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Now We Are All Sons of Bitches
Now We Are All Sons of Bitches MICHAEL BONTATIBUS “Wake up, Mr. Freeman. Wake up and smell the ashes,” the enigmat- ic G-Man murmurs as he leers into the camera, finishing an eerie opening monologue—and so begins Half-Life 2, Valve Corporation’s flagship game. The last time we saw Gordon Freeman, the protagonist, the same rigid and mysterious (though more poorly animated, since the prequel was released six years earlier) G-Man was handing him a job offer after witnessing the former scientist transform into a warrior, bent on escaping from the besieged Black Mesa Research Facility alive. Now, suddenly, Freeman finds himself on a train. No context.1 Is it a prison train? The three other individuals on it wear uniforms like those the inmates wore in Cool Hand Luke. The train soon stops at its destination, and we realize that it is a prison train, in a way—Freeman has arrived at the Orwellian “City 17,” where the ironically named Civil Protection abuses and oppresses, where antagonist Dr. Breen preaches poet- ic propaganda from large monitors hung high above the town. In the years since scientists at the facility accidentally opened a gateway between dimen- sions and allowed a bevy of grotesque creatures to spill into our universe, Earth has been taken over by the Combine, an alien multiplanetary empire. Breen is merely Earth’s administrator—and we realize that the ashes the G- Man spoke of were the ashes of the prelapsarian world. It’s classic dystopia, complete with a Resistance, of which Freeman soon finds himself the “mes- sianic” leader (HL2). -
Chell Game: Representation, Identification, and Racial Ambiguity in PORTAL and PORTAL 2 2015
Repositorium für die Medienwissenschaft Jennifer deWinter; Carly A. Kocurek Chell Game: Representation, Identification, and Racial Ambiguity in PORTAL and PORTAL 2 2015 https://doi.org/10.25969/mediarep/14996 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: deWinter, Jennifer; Kocurek, Carly A.: Chell Game: Representation, Identification, and Racial Ambiguity in PORTAL and PORTAL 2. In: Thomas Hensel, Britta Neitzel, Rolf F. Nohr (Hg.): »The cake is a lie!« Polyperspektivische Betrachtungen des Computerspiels am Beispiel von PORTAL. Münster: LIT 2015, S. 31– 48. DOI: https://doi.org/10.25969/mediarep/14996. Erstmalig hier erschienen / Initial publication here: http://nuetzliche-bilder.de/bilder/wp-content/uploads/2020/10/Hensel_Neitzel_Nohr_Portal_Onlienausgabe.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Weitergabe unter Attribution - Non Commercial - Share Alike 3.0/ License. For more gleichen Bedingungen 3.0/ Lizenz zur Verfügung gestellt. Nähere information see: Auskünfte zu dieser Lizenz finden Sie hier: http://creativecommons.org/licenses/by-nc-sa/3.0/ http://creativecommons.org/licenses/by-nc-sa/3.0/ Jennifer deWinter / Carly A. Kocurek Chell Game: Representation, Identification, and Racial Ambiguity in ›Portal‹ and ›Portal 2‹ Chell stands in a corner facing a portal, then takes aim at the adjacent wall with the Aperture Science Handheld Portal Device. Between the two portals, one ringed in blue, one ringed in orange, Chell is revealed, reflected in both. And, so, we, the player, see Chell. She is a young woman with a ponytail, wearing an orange jumpsuit pulled down to her waist and an Aperture Science-branded white tank top. -
Silvester Mit Portal 29 an Silvester Haben Wir Unseren Eigenen Domino Ralph Reicht‘S, Ein Disney-Film Für Gamer
„Zum nächsten Heft gehören Seiten. Erinnerst du dich? Diese flachen weißen Dinger voller Buchstaben.“ „Oh, warte, das liest du in fünf Sekunden!