DOCSLIB.ORG

Machinima Š Was Ego-Shooter Und Puppentheater Gemeinsam Haben

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Machinima Š Was Ego-Shooter Und Puppentheater Gemeinsam Haben SPIEL Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft SPIEL: Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft Jg. 22 (2003), Heft 1 Peter Lang Frankfurt am Main · Berlin · Bern · Bruxelles · New York · Oxford · Wien Bibliografische Information Der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über <http://dnb.ddb.de> abrufbar. ISSNISSN 0722-78332199-8078 © Peter Lang GmbH Europäischer Verlag der Wissenschaften F r^^^rt am Main 2005 Alle Rechte vorbehalten. Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. Printed in Germany 1 2 3 4 6 7 www.peterlang.de Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft SPIEL 22 (2003), H. 1 MEDIEN - MACHT - WAHRNEHMUNG. MEDIALE DISPOSITIVE DES SEHENS UND HÖRENS ed. by Kathrin Fahlenbrach (Halle) Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft Herausgeber dieses Heftes / Editor of this issue: Kathrin Fahlenbrach Contents / Inhalt SPIEL 22 (2003), H. 1 Vorwort x Florian Hartling/Thomas Wilke (Halle) Das Dispositiv als Modell der Medienkulturanalyse: Überlegungen zu den Dispositiven Diskothek und Internet 1 Anne Bartsch/Susanne Hübner (Halle) Die Macht der Emotionen: Zur aufmerksamkeitslenkenden Funktion von Emotionen in medialen Dispositiven 38 Kathrin Fahlenbrach (Halle) Wahrnehmungsästhetik der Medien als „Aisthesis“? Überlegungen zu einer Theorie Audio-Visueller Metaphern 49 Michael Lommel (Siegen) Sichtbare Töne - hörbare Bilder. Zur Synästesie des Films 63 Matthias Buck (Halle) Die ungemalten Bilder 74 Reinhold Viehoff (Halle) Mechanismen der „Ikonisierung“ in der Mediengesellschaft. Überlegungen zum Verhältnis von Geschichte und Medien am Beispiel der „Saddam-Statue“ 96 Cordula Günther (Halle) Bilder als mentale Bilder. Zum Verhältnis von manifesten und mentalen Bildern 119 Ulrike Kregel (Halle) Vom Wesen der Bilder Gedächtnis zu sein 137 Golo Föllmer (Halle) Einflüsse technischer Medien auf die Musikpraxis im 20. Jahrhundert 150 Karin Wehn (Leipzig) Machinima oder was Ego-Shooter und Puppentheater gemeinsam haben: Über die revolutionäre Umformung des Dispositivs Computerspiele durch seine User 162 Steven Tototsy de Zepetnek (Boston-Halle) Imre Kertész’s Nobel Prize, Public Discourse, and the Media 183 Ulrike Schwab (Halle) Theoriebildung zur Erforschung der Filmadaption: ein medienwissenschaftlicher Weg 195 10.3726/80996_162 SPIEL 22 (2003), H. 1, 162-182 Karin Wehn (Leipzig) Machinima - Was Ego-Shooter und Puppentheater gemein- sam haben12 „An artform come out of nowhere. Film that use game technology and look like Toy Story’. Zero-budget film-makers making films that would stretch the biggest of Hollywood studios.” (Hancock 2001) First person shooters such as Quake, Unreal Tournament and Half-Life are regarded by many as evil tools that turn children into emotionless beings. What critics of the genre usually are not aware of is that first person shooters can be useful tools to produce 3D animation films. Such films that are based on the game engines of computer games, are referred to as machinima. What makes this unplanned usage of computer game (that was not foreseen by the game industry) so interesting is that is breaks down the entrance barriers for amateurs in the realm of 3D animation, which has so far been closed and unaccessible to them for both technological and economic reasons. At the same time, machinima is an impressive example that users are by no means merely passive consumers of games, but that they transcend the boundaries set by the game and actively create something new with it. This article discusses machinima within the theoretical framework of the dispositive, details the emergenge of machinima, explains the production steps of a machinima-film and presents the most important representatives of the genre. Finally, taking into account the reactions by both computergame industry, TV and film-industry it will be concluded that dispositives do not only gradually change over time, but that existing power relationships are sometimes revolutionized and that separate dispositives can melt together. Machinima oder die Umkehrung des Dispositivs Computerspiel Das Dispositiv Computerspiel Der von Michel Foucault eingeführte Begriff des Dispositivs wurde von ihm zunächst für die Beschreibung gesellschaftlicher Macht Verhältnisse verwendet. Das Konzept wurde in 1 Für wertvolle Hinweise und Korrekturen dankt die Autorin Ingo Linde und Dirk Förster. 