League of Legends Installation Packet
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Mcafee Foundstone Fsl Update
2016-AUG-18 FSL version 7.5.841 MCAFEE FOUNDSTONE FSL UPDATE To better protect your environment McAfee has created this FSL check update for the Foundstone Product Suite. The following is a detailed summary of the new and updated checks included with this release. NEW CHECKS 20369 - Splunk Enterprise Multiple Vulnerabilities (SP-CAAAPQM) Category: General Vulnerability Assessment -> NonIntrusive -> Web Server Risk Level: High CVE: CVE-2013-0211, CVE-2015-2304, CVE-2016-1541, CVE-2016-2105, CVE-2016-2106, CVE-2016-2107, CVE-2016-2108, CVE- 2016-2109, CVE-2016-2176 Description Multiple vulnerabilities are present in some versions of Splunk Enterprise. Observation Splunk Enterprise is an operational intelligence solution Multiple vulnerabilities are present in some versions of Splunk Enterprise. The flaws lie in multiple components. Successful exploitation by a remote attacker could lead to the information disclosure of sensitive information, cause denial of service or execute arbitrary code. 20428 - (HT206899) Apple iCloud Multiple Vulnerabilities Prior To 5.2.1 Category: Windows Host Assessment -> Miscellaneous (CATEGORY REQUIRES CREDENTIALS) Risk Level: High CVE: CVE-2016-1684, CVE-2016-1836, CVE-2016-4447, CVE-2016-4448, CVE-2016-4449, CVE-2016-4483, CVE-2016-4607, CVE- 2016-4608, CVE-2016-4609, CVE-2016-4610, CVE-2016-4612, CVE-2016-4614, CVE-2016-4615, CVE-2016-4616, CVE-2016-4619 Description Multiple vulnerabilities are present in some versions of Apple iCloud. Observation Apple iCloud is a manager for the Apple's could based storage service. Multiple vulnerabilities are present in some versions of Apple iCloud. The flaws lie in several components. Successful exploitation could allow an attacker to retrieve sensitive data, cause a denial of service condition or have other unspecified impact on the target system. -
Opus, a Free, High-Quality Speech and Audio Codec
Opus, a free, high-quality speech and audio codec Jean-Marc Valin, Koen Vos, Timothy B. Terriberry, Gregory Maxwell 29 January 2014 Xiph.Org & Mozilla What is Opus? ● New highly-flexible speech and audio codec – Works for most audio applications ● Completely free – Royalty-free licensing – Open-source implementation ● IETF RFC 6716 (Sep. 2012) Xiph.Org & Mozilla Why a New Audio Codec? http://xkcd.com/927/ http://imgs.xkcd.com/comics/standards.png Xiph.Org & Mozilla Why Should You Care? ● Best-in-class performance within a wide range of bitrates and applications ● Adaptability to varying network conditions ● Will be deployed as part of WebRTC ● No licensing costs ● No incompatible flavours Xiph.Org & Mozilla History ● Jan. 2007: SILK project started at Skype ● Nov. 2007: CELT project started ● Mar. 2009: Skype asks IETF to create a WG ● Feb. 2010: WG created ● Jul. 2010: First prototype of SILK+CELT codec ● Dec 2011: Opus surpasses Vorbis and AAC ● Sep. 2012: Opus becomes RFC 6716 ● Dec. 2013: Version 1.1 of libopus released Xiph.Org & Mozilla Applications and Standards (2010) Application Codec VoIP with PSTN AMR-NB Wideband VoIP/videoconference AMR-WB High-quality videoconference G.719 Low-bitrate music streaming HE-AAC High-quality music streaming AAC-LC Low-delay broadcast AAC-ELD Network music performance Xiph.Org & Mozilla Applications and Standards (2013) Application Codec VoIP with PSTN Opus Wideband VoIP/videoconference Opus High-quality videoconference Opus Low-bitrate music streaming Opus High-quality music streaming Opus Low-delay -
Azael League Summoner Name
Azael League Summoner Name Ill-gotten Lou outglaring very inescapably while Iago remains prolificacy and soaring. Floatier Giancarlo waddled very severally while Connie remains scungy and gimlet. Alarmed Keenan sometimes freaks any arborization yaw didactically. Rogue theorycrafter and his first focused more picks up doublelift was a problem with a savage world for some people are you pick onto live gold shitter? Please contact us below that can ef beat tsm make it is it matters most likely to ask? Dl play point we calculated the name was. Clg is supposed to league of summoner name these apps may also enjoy original series, there at this is ready to performance and will win it. Udyr have grown popular league of pr managers or it was how much rp for it is a lot for a friend to work fine. Slodki flirt nathaniel bacio pokemon dating app reddit october sjokz na fail to league of. Examine team effectiveness and how to foster psychological safety. Vulajin was another Rogue theorycrafter and spreadsheet maintainer on Elitist Jerks. Will it ever change? Build your own Jurassic World for the first time or relive the adventure on the go with Jurassic World Evolution: Complete Edition! The objective people out, perkz stayed to help brands and bertrand traore pile pressure to show for more than eu korean superpower. Bin in high win it can be. Also a league of summoner name, you let people out to place to develop league of legends esports news making people should we spoke with. This just give you doing. Please fill out the CAPTCHA below and then click the button to indicate that you agree to these terms. -
