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The First but Hopefully Not the Last: How the Last of Us Redefines the Survival Horror Video Game Genre
The College of Wooster Open Works Senior Independent Study Theses 2018 The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre Joseph T. Gonzales The College of Wooster, [email protected] Follow this and additional works at: https://openworks.wooster.edu/independentstudy Part of the Other Arts and Humanities Commons, and the Other Film and Media Studies Commons Recommended Citation Gonzales, Joseph T., "The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre" (2018). Senior Independent Study Theses. Paper 8219. This Senior Independent Study Thesis Exemplar is brought to you by Open Works, a service of The College of Wooster Libraries. It has been accepted for inclusion in Senior Independent Study Theses by an authorized administrator of Open Works. For more information, please contact [email protected]. © Copyright 2018 Joseph T. Gonzales THE FIRST BUT HOPEFULLY NOT THE LAST: HOW THE LAST OF US REDEFINES THE SURVIVAL HORROR VIDEO GAME GENRE by Joseph Gonzales An Independent Study Thesis Presented in Partial Fulfillment of the Course Requirements for Senior Independent Study: The Department of Communication March 7, 2018 Advisor: Dr. Ahmet Atay ABSTRACT For this study, I applied generic criticism, which looks at how a text subverts and adheres to patterns and formats in its respective genre, to analyze how The Last of Us redefined the survival horror video game genre through its narrative. Although some tropes are present in the game and are necessary to stay tonally consistent to the genre, I argued that much of the focus of the game is shifted from the typical situational horror of the monsters and violence to the overall narrative, effective dialogue, strategic use of cinematic elements, and character development throughout the course of the game. -
Playing in the Continuum: Moral Relativism in the Last of Us
Praxes of popular culture No. 1 - Year 9 12/2018 - LC.7 [sic] - a journal of literature, culture and literary translation Shalini Harilal, English and Foreign Languages University, India ([email protected]) Playing in the Continuum: Moral Relativism in The Last of Us Abstract Contrary to common understanding that an objective is a distinctive feature of every game, the success of process-oriented games (Nielson et al.) shows that linear narratives are not the only way to tell game stories. The Last of Us , despite being a goal-oriented video game, undermines the focus on its objective of “saving humanity” by refusing to let the player fulfil that goal. Saving humanity is a “noble” sentiment that is not only a “universal” moral value but one of import from a biological standpoint. This paper argues that the game’s insistence on making “questionable” choices on behalf of the player and its depiction of a selection of contrasting social structures are a narrative ruse to unsettle ethical complacencies of the generic player, who brings to the game such moral systems to analyze the game as are incompatible with its temporal and spatial specificity. The question of the admissibility of textual analyses based on external moral parameters is of relevance not exclusively to literary studies but to narratives in new audio-visual media as well. This paper attempts to place player reactions to the questionable character choices at the heart of the game story in a continuum between absolute player identification with narrative elements and complete detachment from the game narrative which facilitates play in an objective manner. -
Cutscenes, Agency and Innovation Ben Browning a Thesis In
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Concordia University Research Repository Should I Skip This?: Cutscenes, Agency and Innovation Ben Browning A Thesis in The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montreal, Quebec, Canada April 2016 © Ben Browning CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Ben Browning Entitled: Should I Skip This?: Cutscenes, Agency and Innovation and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Darren Wershler External Examiner Peter Rist Examiner Marc Steinberg Supervisor Approved by Haidee Wasson Graduate Program Director Catherine Wild Dean of the Faculty of Fine Arts Date ___________________________________ iii ABSTRACT Should I Skip This?: Cutscenes, Agency and Innovation Ben Browning The cutscene is a frequently overlooked and understudied device in video game scholarship, despite its prominence in a vast number of games. Most gaming literature and criticism concludes that cutscenes are predetermined narrative devices and nothing more. Interrogating this general critical dismissal of the cutscene, this thesis argues that it is a significant device that can be used to re-examine a number of important topics and debates in video game studies. Through an analysis of cutscenes deriving from the Metal Gear Solid (Konami, 1998) and Resident Evil (Capcom, 1996) franchises, I demonstrate the cutscene’s importance within (1) studies of video game agency and (2) video game promotion. -