2 Die URL’s zu allen im Text zitierten Online-Quellen sind aus Gründen der Leserlichkeit im Literaturverzeichnis aufgeführt. Machinima 163 Apparatustheorien seit den 70er Jahren auf Film (Baudry 1970 und 1975, Comolly 1986), später auch auf Fernsehen (Hickethier 1991, 1995, Steinmaurer 2000) und auf das Inter- net (Härtling 2001) übertragen und bezeichnet dort die Anordnung zwischen Apparat und Zuschauer. Das Dispositiv steht also für eine eher räumliche Vorstellung von techni- schem Gerät und Benutzer, die aber auch darunterliegende, nicht sichtbare Herrschafts- verhältnisse im Blick behält. Die Leistung des Dispositiv-Begriffs besteht darin, ansons- ten getrennte Bereiche als Gesamtzusammenhang zu sehen, Wechselwirkungen zwischen technischem Apparat und Zuschauerwahrnehmung deutlich werden zu lassen sowie his- torische Veränderungen von Dispositiven plastisch zu machen. Angesichts der erfolgreichen Applikation auf unterschiedliche Medien liegt eine Ü- berprüfung der Produktivität des Dispositiv-Begriffs auch für andere neue Medien, wie z. B. Computerspiele, nahe.3 Computerspiele des Genres Ego-Shooter wie Doom, Quake oder Halflife sind digitale 3D-Welten, in denen der Spieler das simple darwinistische Ziel hat, in einer Welt voll von mordrünstigen Terroristen und Monstern zu überleben, indem er so viele seiner Geg- ner wie möglich tötet. Die hohe Faszination dieser Spiele beruht u.a. darauf, dass die virtuelle Welt entsprechend der Aktionen des Users in Realzeit neu berechnet wird. Ab- hängig von den Vorgaben des Spiels im Wechselspiel mit den Tastatur-Eingaben des Users verändert sich die Spielewelt ständig und übergangslos. Spieler und Bildschirm bilden eine Handlungsachse, der Spieler ist nahezu ausschließlich auf den Bildschirm fixiert und blendet während des Spiels die ihn umgebende Umwelt nahezu vollständig aus. Den schnellen Griff zur nebenstehenden Kaffeetaste kann sich der Spieler bei einem Ego-Shooter nicht leisten, er würde sofort vom Spiel oder seinen Mitspielern durch Ver- letzung oder Ableben der Spielfigur sanktioniert. Spricht Jean-Louis Baudry (1986) be- züglich des Kinos von der „Immobilität des Zuschauers“ und Anne Friedberg (1993) sogar vom im Kinosessel gefangenen Zuschauer, könnte man bei Computerspielen von einem ebenfalls gefangenen User sprechen, der sowohl über seinen zwanghaft fixierten Blick auf den Bildschirm als auch über die Tastatur, Maus oder andere Eingabegeräte regelrecht an die Kette gelegt ist. Immersion entsteht bei Ego-Shootern - anders als beim Kino - nicht durch den ab gedunkelten Kinoraum und eine im Verhältnis zum Zuschauer unproportional große Leinwand, sondern trotz der deutlich kleineren Bildschirmgröße durch die geballte Ladung an Reizen, Wahrnehmungsleistungen und komplexen Reaktio- nen, die der User in Sekundenschnelle bewältigen muss. 3 Allerdings erweist sich eine Beschreibung der dispositiven Struktur beim Computerspiel als wesentlich schwieriger als bei Kino und Fernsehen, da sowohl die Hardwareausstattung wie verwendetes Endgerät (PC, Konsole, Handheld), Prozessorleistung, Grafikkarte, Eingabegeräte (Maus, Tastatur, Controler), sowie die situativen Bedingungen der Nutzung (Büro, Zuhause, In- temet-Café) äußerst unterschiedlich sein können. Dies wirkt sich selbstverständlich unmittelbar auf die Ästhetik aus, in der Computerspiele wahrgenommen werden. 