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Longing for Decay in Computer Games
“Ruinensehnsucht” - Longing for Decay in Computer Games Mathias Fuchs Centre for Digital Cultures, ICAM Leuphana University/ Germany [email protected] ABSTRACT There is no technical reason and no quality inherent to the medium of computer games that would require corrosion, dust, and ruins. Pixels do not corrode and 3D geometry is not affected by physical decay. Yet if we look at contemporary computer games we find an abundance of ruined buildings, of mould and of all forms of decay of organic matter and inorganic materials. It would be too easy to explain this fact by an attempt to increase realism, because some of these games clearly feature more decay than reality could ever produce. There must be a longing of designers and players to immerse themselves within an environment of disintegrating, decaying objects. The author investigates the longing for decay along four threads that are informed by computer games history, art history, psychoanalytic reasoning and the concept of transmedia megatext. Keywords ruins, digital dust, creative games, computer games history, psychoanalysis, philosophy of games, pathos formula, transmedia megatext. DIGITAL DUST Some of the most interesting of recent computer games celebrate the beauty of ruins and invite us to get immersed into landscapes of ruins from antiquity to space age. The ruins are set in post-nuclear war environments (Metro 2033)1, sites of archaeological excavations and discovery (Tomb Raider)2, technological disaster areas (Fallout3, S.T.A.L.K.E.R.4), medieval environments (Assassins’s Creed)5, industrial wreckage (UnrealTournament)6, mythological places that are known for the buildings they once contained (Ruins)7, or even completely fictional places (Journey)8. -
Ambience in Games
University of Portsmouth School of Creative Technologies Faculty of Creative and Cultural Industries An investigation of ambient gameplay By Mark Eyles The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2012 Abstract Inspired by Brian Eno's ambient music, which is persistent and supports different levels of engagement, this research explores ambient gameplay in computer, video and pervasive games. Through the creation of original games containing ambient gameplay and looking for ambient gameplay in existing commercial games, this research focuses on gameplay that supports a range of depths of player engagement. This research is not concerned with ambient intelligent environments or other technologies that might support ambience, but focusses on gameplay mechanisms. The definition of ambient music is used as a starting point for developing a tentative set of properties that enable ambient gameplay. A game design research methodology is initially used. Two very different research games, Ambient Quest (using pedometers) and Pirate Moods (using RFID, radio-frequency identification, technology) are analysed. The resulting qualitative ambient gameplay schema contains themes of persistence, discovery, engagement, invention, ambiguity and complexity. In order to confirm the wider applicability of this result a case study of an existing commercial game, Civilization IV, is undertaken. Ambient gameplay properties of engagement, complexity, abstraction, persistence and modelessness identified in Civilization IV, and other commercial games, are combined with the ambient gameplay schema to develop a definition of ambient gameplay. This definition is the basis for a set of investigative lenses (lenses of persistence, attention, locative simultaneity, modelessness, automation and abstraction) for identifying ambient gameplay. -
A Massively Multiplayer Online Game
Project Number. MLC1112 Broken World: A Massively Multiplayer Online Game A Major Qualifying Project Report submitted to the Faculty of WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degrees of Computer Science and Interactive Media and Game Development by Nathanael Thorn Mark Troutt and the Degree of Interactive Media and Game Development by Ethan Lawrence Date: April 26, 2012 Approved: Professor Mark Claypool, Major Advisor Professor Joshua Rosenstock, Major Advisor 1 Abstract Broken World is a non-violent, non-competitive MMO set in an expansive post-fuel world with an emphasis on building a community. The art style is drawn from the real world, using low-poly models. The game is built upon a unique peer-to-peer networking model, which allows for a low-resource server. It also features a terrain rendering system that utilizes PNGs to store landscape data efficiently. Along with the game, a suite of custom development tools were built to allow developers to insert game content quickly. Post-development, the game and its related technologies were evaluated for their effectiveness. 2 Table of Contents Abstract ........................................................................................................................................... 2 Table of Contents ............................................................................................................................ 3 1 Introduction ................................................................................................................................. -