“ verse Merchandise-Artikel wie etwa die Neca Portal Gun dürfen nicht vergessen In diesem Sinne: werden. Also lest noch einmal nach, was 2012 alles passiert ist! Willkommen zur zwölften Ausgabe des Portal-Magazins! Ansonsten haben wir wieder fleißig Mods und Maps getestet. Außerdem erwartet Und nachträglich einen guten Rutsch ins euch in dieser Ausgabe ein umfangreicher neue Jahr 2013! Artikel über die Gele, in dem ihr sogar ein Gel kennenlernt, das zwar von Valve pro- Sorry für zwei Wochen Verspätung, aber grammiert wurde, aber im offiziellen Spiel jetzt sind wir in alter Frische wieder da. nicht vorkommt. Seid gespannt! Ausgabe 13 setzen wir jetzt allerdings erst für Anfang März an - würde sie bereits in Übrigens, wenn ihr Kontakt mit uns Möch- zwei Wochen (also Anfang Februar) er- tegern-Redakteuren aufnehmen wollt, scheinen, würde sich das nämlich kaum dann schreibt an: noch lohnen. Ab März versuchen wir dann wieder, uns monatlich einzupendeln. [email protected] Den Anfang dieser Ausgabe macht ein Oder meldet euch in unserem Forum an: großer Jahresrückblick, dessen Schwer- punkt natürlich auf Portal und Valve liegt. http://portal-forum.xobor.de Dieses Jahr war nämlich ganz schön viel los, was unser Lieblingsspiel betrifft, allem Und jetzt wünschen wir euch viel Spaß voran die Perpetual Testing Initiative. Aber beim Lesen! Und vergesst nicht: The cake auch das Fan-Jump‘n‘Run Mari0 und di- is a lie! Flo2912 Mit diesem QR-Code die aktuelle Ausgabe auf‘s Handy holen: Chikorita Portal-Magazin 2 www.portal-mag.de >>> Inhaltsverzeichnis Special: 2012 4 Der große Jahresrückblick: Wir werfen einen Blick zurück auf das Portal-Jahr 2012, gehen aber auch auf Games allgemein und weitere Er- eignisse ein. -
PORTAL 2: PLAYER IMPACT GUIDE Ages 8+ | 1-2 Hours
Spatial Awareness PORTAL 2: PLAYER IMPACT GUIDE Ages 8+ | 1-2 Hours “There’s a lot of challenge in trying to figure out how as the player is moving through this, in terms of a story space, how can you make a gameplay space out of this so they can travel through it in an interesting way.” --Jeep Barnett, designer and engineer In Portal 2, portals are used to navigate obstacle courses filled with deadly hazards inside the mysterious Aperture Science Laboratories. To navigate the game, you must move through the space by following a simple concept: anything that enters one portal—including boxes, lasers, bridges, and you yourself—will exit the other without changing speed. In order to escape Aperture Science and defeat GLaDOS, the lab’s computerized overlord, you must think in three dimensions and use physics to solve puzzles in unusual ways. In this guide we invite you to think about the ways Portal 2 challenges players’ special awareness. As you play, reflect HOW TO on your experience. How is spatial awareness important in Portal 2? How is it important in your life? What kind of USE THIS impact does it leave on your understanding of how the world works? GUIDE Answer the questions below and add up your points when you’re finished! What is a “portal?” How do portals work? [+1] What are some tricks for using portals? What happens when you put a portal directly above you and another one directly under you? [+1] GAME What do the different types of gels do? [+1] How do the Excursion Funnels work? How are they different from Hard Light Bridges? [+2] How does the game indicate the steps you need to take when solving a puzzle? [+3] Many Portal 2 marketing materials use the tagline “Now you’re thinking with portals!” What do you think it means to “think with portals?” Do you find yourself “thinking” in this way as you play the game? [+1] What challenged you when thinking about using “space” in the game (e.g. -
Portal: Impact Guide for Players
Portal: Impact Guide For Players Portal and Portal 2 are games developed by Valve Corporation available for consoles and PCs. The games are first-person puzzle solving games but also provide rich narrative development, interesting characters, and have developed a strong cultural impact including merchandise and a popular series of internet memes. The popularity of the Portal series stems from the quality of the games and from the way the games teach players how to play them so seamlessly. Indeed, Portal is one of the very best games at presenting players with embodied learning and scaffolded instruction – a model for 21st century teaching. How to use this guide: Players – We’ve identified several interesting or important themes in the game. As you play through, reflect on your play. How have you experienced these themes? Are there other important ones present in the game? What kind of impact does your play allow in the larger world? Answer the questions we’ve provided – but feel free to add more at www.gamesandimpact.org. Warning: Questions contain some spoilers