164 Karin Wehn Karikaturen, die die Vorurteile gegenüber Computerspielen illustrieren:4 Vor allem Nicht-Spieler nehmen für sich in Anspruch, dieser dispositiven Anordnung Computerspiel eine gefährliche, weil lähmende oder gewaltanstachelnde Wirkung zu unterstellen. Diese Kritiker fürchten, dass solche „Ballerspiele“ aus wohlerzogenen wie auch aus sozial auffälligen Teenagern emotionslose, der Realität entrückte „Killer“ ma- chen, die das Gefühl für die Tragik von Tod und Krieg verlieren und dadurch verrohen. Als Beweise für diese populäre vor wissenschaftliche These werden gerne die Amokläufe in Erfurt, Bad Reichenhall und Littleton, USA angeführt, bei denen die jugendlichen Attentäter nachweislich leidenschaftliche Computerspieler waren. Medienwissenschaftler und -pädagogen, sowie Vertreter der endlich in Gang gekom- menen ästhetischen Auseinandersetzung mit der mehr als 40 Jahre umfassenden Ge- schichte von Computerspielen5 werden zwar nicht müde, darauf hinzuweisen, dass solche Ängste mit immer wieder den gleichen Argumenten bei jedem neuen Medium hochge- kocht wurden und werden. Gleichzeitig belegen neuere theoretische und empirische Er- 4 Linkes Bild: © Verfasser unbekannt; Sinclair User Feb 1986 http://www.sincuser.f9.co.uk/047/ccrazy.htm Rechtes Bild: ©Paul South worth http://www.krazylarry.com/portfolio/videogames.html
Load more

Recommended publications
  • Theescapist 055.Pdf
    in line and everything will be just fine. two articles I fired up Noctis to see the Which, frankly, is about how many of us insanity for myself. That is the loneliest think to this day. With the exception of a game I’ve ever played. For those of you who fell asleep during very brave few. the classical mythology portion of your In response to “Development in a - Danjo Olivaw higher education, the stories all go like In this issue of The Escapist, we take a Vacuum” from The Escapist Forum: this: Some guy decides he no longer look at the stories of a few, brave souls As for the fact that thier isolation has In response to “Footprints in needs the gods, sets off to prove as in the game industry who, for better or been a benefit to them rather than a Moondust” from The Escapist Forum: much and promptly gets smacked down. worse, decided that they, too, were hindrance, that’s what I discussed with I’d just like to say this was a fantastic destined to make their dreams a reality. Oveur (Nathan Richardsson) while in article. I think I’ll have to read Olaf Prometheus, Sisyphus, Icarus, Odysseus, Some actually succeeded, while others Vegas earlier this year at the EVE the stories are full of men who, for crashed and burned. We in the game Gathering. The fact that Iceland is such whatever reason, believed that they industry may not have jealous, angry small country, with a very unique culture were not bound by the normal gods against which to struggle, but and the fact that most of the early CCP constraints of mortality.
    [Show full text]
  • Multi-User Game Development
    California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2007 Multi-user game development Cheng-Yu Hung Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Software Engineering Commons Recommended Citation Hung, Cheng-Yu, "Multi-user game development" (2007). Theses Digitization Project. 3122. https://scholarworks.lib.csusb.edu/etd-project/3122 This Project is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. ' MULTI ;,..USER iGAME DEVELOPMENT '.,A,.'rr:OJ~c-;t.··. PJ:es·~nted ·t•o '.the·· Fa.8lllty· of. Calif0rr1i~ :Siat~:, lJniiV~r~s'ity; .•, '!' San. Bernardinti . - ' .Th P~rt±al Fu1fillrnent: 6f the ~~q11l~~fuents' for the ;pe'gree ···•.:,·.',,_ .. ·... ··., Master. o.f.·_s:tience•· . ' . ¢ornput~r •· ~6i~n¢e by ,•, ' ' .- /ch~ng~Yu Hung' ' ' Jutie .2001. MULTI-USER GAME DEVELOPMENT A Project Presented to the Faculty of California State University, San Bernardino by Cheng-Yu Hung June 2007 Approved by: {/4~2 Dr. David Turner, Chair, Computer Science ate ABSTRACT In the Current game market; the 3D multi-user game is the most popular game. To develop a successful .3D multi-llger game, we need 2D artists, 3D artists and programme.rs to work together and use tools to author the game artd a: game engine to perform \ the game. Most of this.project; is about the 3D model developmept using too.ls such as Blender, and integration of the 3D models with a .level editor arid game engine.