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MEROO NO 1 Joel Miller
E E N U I T G A V E V A N M E R O O . B E THE LAST OF US "Er is altijd wel iets om voor te vechten" JOEL MILLER No. 1 INTROO THE FIRST OF US Een magazine uitbrengen vraagt tijd, lef, maar vooral heel veel geld. Tenzij je het op de digitale wijze doet, natuurlijk. Wij hebben daarom bewust gekozen om HEROO louter digitaal te verspreiden. Een handig PDF'je, netjes vormgegeven, dat te downloaden is door een druk op de knop en bovenal helemaal gratis is. Omdat het in de meeste gevallen op een computerscherm gelezen zal worden (print het gerust uit), vonden we het belangrijk dat het in één adem uit te lezen is. We bieden in HEROO ruimte aan één superheld per maand. Je leest er een diepgaand interview of een biografie over iemand die de heldenstatus waardig is. We openen met Joel Miller, een fictief personage uit de videogame The Last of Us. In de volgende nummers zullen we iemand van vlees en bloed uitlichten. Iemand die iets betekent voor de mensheid of voor de lokale gemeenschap. Bedankt! En veel plezier met de allereerste editie van HEROO. Pieter Kesselaers hoofdredacteur MEROO I STRUGGLED FOR A LONG TIME WITH SURVIVIN', AND NO MATTER WHAT, YOU KEEP FINDING SOMETHING TO FIGHT FOR. Joel Miller BIOO DE LAATSTE ZAL DE EERSTE ZIJN W E K U N N E N N I E T M E E R T E L L E N H O E V A A K D E G A M E W E R E L D A L G E R E D I S V A N E E N T O T A L E O N D E R G A N G . -
Game Narrative Review
Game Narrative Review ==================== Your name (one name, please): Jessica Lichter Your school: Rensselaer Polytechnic Institute Your email: [email protected] Month/Year you submitted this review: 04/2017 ==================== Game Title: The Last of Us Platform: PlayStation 3/4 Genre: Action-adventure, survival horror Release Date: June 14, 2013 (PlayStation 3) July 29, 2014 (PlayStation 4) Developer: Naughty Dog Publisher: Sony Computer Entertainment Game Writer/Creative Director/Narrative Designer: Neil Druckmann Overview The Last of Us (TLOU) is a third person shooter action-adventure/survival horror game that follows the journey of a man named Joel twenty years after an outbreak of a mutant Cordyceps fungus and the resulting death of his daughter. Post-apocalyptic America is in ruins. Some survive in the wild, in quarantine zones, occupy lost cities, and everyone fights to stay alive. People not only have to worry about the zombie-like creatures (called the infected) produced by the outbreak, but other humans who pose threats as well. Joel takes on the task of smuggling fourteen-year-old Ellie, who was bitten by the infected yet has not been taken by the cordyceps disease, across the ravaged United States to an organization’s lab to test for a possible cure. The game draws players into a story full of emotion, outstanding visuals, flexible gameplay, and insight into a world which could potentially be our own someday. TLOU provides a unique experience in the way that the characters themselves feel remarkably real. The dialogue exchanged between Ellie and Joel seems like the type of conversation one would have with one of their friends or family, and the excellent writing put into these exchanges build the characters beyond the cut scenes. -
Game Changer: the Topology of Creativity
Game Changer: The Topology of Creativity MATHIJS DE VAAN Columbia University DAVID STARK Columbia University BALAZS VEDRES Central European University Please address all correspondence to David Stark, Department of Sociology, Columbia University, 606 W. 122nd Street, New York, NY 10027; [email protected]. Research for this paper was supported by a grant from the National Science Foundation, # SES-1123807. For their comments, criticisms, and suggestions, we are grateful to Shamus Khan, Gianluca Carnabuci, Matteo Prato, Elena Esposito, Koen Frenken, Monique Girard, Gernot Grabher, Michael Hutter, Francesco Mazzucchelli, Damon J. Phillips, and the participants of the CODES seminar at Columbia’s Center on Organizational Innovation. Thanks to the European University Institute in Florence and to the Netherlands Institute for Advanced Study for supporting Stark during his leave year while this manuscript was in preparation. Game Changer: The Topology of Creativity MATHIJS DE VAAN DAVID STARK BALAZS VEDRES Columbia University Columbia University Central European University Abstract. What accounts for creative success when the unit of innovation is a team? In particular, what are the sociological factors that explain why some ensembles are able to meet the challenge of creating a cultural product that is not only inventive but also critically acclaimed? We build on work pointing to structural folding – the network property of a cohesive group whose membership overlaps with that of another cohesive group. To explore the processes whereby structural folding contributes to creative success, we draw on new insights in cultural sociology. We hypothesize that the effects of structural folding on game changing success are especially strong when overlapping groups are cognitively distant. -
“How Can a Narrative Designer Encourage Empathy in Players?”