about the games. Theme: Problem Solving Portal begins with a player alone in a test chamber; solving puzzles is a key mechanic for both the gameplay and for the story of the game. Puzzles gradually get more difficult as players are given tools sequentially in order to build on top of their previous solutions. Game Why do you think the game doesn’t give you the portal gun immediately? What is the point of limiting you in the early part of the game? Why do you think the test chambers are designed the way they are? What do you think the game’s designers are trying to teach you? At the end of the 19 test chambers, you begin the second part of the game where you get to face GLaDOS directly. -
Portal Prima Official Mini Eguide.Pdf 2008-05-31 12:20 3.1 MB
PRIMA OFFICIAL GAME GUIDE DAVID SJ HODGSON STEPHEN STRATTON MIGUEL LOPEZ Prima Games David SJ Hodgson A Division of Random House, Inc. Originally hailing from the United Kingdom, David left his role as a writer of numerous 3000 Lava Ridge Court, Suite 100 British video game magazines (including Mean Machines, Computer & Video Games, Roseville, CA 95661 and the Offi cial Nintendo and Sega Saturn magazines) and a bohemian lifestyle on a dry-docked German fi shing trawler to work on the infamous GameFan magazine in www.primagames.com 1996. David helped to launch the fl edgling GameFan Books and helped form Gamers’ The Prima Games logo is a registered trademark of Random House, Inc., Republic in 1998, authoring many strategy guides for Millennium Publications, registered in the United States and other countries. Primagames.com is including The Offi cial Metal Gear Solid Mission Handbook. After launching the wildly a registered trademark of Random House, Inc., registered in the United unsuccessful incite Video Gaming and Gamers.com, David found his calling, and States. began authoring guides for Prima Games. He has written over 30 Prima strategy guides, including The Godfather: The Game, Knights of the Old Republic, Perfect Dark © 2007 by Prima Games. All rights reserved. No part of this book may be Zero, Half-Life 2, and Burnout Revenge. He lives in the Pacifi c Northwest with his reproduced or transmitted in any form or by any means, electronic or mechanical, wife, Melanie, and an eight-foot statue of Great Cthulhu. including photocopying, recording, or by any information storage or retrieval system without written permission from Prima Games. -
Smod, Coolest HL2 Mod Ever! - Facepunch Studios 1/28/2015
Smod, Coolest HL2 Mod ever! - Facepunch Studios 1/28/2015 NOV DEC FEB http://forums.facepunchstudios.com/showthread.php?t=148509 Go Close 14 captures 25 22 Dec 06 - 28 Sep 11 2006 2007 2009 Help Facepunch Studios > Facepunch Studios > General Discussion Username: User Name Remember Smod, Coolest HL2 Mod ever! Password: Log in Rules IRC Log Custom Forums Archive Steam Group More.. Register Page 1 of 165 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 51 101 > Last » Thread Tools 11/09/05 Post #1 JoshuaC Courtesy of luigi1107 Feb 2005 5196 Smartness ------------------------------------------------------------------------------------------------------------------------------------ ---------------------------------------------------------------------------------------------------------------- The old SMOD thread was losing steam, so I decided to create a brand new thread for this brilliant mod, containing everything you need to know from weapons to console commands. ------------------------------------------------------------------------------------------------------------------------------------ ---------------------------------------------------------------------------------------------------------------- - This section will contain eveything you need to know about SMOD itself, not the features. SMOD Site: - http://www.geocities.jp/faster_down/smod_bak/ Current Version: - 36b - This section will tell you what weapons are in the current version. - Crowbar - Gravity Gun - Physgun - Gordon's Magical Stick - Strider Cannon - Shovel - 9MM -
Super Mario Portal Game