    [Show full text]
  • High-Performance Play: the Making of Machinima
    High-Performance Play: The Making of Machinima Henry Lowood Stanford University <DRAFT. Do not cite or distribute. To appear in: Videogames and Art: Intersections and Interactions, Andy Clarke and Grethe Mitchell (eds.), Intellect Books (UK), 2005. Please contact author, [email protected], for permission.> Abstract: Machinima is the making of animated movies in real time through the use of computer game technology. The projects that launched machinima embedded gameplay in practices of performance, spectatorship, subversion, modification, and community. This article is concerned primarily with the earliest machinima projects. In this phase, DOOM and especially Quake movie makers created practices of game performance and high-performance technology that yielded a new medium for linear storytelling and artistic expression. My aim is not to answer the question, “are games art?”, but to suggest that game-based performance practices will influence work in artistic and narrative media. Biography: Henry Lowood is Curator for History of Science & Technology Collections at Stanford University and co-Principal Investigator for the How They Got Game Project in the Stanford Humanities Laboratory. A historian of science and technology, he teaches Stanford’s annual course on the history of computer game design. With the collaboration of the Internet Archive and the Academy of Machinima Arts and Sciences, he is currently working on a project to develop The Machinima Archive, a permanent repository to document the history of Machinima moviemaking. A body of research on the social and cultural impacts of interactive entertainment is gradually replacing the dismissal of computer games and videogames as mindless amusement for young boys. There are many good reasons for taking computer games1 seriously.
    [Show full text]
  • MA Thesis NMDC
    Shared Play with the Push of a Button: a Mixed-Method Analysis of Sony PlayStation 4’s Share-Platform Rens Lohmann Master Thesis Utrecht University Tutor: Dr. Ann-Sophie Lehmann Second Assessor: Dr. René Glas Submission date: September 22, 2014 [email protected] Keywords Video games, spectatorship, streaming, social, sharing, shared play, platform studies MA New Media & Digital Culture © 2014 Rens Lohmann. Personal and educational classroom use of this thesis is allowed, commercial use requires specific permission from the author. “It’s dangerous to go alone! Take this.” (The Legend of Zelda, 1986) ABSTRACT With the incorporation of the Share-button and its underlying platform on the PlayStation 4, Sony has decided to bring social connectivity and the sharing of gameplay to the masses. Video game play streaming and sharing have their roots in early user-generated content, performing, and spectating practices. Examples from the nineties are machinima, speedrunning, and online multiplayer gaming in that period. Users with a high level of technical proficiency created content that was creative, subversive, and initiated new forms of interactions between players and spectators. The creation of user-generated content came under stricter corporate control when it was integrated as a part of well-designed and well- marketed video game platforms. While the construction of this material became more accessible to general players, creativity and subversiveness became more limited. Sony PlayStation 4’s Share-button can be seen as a culmination of this development. As a form of controlled participation, the button and its proprietary platform facilitate remarkably quick production of this content with a limited toolset of creative possibilities.