Embracer Group Acquires 4A Games
NOT FOR RELEASE, PUBLICATION OR DISTRIBUTION IN WHOLE OR IN PART, DIRECTLY OR INDIRECTLY, IN THE UNITED STATES, AUSTRALIA, CANADA, NEW ZEALAND, HONG KONG, JAPAN, SOUTH AFRICA OR ANY OTHER JURISDICTION WHERE SUCH RELEASE, PUBLICATION OR DISTRIBUTION WOULD BE UNLAWFUL OR WOULD REQUIRE REGISTRATION OR ANY OTHER MEASURES. Karlstad (Sweden), August 13 2020 Embracer Group acquires 4A Games Embracer Group AB ("Embracer"), through its wholly-owned subsidiary Saber Interactive1, has today entered into an agreement to acquire 100 percent of Malta-based 4A Games Limited (“4A Games”). 4A Games is a top-tier independent AAA PC and Console developer behind the successful Metro franchise and a long-term development partner to the Embracer owned publisher Deep Silver. Through the acquisition, Saber Interactive onboards a reputable team of 150+ people across two studios in Malta and Ukraine as well as best-in-class internally developed and owned First-Person-Shooter (“FPS”) technology to the Group. The upfront purchase price amounts to approximately MUSD 36 on a cash and debt free basis and is paid in cash and in newly issued B shares, plus an earn-out consideration, subject to fulfilment of agreed milestones, of a maximum USD 35 million. 4A Games expects net sales of approximately MEUR 20 for the period Jan-Dec 2020, with an operational EBIT of approximately MEUR 12. “” “With the acquisition of 4A Games, Saber Interactive is locking-up one of the best indie studios in the industry with the potential and capacity to take on another AAA project and are also internalizing the value of existing and future IPs into the Group. -
2. “Ruinensehnsucht”
2. “Ruinensehnsucht” Longing for Decay in Computer Games Mathias Fuchs Transactions of the Digital Games Research Association 2017, Vol. 3, No. 2, pp. 37-56 ISSN 2328-9422 http://todigra.org TEXT: Licensed under Creative Commons Attribution (CC BY- NC- ND 2.5) http://creativecommons.org/licenses/by-nc- nd/2.5/ IMAGES: All images appearing in this work are property of the respective copyright owners, and are not released into the Creative Commons. The respective owners reserve all rights. ABSTRACT There is no technical reason and no quality inherent to the medium of computer games that would require corrosion, dust, and ruins. Pixels do not corrode and 3D geometry is not affected by physical decay. Yet if we look at contemporary computer games we find an abundance of ruined buildings, of mould and of all forms of decay of organic matter and inorganic materials. It would be too easy to explain this fact by an attempt to increase realism, because some of these games clearly feature more decay than reality could ever produce. There must be a longing by designers and players to immerse themselves within an environment of 38 ToDiGRA disintegrating, decaying objects. The author investigates the longing for decay along four threads that are informed by computer games history, art history, psychoanalytic reasoning and the concept of transmedia megatext. Keywords ruins, digital dust, creative games, computer games history, psychoanalysis, philosophy of games, pathos formula, transmedia megatext. Digital Dust Some of the most interesting of recent computer games celebrate the beauty of ruins and invite us to immerse ourselves in landscapes of ruins from antiquity to the space age. -
(In) What Remains of Edith Finch
Worlds at our fingertips. Reading (in) What Remains of Edith Finch Mona Bozdog Dayna Galloway This is the author's version of an article accepted for publication in Games and Culture. The published version will be available from: https://journals.sagepub.com The article is protected by copyright. Users may download and save a local copy of an article accessed in an institutional repository for the user's personal reference. For permission to reuse an article, please follow the publisher's Process for Requesting Permission available from: https://uk.sagepub.com/en- gb/eur/process-for-requesting-permission Title Worlds at our fingertips. Reading (in) What Remains of Edith Finch Abstract Video games are works of written code which portray worlds and characters in action and facilitate an aesthetic and interpretive experience. Beyond this similarity to literary works, some video games deploy various design strategies which blend gameplay and literary elements to explicitly foreground a hybrid literary/ludic experience. We identify three such strategies: engaging with literary structures, forms and techniques; deploying