“How can a narrative designer encourage empathy in players?” Many video games seek to create a meaningful relationship between the player and NPCs in their in-game worlds. This can be a romantic, platonic or familial. Narrative designers want to create the illusion of a real emotional bond with a fictional game character, even though many of the stories these relationships exist in are linear. In screen-writing, there are distinct methods to generate empathy and engagement from the audience for characters on screen. However, players have agency, it is by the nature of the medium that they are able to shape and have a meaningful effect on the in-game world they are inhabiting. Viewers of film and literature do not have this ability. Thus, a problem arises. What is applicable from the language of film to generate these relationships in a medium where there is uncertainty about how a player will act? How does a narrative designer approach this issue? “What is taken to be real elicits emotions. What does not impress one as true and unavoidable elicits no emo- tion or a weaker one.”1 How can this scenario be avoided in games? Whilst cinematography and acting bring weight and meaning to a story and its characters, in Commented [ST1]: Not sure if this was meant to be a full stop but a comma would make the sentence flow much game development; animation, level and mechanic design, as well as several other disciplines better must also align and flow to successfully generate player empathy. This is what shall be explored, through investigating case studies of how it has been approached with different degrees of success in several video game titles. -
Videogame Visions of Climate Futures: ARMA 3 and Implications for Games And
Videogame Visions of Climate Futures: ARMA 3 and Implications for Games and Persuasion Benjamin Abraham Abstract: This paper discusses ARMA 3 (2013), a military simulation game from Bohemia Interactive. Through the placement of prominent visual representations of renewable power generation in ARMA 3’s islands, the game offers a compelling vision of the future in which current resistance to low-carbon and renewable economies has been overcome. I argue that the potential of this vision to challenge existing cultural futures and imaginaries is dependent on its presentation aesthetically and not, as is often suggested by current games literature, on game mechanics operating in a ‘persuasive’ or didactic mode. Instead, I argue that ARMA 3’s ‘aesthetic vision’ possesses the ability to skirt around the ideological resistances players may have about accepting more explicit or direct modes of addressing the highly charged and ideologically contested reality of anthropogenic climate change. In this way I suggest ARMA 3 offers a compelling challenge to current theories about games ability to influence players. Keywords: videogame aesthetics, climate change, ideology, persuasive games, game design Bio: Benjamin Abraham received his PhD from the University of Western Sydney in 2015, having researched for a number of years internet communities including games criticism communities, and the political and philosophical issues around the responsibility of non-human actors. His academic work has been published in both Digital Culture & Education and Fibreculture -
The Rise of Esports Investments a Deep Dive with Deloitte Corporate Finance LLC and the Esports Observer
The rise of esports investments A deep dive with Deloitte Corporate Finance LLC and The Esports Observer April 2019 The rise of esports investments | Contents Contents Image - TEO Page 06 Page 22 Page 28 04 Executive summary This publication contains general information only and Deloitte Corporate Finance LLC and The Esports Observer are not, by means of this publication, rendering accounting, business, financial, investment, legal, tax, or other professional advice 06 or services. This publication is not a substitute for such professional advice or services, nor should it be used as a Leveling up: the rise of basis for any decision or action that may affect your business. esports investment Before making any decision or taking any action that may affect your business, you should consult a qualified Esports investment has made professional advisor. significant strides in recent years as traditional investors join Deloitte Corporate Finance LLC and The Esports Observer venture capital in exploring many shall not be responsible for any loss sustained by any person who relies on this publication. of the diverse investment opportunities across the industry’s Copyright © 2019 Deloitte Development LLC. All rights diverse ecosystem. reserved. 01 The rise of esports investment | Contents Contents Page 32 Page 34 Page 38 25 29 34 The value of an esports Why Modern Times Group The rising power (and risk) of investment: an investor view made two of esports' best influencers in esports investments to-date Many investors will find the strong By recognizing -
When the Cat's Away
WHEN THE CAT’S AWAY: TECHLASH, LOOT BOXES, AND REGULATING “DARK PATTERNS” IN THE VIDEO GAME INDUSTRY’S MONETIZATION STRATEGIES Scott A. Goodstein* INTRODUCTION .......................................................................... 287 I. DEFINING DARK PATTERNS AND OTHER INVASIVE ASPECTS OF THE VIDEO GAME INDUSTRY ....................... 294 A. Dark Patterns ............................................................ 294 1. Video Game Dark Patterns Identified by Lewis, Björk, and Zagal ...................................... 297 2. A Loot Box is Simply a Monetized Rivalries Dark Pattern, Sometimes Combined with a Currency Confusion Dark Pattern ..................... 300 B. Psychology, Consumer Surveillance, and Data Research .................................................................... 302 II. TECHLASH IN THE VIDEO GAME INDUSTRY ..................... 306 A. Political Recognition of Exploitative Video Game Design ........................................................................ 307 B. Consumers Should Not Expect or Be Forced to Rely Upon the Video Game Industry to Self- Correct its Predatory Practices ................................. 311 III. LEGISLATIVE ATTEMPTS TO CURB MANIPULATIVE INTERFACE DESIGN .......................................................... 313 A. The Protecting Children from Abusive Games Act .. 314 1. Overview of the PCAGA ...................................... 314 *J.D. Candidate 2021, University of Colorado Law School; Associate Editor, Univer- sity of Colorado Law Review. I would like to thank all