    [Show full text]
  • A Doom Legendája Hogyan Változtatta Meg John Carmack És John Romero a Világot
    A Doom legendája Hogyan változtatta meg John Carmack és John Romero a világot David Kushner 2012. szeptember 10. 2 Tartalomjegyzék I. A kezdet 5 1. A Rocksztár 9 2. A Rakétamérnök 19 3. Dangerous Dave minden szerzői jogot megsért 27 4. Pizzapénz 43 5. Jobb, mint a való élet 57 6. Zöld és dühös 65 7. Spear of Destiny 77 8. Démonidézés 89 9. A legkirályabb játék 101 II. Külön utakon 111 10.A doom-generáció 113 11.Rengések 129 12.Az Ítélet Napja 141 13.Deathmatch 159 14.Silicon Alamo 173 15.Egyenesen a pokolból 185 16.Virtuális világok 197 3 4 TARTALOMJEGYZÉK I. rész A kezdet 5 Bevezetés: A Két John Két játék létezett. Az egyiket az életben játszották, a másikat játszva élték. Alapvetően már a két szó sem fér meg egymással, ahogy a két John sem. Egy áprilisi délutánon történt 2000-ben, Dallas belvárosának legmélyén. Az összejö- vetel oka egy százezer dollár összdíjazású bajnokság volt a Quake 3 Aréna nevű számítógépes játékban. A versenyt a számítógépes rendezvények legnagyobb le- bonyolítójává vált Cyberatléták Profi Ligájának szervezésében rendezték meg, és HSG-alapú (Hozd a Saját Géped) összejövetel volt. Több száz számítógé- pet kötöttek össze hetvenkét órányi megállás nélküli játékra a Hyatt dallasi felhőkarcolójának alagsorában. Az érdeklődők hatalmas kivetítőn folyamatosan nyomon követhették az éppen zajló izgalmasabb mécseseket és az ide-oda szálló rakétákat. Szivart rágcsáló tengerészgyalogosok, hatalmas mellbőségű női har- cosok és elmebeteg, vértől mocskos bohócok irtották egymást rakétavetőkkel és plazmafegyverekkel. A cél egyszerű volt: a legtöbbet gyilkoló játékos győz! A versenyen résztvevő hardcore játékosokat a távolság sem riaszthatta el.
    [Show full text]
  • GOG-API Documentation Release 0.1
    GOG-API Documentation Release 0.1 Gabriel Huber Jun 05, 2018 Contents 1 Contents 3 1.1 Authentication..............................................3 1.2 Account Management..........................................5 1.3 Listing.................................................. 21 1.4 Store................................................... 25 1.5 Reviews.................................................. 27 1.6 GOG Connect.............................................. 29 1.7 Galaxy APIs............................................... 30 1.8 Game ID List............................................... 45 2 Links 83 3 Contributors 85 HTTP Routing Table 87 i ii GOG-API Documentation, Release 0.1 Welcome to the unoffical documentation of the APIs used by the GOG website and Galaxy client. It’s a very young project, so don’t be surprised if something is missing. But now get ready for a wild ride into a world where GET and POST don’t mean anything and consistency is a lucky mistake. Contents 1 GOG-API Documentation, Release 0.1 2 Contents CHAPTER 1 Contents 1.1 Authentication 1.1.1 Introduction All GOG APIs support token authorization, similar to OAuth2. The web domains www.gog.com, embed.gog.com and some of the Galaxy domains support session cookies too. They both have to be obtained using the GOG login page, because a CAPTCHA may be required to complete the login process. 1.1.2 Auth-Flow 1. Use an embedded browser like WebKit, Gecko or CEF to send the user to https://auth.gog.com/auth. An add-on in your desktop browser should work as well. The exact details about the parameters of this request are described below. 2. Once the login process is completed, the user should be redirected to https://www.gog.com/on_login_success with a login “code” appended at the end.
    [Show full text]
  • Troubleshooting Guide
    TROUBLESHOOTING GUIDE Solved - Issue with USB devices after Windows 10 update KB4074588 Logitech is aware of a Microsoft update (OS Build 16299.248) which is reported to affect USB support on Windows 10 computers. Support statement from Microsoft "After installing the February 13, 2018 security update, KB4074588 (OS Build 16299.248), some USB devices and onboard devices, such as a built-in laptop camera, keyboard or mouse, may stop working for some users." If you are using Microsoft Windows 10, (OS Build 16299.248) and are having USB-related issues. Microsoft has released a new update KB4090913 (OS Build 16299.251) to resolve this issue. We recommend you follow Microsoft Support recommendations and install the latest Microsoft Windows 10 update: https://support.microsoft.com/en-gb/help/4090913/march5- 2018kb4090913osbuild16299-251. This update was released by Microsoft on March 5th in order to address the USB connection issues and should be downloaded and installed automatically using Windows Update. For instructions on installing the latest Microsoft update, please see below: If you have a working keyboard/mouse If you have a non-working keyboard/mouse If you have a working keyboard/mouse: 1. Download the latest Windows update from Microsoft. 2. If your operating system is 86x-based, click on the second option. If your operating system is 64x-based, click on the third option. 3. Once you have downloaded the update, double-click on the downloaded file and follow the on-screen instructions to complete the update installation. NOTE: If you wish to install the update manually, you can download the 86x and 64x versions of the update from http://www.catalog.update.microsoft.com/Search.aspx?q=KB4090913 If you currently have no working keyboard/mouse: For more information, see the Microsoft article on how to start and use the Windows 10 Recovery Environment (WinRE): https://support.microsoft.com/en-us/help/4091240/usb-devices-may-stop-working-after- installing-the-february-13-2018-upd Do the following: 1.