text in an aesthetic rather than a functional way; and intertextuality. This paper aims to analyse how these design strategies are deployed in What Remains of Edith Finch (Giant Sparrow, 2017) to support a hybrid readerly/playerly experience. We argue that this type of design is particularly suited for walking simulators because they support interpretive play (Upton, 2015) through slowness, ambiguity (Muscat et al., 2016; Pinchbeck 2012), narrative and aesthetic aspirations (Carbo-Mascarell, 2016). Understanding walking sims as literary games (Ensslin, 2014) can shift the emphasis from their lack of ‘traditional’ gameplay complexity and focus instead on the opportunities that they afford for hybrid storytelling and for weaving literature and gameplay in innovative and playful ways. -
Stalker a Zóna
JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Divadelní fakulta Ateliér rozhlasové a televizní dramaturgie a scenáristiky STALKER A ZÓNA fenomén průniku do zakázané oblasti Bakalářská práce Autor práce: Petr Pánek, DiS. Vedoucí práce: doc. MgA. Marek Hlavica, Ph.D. Oponent práce: MgA. Hana Slavíková, Ph.D. Brno 2015 1 BIBLIOGRAFICKÝ ZÁZNAM PÁNEK, Petr, DiS., Stalker a Zóna, Fenomén průniku do zakázané oblasti [Stalker and Zone, The phenomenon of penetration to forbidden zone]. Brno: Janáčkova akademie múzických umění v Brně, Divadelní fakulta, Ateliér rozhlasové a televizní dramaturgie a scenáristiky, 2015, 83 stran. Vedoucí diplomové práce doc. MgA. Marek Hlavica Ph.D. ANOTACE Diplomová práce „Stalker a Zóna“ pojednává o problematice pronikání do zakázané oblasti, kterou představila tři zkoumaná díla: román Piknik u cesty, film Stalker a videoherní série S.T.A.L.K.E.R. ANOTATION Diploma thesis „Stalker and Zone“ deals with issue of penetration to forbidden zone, which is introduced in three researched works: novel Roadside Picnic, film Stalker and videogame series S.T.A.L.K.E.R. KLÍČOVÁ SLOVA Strugackij, Tarkovskij, GSC, Piknik u cesty, Stalker, S.T.A.L.K.E.R., zóna, komparace, tabu, evoluce, sci-fi, východní Evropa KEYWORDS Strugatsky, Tarkovsky, GSC, Roadside Picnic, Stalker, S.T.A.L.K.E.R., zone, comparison, tabu, evolution, sci-fi, Eastern Europe 2 Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně, svými slovy a použil a citoval jsem jen uvedené prameny a literaturu. Současně dávám svolení k tomu, aby tato diplomová práce byla umístěna v Knihovně JAMU a používána ke studijním účelům. V Brně, dne Petr Pánek, DiS. -
Cossacks 3 Mac Download
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Klassiker Der Spielegeschichte 7 |
Klassiker der Spielegeschichte 7 | Dr. Stefan Werning | Universität Bayreuth | Digitale Medien | [email protected] | Osteuropa im Spiel und die osteuropäische Spieleproduktion Szenarien des Kalten Krieges » Missile Command (1981) » Raid over Moscow (1984) » The Hunt for Red October (1987) » The Cardinal of the Kremlin (1990) Osteuropa im Spiel und die osteuropäische Spieleproduktion Sowjet-Ikonographie » Tetris (1987) » Strider (1989) » Extrapolation sowjetischer Architektur und Symbolik » KGB (1992) » Zerfall der Sowjetunion Osteuropa im Spiel und die osteuropäische Spieleproduktion Russische Zaubermärchen » Konek Gorbunok (Humpbacked Pony) » Repka Silomer (Turnip Strength Tester) Osteuropa im Spiel und die osteuropäische Spieleproduktion Osteuropäische Kultur im Spiel » Tetris » russische Spiele als ‚Kulturexport‘ » Korobeiniki 1 2 » NES-Version: Tschaikowsky » Samorost » Ästhetik des tschechischen Kinderfernsehen » Stacking (Double Fine, 2011) » Matrioschkas Osteuropa im Spiel und die osteuropäische Spieleproduktion Spielhallenkultur » mechanisch-elektrische U-Boot- und Scharfschützensimulationen » lichtempfindliche Ziele » später ‚offizielle‘ Spielhallen vornehmlich in Vergnügungsparks » auch ‚inoffiziell‘ auf Basis eines Mega Drive oder SNES in Supermärkten etc. » oft bezahlt nach Spielzeit, nicht Continues Osteuropa im Spiel und die Die Bootlegszene und der frühe osteuropäische Spieleproduktion Computerspielmarkt in Russland » vornehmlich PC-Spiele » dauerhafte Verkaufsstände in Metrostationen » Spieleläden organisierten -
Schematically Disruptive Game Design
Schematically Disruptive Game Design Peter Howell University of Portsmouth, School of Creative Technologies, Eldon Building, Winston Churchill Avenue Portsmouth, PO1 2DJ, United Kingdom +44(0) 2392845492 [email protected] ABSTRACT Many games focus their resources at satiating player ‘needs’, and meeting perceived expectations that players have of how games should behave and of what constitutes enjoyable, gratifying gameplay. This paper outlines an alternate position on game design – one which focuses on disrupting these expectations, on designing games that players cannot succeed in simply by relying on their pre-acquired gameplay experiences. A critique of current game design trends is offered, and possible future outcomes of these trends