1999,andtodayImaynotcompletelyagreewithallconclusionsorpresup- positionsinthetext,butIthinkitcontinuestopresentaclearstandpointontherelationbetween gamesandnarratives. Version0.92. Copenhagen,April2001. JesperJuul Tableofcontents INTRODUCTION..................................................................................................................................................... 1 THEORYONCOMPUTERGAMES ................................................................................................................................ 2 THEUTOPIAOFINTERACTIVEFICTION...................................................................................................................... 2 THECONFLICTBETWEENGAMEANDNARRATIVE ...................................................................................................... 3 INTERACTIVEFICTIONINPRACTICE........................................................................................................................... 4 THELUREOFTHEGAME.......................................................................................................................................... -
Download Resume
Objective A high performing, team-player in art direction, web design, and award winning computer animation, I am seeking a challenging full time opportunity to direct projects where my advanced skills, education, and 15+ years of professional experience can be fully utilized. Nicole Tostevin Summary of Qualifications Contact • Art Direction • Ecommerce Experience 415.203.0721 • Product Design • eLearning Educational Design [email protected] • Integrated Brand Design • Animatics • UI/UX Design • User Research Online Portfolio • Storyboarding • Usability Testing www.redheadart.com • WordPress Design/Development • User Stories / Journeys / Flows • Responsive Web Design • Interviews and Surveys • Information Graphics/Animation • Sketch |Wireframes • Social Media Design • Interactive Prototyping • Multimedia Storytelling • Low/High Fidelity Mockups • Graphic Design | Illustration • Style Guides • Animation | Motion Graphics • Mood Boards Education • CALIFORNIA INSTITUTE OF THE ARTS M.F.A. Experimental Animation, Graduate Film School, Valencia, CA • SAN FRANCISCO ART INSTITUTE 1/3 of M.F.A. work in Graduate Video, Computer Art, Performance Art • POMONA COLLEGE B.F.A. Art Major, Claremont Colleges, Claremont, CA Computer & Technology Skills • Adobe Creative Suite • Principle • Sketch | Zeplin • InVision • Adobe Experience Design • Framer • Adobe Photoshop • Keynote | PowerPoint • Adobe Illustrator • Google Slides • After Effects / Cinema 4D • Adobe Captivate • Premiere Pro • Docebo LMS • Adobe Animate • Google Web Designer • Flash | -
Download the Making of Prince of Persia: Journals 1985
THE MAKING OF PRINCE OF PERSIA: JOURNALS 1985 - 1993 DOWNLOAD FREE BOOK Jordan Mechner, Danica Novgorodoff | 330 pages | 22 Dec 2011 | Createspace | 9781468093650 | English | Scotts Valley, CA, United States '+_.F(d)+' If you are hoping for a deep dive into how he developed the game or solved programming problems, you might be better just to email and ask him. It also analyses reviews to verify trustworthiness. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. Praise for The Art of Doing Science and Engineering Hamming was always as much a teacher as a scientist, and having spent The Making of Prince of Persia: Journals 1985 - 1993 lifetime forming and confirming a theory of great people, he felt he could prepare the next generation for even greater greatness. Tyler The Making of Prince of Persia: Journals 1985 - 1993. He argues there is one goal we should promote above all else: maximizing the sustainable rate of economic growth. High Growth Handbook. Mitchell Waldrop is a freelance writer and editor. It is not a retrospective; instead, it is a present-tense diary written by the creator throughout the creation of his most influential work. Elad jam-packs every useful lesson about building and scaling companies into a single, digestible book. Richard W. The Making of Prince of Persia: Journals 1985 - 1993 Growth Handbook is the playbook for turning a startup into a unicorn and navigating the most complex challenges that confront leaders and operators in high-growth startups. Read our privacy policy. There's a saying that people don't leave companies, they leave managers. -
What Is MAGIC?
presents WWW.MAGIC-IP.COM What is MAGIC? Monaco Anime Game International Conferences (MAGIC) is an annual event organised by Monaco-based, animation, feature films and video game production company Shibuya Productions and held at the Grimaldi Forum in Monaco. This one-day event is dedicated to pop-culture, in the company of very special guests. It features people from the worlds of: Video games Manga Animation Comics French comics Cinema TV 2 MAGIC 2018 IN NUMBERS 18 1 3,000 day visitors 35 +100 world-class international guests journalists 8 1 official Gala partners dinner 1 After-party 3 MAGIC 2018 MAIN HIGHLIGHTS CONFERENCES AND ROUND-TABLE DEBATES THE MAGIC INTERNATIONAL COSPLAY MASTERS CONTEST THE MAGIC INTERNATIONAL MANGA CONTEST 4 A UNIQUE VIDEO GAME CONTEST REWARDING THE WINNER WITH A €100,000 CASH PRIZE TOWARDS THEIR PROJECT. AUTOGRAPH SIGNINGS EXHIBITION AREA 5 MAGIC TAKES PLACES IN A PRESTIGIOUS 6 VENUE – THE GRIMALDI FORUM A unique place in the heart of the Principality World-renowned An auditorium for the conferences Allocated rooms for the contests An exhibition Hall 7 MANY GUESTS Ida Lundgren, Cédric Biscay (Shibuya Productions), Greta Lundgren, Dolph Lundgren (Rocky IV) Jordan Mechner (Prince of Persia) Karen Green Colleen Doran (Columbia University) (Wonder Woman) Yu Suzuki (Shenmue) Yoji Shinkawa (Metal Gear Solid) 8 Jacky (Club Dorothée) Bill Sienkiewicz (The Walking Dead) Maxence Devoghelaere (Epic Loon) Mai Lan (Autopilote) Philippe Moreau (Vampyr) From left to right : Yasuharu Sadaie (Shibuya Productions), Shûhei -
Focalization in 3D Video Games Michael Nitsche Georgia Institute of Technology 686 Cherry St Atlanta, GA 30332-0165 ++1 404 8947000 [email protected]
Focalization in 3D Video Games Michael Nitsche Georgia Institute of Technology 686 Cherry St Atlanta, GA 30332-0165 ++1 404 8947000 [email protected] ABSTRACT that ‘if I throw a ball at you, I don’t expect you to drop it This paper investigates Bal’s concept of focalization for and wait until it starts telling stories’ [8] reaches too far. 3D video games. First, the argument traces focalization in In contrast to board games or physical games, video the historical development of camera strategies in 3D games present us not with a ball but a moving video video games. It highlights the detachment of the camera image of one. The ball in Pong (Nolan Bushnell for Atari/ into an own interactive operator. Then, it exemplifies the Atari, USA 1972) as well as in MVP Baseball 2005 visual focalization in video games using two case studies. (Brent Nielsen for EA/ EA, USA 2005) is “shown” from In the following, it looks at possible problems and effects a certain perspective and in a certain context. That is why of focalization. The argument concludes that dynamic focalization is important for games. focalization allows video games to apply narrative A narrative situation is at work in the presentation of the guidance without the linearity of a “telling” voice. ball. The level of its complexity might vary and the narrative situation might be dwarfed next to other more dominant factors during the gameplay (e.g. in Pong), but Keywords it is an essential part of the way especially 3D video Video game, camera, focalization, narrative perspective.