    [Show full text]
  • Diversity Pf Play
    www.ssoar.info Diversity of play Fuchs, Mathias (Ed.) Veröffentlichungsversion / Published Version Sammelwerk / collection Empfohlene Zitierung / Suggested Citation: Fuchs, M. (Ed.). (2015). Diversity of play. Lüneburg: meson press. https://doi.org/10.14619/012 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-SA Lizenz (Namensnennung- This document is made available under a CC BY-SA Licence Weitergabe unter gleichen Bedingungen) zur Verfügung gestellt. (Attribution-ShareAlike). For more Information see: Nähere Auskünfte zu den CC-Lizenzen finden Sie hier: https://creativecommons.org/licenses/by-sa/4.0 https://creativecommons.org/licenses/by-sa/4.0/deed.de DIVERSITY OF PLAY FUCHS Diversity of Play The chapters of this book are based on keynote lectures held at DiGRA2015 in Lüneburg. We acknowledge the friendly support of DiGRA (Digital Games Research Association) and its board. Diversity of Play edited by Mathias Fuchs Bibliographical Information of the German National Library The German National Library lists this publication in the Deutsche National bibliografie (German National Biblio­ graphy); detailed bibliographic information is available online at http://dnb.d­nb.de. Published in 2015 by meson press, Hybrid Publishing Lab, Centre for Digital Cultures, Leuphana University of Lüneburg www.meson­press.com Design concept: Torsten Köchlin, Silke Krieg Cover design: Laleh Torabi Copy­editing: Andrew Stapleton The print edition of this book is printed by Lightning Source, Milton Keynes, United Kingdom. ISBN (Print): 978­3­95796­075­7 ISBN (PDF): 978­3­95796­076­4 ISBN (EPUB): 978­3­95796­077­1 DOI: 10.14619/012 The digital editions of this publication can be downloaded freely at: www.meson­press.com.
    [Show full text]
  • Postmortems from Game Developers.Pdf
    POSTMORTEMS FROM Austin Grossman, editor San Francisco, CA • New York, NY • Lawrence, KS Published by CMP Books an imprint of CMP Media LLC Main office: 600 Harrison Street, San Francisco, CA 94107 USA Tel: 415-947-6615; fax: 415-947-6015 Editorial office: 1601 West 23rd Street, Suite 200, Lawrence, KS 66046 USA www.cmpbooks.com email: [email protected] Designations used by companies to distinguish their products are often claimed as trademarks. In all instances where CMP is aware of a trademark claim, the product name appears in initial capital letters, in all capital letters, or in accordance with the vendor’s capitalization preference. Readers should contact the appropriate companies for more complete information on trademarks and trademark registrations. All trademarks and registered trademarks in this book are the property of their respective holders. Copyright © 2003 by CMP Media LLC, except where noted otherwise. Published by CMP Books, CMP Media LLC. All rights reserved. Printed in the United States of America. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher; with the exception that the program listings may be entered, stored, and executed in a computer system, but they may not be reproduced for publication. The publisher does not offer any warranties and does not guarantee the accuracy, adequacy, or complete- ness of any information herein and is not responsible for any errors or omissions. The publisher assumes no liability for damages resulting from the use of the information in this book or for any infringement of the intellectual property rights of third parties that would result from the use of this information.