analysed. The proposed framework for ‘Schematically Disruptive Design’ is discussed in relation to the current body of literature, alongside a justification of taking a development-led, horror-focused approach to this research programme. The current position of the research and intended direction of study is lastly outlined, along with the intended application of future results. Keywords Schema, schematisation, disruptive gameplay, engagement, horror, development-led research. INTRODUCTION When people play games, computer or otherwise, they are usually seeking some form of gratification. When they choose to play a computer game, they expect that game to meet certain requirements that they feel make the process of playing a valuable one. An individual’s expectations of how a game should behave and what it should contain may be formed from a combination of past gaming experience, wider life experience and learning, and that person’s own worldview. Mental schema, as defined by Bartlett (1932), are constructed and updated through a constant process of cognitive learning and adaptation, and these frameworks of knowledge are called upon in order to inform future responses and decision making. -
002NAG February 2013
SOUTH AFRICA’S LEADING GAMING, COMPUTER & TECHNOLOGY MAGAZINE VOL 15 ISSUE 11 THE FUTURE We know stuff about the future, and you will too. PC / PLAYSTATION / XBOX / NINTENDO REVIEWS Far Cry 3 LEGO The Lord of the Rings + MORE! CRYSISCRYSIS 33 PROPHETPROPHET ISIS BACK.BACK. STARTSTART SPREADINGSPREADING THETHE NEWS.NEWS. Editor Michael “RedTide“ James [email protected] Assistant editor Geoff “GeometriX“ Burrows Staff writer Dane “Barkskin “ Remendes Contents Contributing editor Lauren “Guardi3n “ Das Neves Regulars 12 Ed’s Note Technical writer Features 14 Inbox Neo “ShockG“ Sibeko 18 Bytes 32 WII U ROUND-UP International correspondent 53 home_coded All the excitement surrounding the launch of Miktar “Miktar” Dracon 66 Everything else Nintendo’s Wii U meant that a few stragglers managed to stray from our launch herd, unnoticed and un- Contributors reviewed. We round ‘em up and tag ‘em. Rodain “Nandrew” Joubert Walt “Shryke” Pretorius Opinion 34 THE FUTURE: Miklós “Mikit0707 “ Szecsei 18 I, Gamer Pippa “UnexpectedGirl” Tshabalala A STARTLING LOOK INTO THE YEAR 2013! Tarryn “Azimuth “ Van Der Byl 20 The Game Stalker With 2012 done and dusted, it’s time to gaze ahead, Adam “Madman” Liebman 22 The Indie Investigator deep into 2013’s crystal ball for a mysterious mix of 24 Miktar’s Meanderings speculation, excitement and unbridled anticipation. Art director 71 Hardwired It’s a year that promises to bring Battlecruiser-loads of Chris “SAVAGE“ Savides 82 Game Over invigorated gaming fl avour. We’re ready for it. Photography Chris “SAVAGE“ Savides 43 CRYSIS 3 Dreamstime.com Preview Prophet’s the suit but the suit is also Alcatraz and Fotolia.com 50 Fuse where New York was the jungle is and… Crysis 3 brings questions, answers and all the sandbox action your Sales executives heart desires, with all the visceral punch and visual Cheryl “Cleona“ Harris / [email protected] +27 72 322 9875 tenacity that Crytek can muster. -
Metro 2033’ – More Than a Cinegame?
‘Metro 2033’ – More Than a Cinegame? GERNOT HOWANITZ University of Passau Abstract: This article’s main idea is to extend the concept of the cinegame and put it into a broader medial context. As the example of 4A Game’s first-person shooter Metro 2033 (2010) demonstrates, film-computer game relationships prove to be essential intermedial connections, but they are by far not the only ones to be found. Besides the obvious filmic in- fluences, interferences with literature and with other games shape the Metro 2033 shooter ex- perience in a process I want to call ekranizatsiia – ‘screenisation’. Firstly, Glukhovskii’s nov- el Metro 2033 (2005) provides a fantastic universe which favours the emergence of convergent media such as the cinegame. Secondly, the process of ekranizatsiia uses filmic strategies in order to visualize the text. Thirdly, genre conventions of first-person shooters are applied to the result in order to add interaction. Thus, the media film, computer game and lit- erature are equally involved in putting the Metro 2033 shooter on the screen. Keywords: intermediality, digital media, computer games, Metro 2033, Dmitrii Glukhovskii, fantastic universes. n the last twenty years, the computer game managed to leave its marginalized position and I enter the realm of mainstream media. During this process, the computer game has moved towards other media, while at the same time maintaining its unique medial status. According to Mark P. Wolf, the video game is to be put ‘in a different category from traditional media, despite its audiovisual nature and often narrative basis’ (Wolf 2002: 13). Wolf then describes how difficult it is to map the borders between games and other media (Wolf 2002: 14).