1 / 2 Super Mario Portal Game Lessons of Game Design learned from Super Mario Maker ... The portal gun is one of those mechanics that sounds like it has an unlimited .... The game combines the elements of the two popular video games: the platforming Super Mario Bros and the puzzle solving Portal. The game retains the traditional .... It's a mashup of Nintendo's classic Super Mario Bros. platform game with Portal. That's right – Mario now has a portal gun, which he can use to .... New Super Mario Bros. U is a game ... Portal 2, like Minecraft, is a highly popular console game that encourages experimentation and flexibility.. Last August we were promised to be able to play the classic Super Mario Bros. with 1 major difference integrated into the game. Aperature ... mario portal game · super mario bros meets portal game · blue television games portal mario.. Mario Bros Mappack Portal Mappack Mari0 Bros Mappack No WW Mari0 ... If you enjoy this game then also play games Super Mario Bros. and Super Mario 64.. Much like nuts and gum, Portal and Super Mario Bros. are together at last.. Click on this exciting game of the classic Super Mario bros, Portal Mario bros 64. You must help the famous Mario bros to defend himself from all his enemies in .... and Portal hybrid from indie game developer Stabyourself.net. Yup, it's the old Super Mario Bros. with portal guns, user created content, a map .... Mario and Portal, a perfect mix. Super Smash Flash 2. A fun game inspired by Super Smash Bros. -
From Voodoo to Viruses: the Evolution of the Zombie in Twentieth Century Popular Culture
From Voodoo to Viruses: The Evolution of the Zombie in Twentieth Century Popular Culture By Margaret Twohy Adviser: Dr. Bernice Murphy A thesis submitted in partial fulfilment of the Degree of Master’s of Philosophy in Popular Literature Trinity College Dublin Dublin, Ireland October 2008 2 Abstract The purpose of this thesis is to explore the evolutionary path the zombie has followed in 20th Century popular culture. Additionally, this thesis will examine the defining characteristics of the zombie as they have changed through its history. Over the course of the last century and edging into the 21st Century, the zombie has grown in popularity in film, videogames, and more recently in novels. The zombie genre has become a self-inspiring force in pop culture media today. Films inspired a number of videogames, which in turn, supplied the film industry with a resurgence of inspirations and ideas. Combined, these media have brought the zombie to a position of greater prominence in popular literature. Additionally, within the growing zombie culture today there is an over-arcing viral theme associated with the zombie. In many films, games, and novels there is a viral cause for a zombie outbreak. Meanwhile, the growing popularity of zombies and its widening reach throughout popular culture makes the genre somewhat viral-like as well. Filmmakers, authors and game designers are all gathering ideas from one another causing the some amount of self- cannibalisation within the genre. 3 Table of Contents Introduction 4 Chapter One 7 Evolution of the Dead Chapter Two 21 Contaminants, Viruses, and Possessions—Oh my! Chapter Three 34 Dawn of the (Digital) Dead Chapter Four 45 Rise of the Literary Zombie Conclusion 58 Bibliography 61 4 Introduction There are perhaps few, if any fictional monsters that can rival the versatility of the humble zombie (or zombi)1. -
Mapping Topographies in the Anglo and German Narratives of Joseph Conrad, Anna Seghers, James Joyce, and Uwe Johnson
MAPPING TOPOGRAPHIES IN THE ANGLO AND GERMAN NARRATIVES OF JOSEPH CONRAD, ANNA SEGHERS, JAMES JOYCE, AND UWE JOHNSON DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Kristy Rickards Boney, M.A. ***** The Ohio State University 2006 Dissertation Committee: Approved by: Professor Helen Fehervary, Advisor Professor John Davidson Professor Jessica Prinz Advisor Graduate Program in Professor Alexander Stephan Germanic Languages and Literatures Copyright by Kristy Rickards Boney 2006 ABSTRACT While the “space” of modernism is traditionally associated with the metropolis, this approach leaves unaddressed a significant body of work that stresses non-urban settings. Rather than simply assuming these spaces to be the opposite of the modern city, my project rejects the empty term space and instead examines topographies, literally