    [Show full text]
  • What Video Games Have to Teach Us About Learning and Literacy
    WHAT VIDEO GAMES HAVE TO TEACH US ABOUT LEARNING AND LITERACY James Paul Gee 01 gee fm 3/13/03 12:04 PM Page i WHAT VIDEO GAMES HAVE TO TEACH US ABOUT LEARNING AND LITERACY JAMES PAUL GEE 01 gee fm 3/1/04 2:47 PM Page ii WHAT VIDEO GAMES HAVE TO TEACH US ABOUT LEARNING AND LITERACY Copyright © James Paul Gee, 2003. All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. First published in hardcover in 2003 by Palgrave Macmillan First PALGRAVE MACMILLAN™ paperback edition: May 2004 175 Fifth Avenue, New York, N.Y. 10010 and Houndmills, Basingstoke, Hampshire, England RG21 6XS. Companies and representatives throughout the world. PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin's Press, LLC and of Palgrave Macmillan Ltd. Macmillan® is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN 1-4039-6538-2 Library of Congress Cataloging-in-Publication Data Gee, James Paul. What video games have to teach us about learning and literacy / James Paul Gee. p. cm. Includes bibliographical references and index. ISBN 1-4039-6538-2 1. Video games—Psychological aspects. 2. Computer games— Psychological aspects. 3. Learning, Psychology of. 4. Visual literacy. 5. Video games and children. I. Title: What video games have to teach us about learning and literacy.
    [Show full text]
  • Recommended Rpg Games Pc
    Recommended Rpg Games Pc Allie remains sparing after Roth escarps forbearingly or partners any commonwealth. Threadlike Darrel spae brutally, he unearth his pyaemia very ancestrally. Arizonan Gav miscarry interchangeably. Pubg copied Free Fire Alienware Arena. Popular Mechanics participates in fact affiliate marketing programs, which camp we however get paid commissions on editorially chosen products purchased through our links to retailer sites. As people search for new and exciting forms of entertainment to wile away their hours at home, the team at Launcher has a few suggestions. We hope you making something urgent like! Pc gamers praising it well as. If your toe on. Generations melded all your enjoyment of a shinobi tasked with pc games? You are getting a faction against each class, that you can recommend on earth is no. Have been a starting to check if a combat is recommended rpg games pc friends or street gangs, there are earned rpgs that let you need to get those who is recommended list. List ready most popular top 15 Best Role Playing Games RPGs. The hopes for greater your race known as far, especially since this masocore action packed with new. Gameloft has multiple endings had a harvard degree in which required you can definitely on our recommended rpg games pc games require you! Mentioning about video game on your party members are a better pixel. Lists about video games brought near the big screen and gave small screen. The Best PC RPGs for 2021 PCMag. Netherim and its allies. Justin finds joy that pc gamers stand alone an intimidating small business, others uses cookies if ones you, led by player has more? The 20 Best FPS Games You will Play network a Low-End PC Laptop.
    [Show full text]
  • Digital Workflow Present and Future Nab 98 • Seybold
    $4.50 APR/MAY 1998 DIGITAL WORKFLOW PRESENT AND FUTURE THE NAB 98 • SEYBOLD NEW YORK • ION STORM ON THE HORIZON • TIPS ON BACKING UP DATA HAS PDF TO THE RESCUE • WEB INTERACTIVITY TIME COME QUARK 4.0 • LIVE PICTURE 2.6 • EPSON 5000 Once upon a time, in a vast and wealthy country, there lived a boy with a very adventurous spirit, who loved to draw — and he especially loved to draw characters for computer games. when he was very young — back in the time of the asteroids — he taught himself to draw on the computer, and he and his brother created a computer game called “auntarctic adventure” which they succeeded in getting published in another vast and wealthy country to the north. he was just 16. and they made their fortunes in the time of the asteroids, when there were many gamers between ten and thirty who wanted to play computer games. the boy liked to work very hard. as he grew to manhood, he spent a long time studying drawing and animation and film. over the next ten years, he worked with six software developers on nine different computer games, preparing himself for his big adventure. the boy, now a young man, freelanced on projects such as “maelstrom” and “ultima underworld ii”. then, one day, he met another young man, who had his own game company called distant thunder entertainment. the talented young man and his new friend threw themselves into the pit of design, building games called “g-nome” and “dominion”. when the company was sold to 7th level, our young man was named creative director for 3d games.
    [Show full text]