meaning the writing of place. Less an examination of passive settings, the study of topography in modernism explores the action of creating spaces—either real or fictional which intersect with a variety of cultural, social, historical, and often political reverberations. The combination of charged elements coalesce and form a strong visual, corporeal, and sensory-filled topography that becomes integral to understanding not only the text and its importance beyond literary studies. My study pairs four modernists—two writing in German and two in English: Joseph Conrad and Anna Seghers and James Joyce and Uwe Johnson. All writers, having experienced displacement through exile, used topographies in their narratives to illustrate not only their understanding of history and humanity, but they also wrote narratives which concerned a larger global ii community. -
The Heroic Journey of a Villain
Háskóli Íslands Hugvísindasvið Enska The Heroic Journey of a Villain The Lost and Found Humanity of an Artificial Intelligence Ritgerð til MA-prófs í Ensku Ásta Karen Ólafsdóttir Kt.: 150390-2499 Leiðbeinandi: Guðrún B. Guðsteinsdóttir Maí 2017 Abstract In this essay, we will look at the villain of the Portal franchise, the artificial intelligence GLaDOS, in context with Maureen Murdock’s theory of the “Heroine’s Journey,” from her book The Heroine’s Journey: Woman’s Quest for Wholeness. The essay argues that although GLaDOS is not a heroine in the conventional sense, she is just as important of a figure in the franchise as its protagonist, Chell. GLaDOS acts both as the first game’s narrator and villain, as she runs the Aperture Science Enrichment Center where the games take place. Unlike Chell, GLaDOS is a speaking character with a complex backstory and goes through real character development as the franchise’s story progresses. The essay is divided into four chapters, a short history of women’s part as characters in video games, an introduction to Murdock’s “The Heroine’s Journey,” and its context to John Campbell’s “The Hero’s Journey,” a chapter on the Portal franchises, and then we go through “The Heroine’s Journey,” in regards to GLaDOS, and each step in its own subchapter. Our main focus will be on the second installment in the series, Portal 2. Since, in that game, GLaDOS goes through most of her heroine’s journey. In the first game, Portal, GLaDOS separates from her femininity and embraces the masculine, causing her fractured psyche, and as the player goes through Portal 2 along with her, she reclaims her femininity, finds her inner masculinity, and regains wholeness. -
The Cake Is a Lie!« Polyperspektivische Betrachtungen
Michelle E. Ouellette/ Marc A. Ouellette Make Lemonade: The Pleasantly Unpleasant Aesthetics of Playing ›Portal‹ This paper takes its title and an important cue from the folksy premise of the axiom, »When life gives you lemons, make lemonade«. The paradoxical posi- tion that something unpleasant can be turned into something pleasant offers not only an entry point for an engagement with the Portal series, but also an opportunity to consider directly the applicability of Friedrich Schiller’s model of three inherent drives to the study of video games. Thus, our paper will sit- uate Schiller’s aesthetic principles within existing game studies scholarship, will examine how these apply to the Portal series’ implementation of rules, play and affirmation, and will consider the ramifications of the commentary which inheres in the process. Most importantly, the three drives – normative, sensuous, and play – map directly onto the rules and the rewards of the games. As well, this pattern appears in the form and in the content of the games so that the ways in which rules, affirmation and their linkage through play produce en- joyment also make the Portal series obvious examples of good art. In the case of affirmation, the fact that these rewards are through negative affirmation makes no difference. GLaDOS and Wheatley’s taunts and barbs, and the jour- ney on which they lead us, engages both the cognitive and affective responses of the players. The pleasure of this game is located in both of these responses; we are driven to think about the game, and the game makes us feel (bad).