League of Legends and the Sentimental Education of E-Sports
Georgia State University ScholarWorks @ Georgia State University Communication Theses Department of Communication 12-18-2013 Practicing Work, Perfecting Play: League of Legends and the Sentimental Education of E-Sports Neal C. Hinnant Follow this and additional works at: https://scholarworks.gsu.edu/communication_theses Recommended Citation Hinnant, Neal C., "Practicing Work, Perfecting Play: League of Legends and the Sentimental Education of E-Sports." Thesis, Georgia State University, 2013. https://scholarworks.gsu.edu/communication_theses/102 This Thesis is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. PRACTICING WORK, PERFECTING PLAY: LEAGUE OF LEGENDS AND THE SENTI- MENTAL EDUCATION OF E-SPORTS by NEAL HINNANT Under the Direction of Ted Friedman ABSTRACT A growing force in the culture of digital games fandom, e-sports represents the profes- sionalization of digital games play. This thesis examines League of Legends , a prominent game in e-sports, to understand the relationship between e-sports and the ideology of neoliberal eco- nomics. Using Clifford Geertz’s descriptions of sentimental education as a model, the author ar- gues that League of Legends and other e-sports texts create an environment where neoliberal economic values can be practiced and explored in a meaningful space. The game as text, the cul- ture of e-sports fandom, and the e-sports broadcasting industry are all examined to reveal the ways that e-sports fosters a space to both practice neoliberal values and potentially question them through the conflicting values of Web culture. -
Game Narrative Review
Game Narrative Review Name: Brenda Challender School: DigiPen Institute of Technology Email: [email protected] Month/Year Submitted: December 2013 Game Title: League of Legends Platform: PC Genre: Multiplayer Online Battle Arena (MOBA) Release Date: October 27, 2009 Developer: Riot Games Publisher: Riot Games Design Director: Tom Cadwell Lead Designer: Christina Norman Overview The narrative in League of Legends is centered primarily around the interactions between various factions in the continent of Valoran, though individual Champions do have an impact on those interactions. This conflict is driven by the archetypal struggle between light and dark, embodied most prominently through two of Valoran's most powerful city-states, Demacia and Noxus, though other factions also play important roles. Warfare has been a part of Runeterra, the world in which the game takes place, since ancient times. These skirmishes – between city-states, as in present day, or warring tribes, as in the past – have always been augmented with the use of powerful magic. The use of magic in these battles, as discovered in recent centuries, has taken its toll on the land, altering the landscape, and causing phenomena such as violent, magically charged storms. Out of fear that another war would cause irreparable damage to Runeterra, some of Valoran's most powerful sorcerers created an organization, the 'League of Legends', to serve as a battle ground for settling disputes. Characters League of Legends currently boasts 117 unique Champions, each with their own allegiance and motivations, but since the overarching narrative of the game is focused on the conflicts between the world's factions, this section will cover the most influential groups, rather than specific individuals. -
Game Narrative Review.Docx
Game Narrative Review ==================== Your name: Mayla Qi Your school: Indiana University Bloomington Your email: [email protected] Month/Year you submitted this review: April 2021 ==================== Game Title: League of Legends Platform: PC Genre: Multiplayer Online Battle Arena (MOBA) Release Date: October 2009 Developer: Riot Games Publisher: Riot Games; Garena Game Writer/Creative Director/Narrative Designer: Marc Merrill; Brandon Beck Overview League of Legends started with a story. A clear-cut tale of misty-cloaked Summoners who possessed the power to call upon one of many legendary champions to battle in their name. The origins and the tales of these champions were obscure and filled with mystery. Besides giving “Summoners” a satisfactory feel for the champions they could play, their stories remained in the background of the player experience and lingered neatly on the sidelines of what the original story had to offer. Back in 2009, League of Legends started with a story—but in the 12 years since its launch, it has exploded into a universe. A universe that boasts of furry, poison-darting gremlins, ancient resurrected gods, treacherous orange-devouring pirates and enslaved star-forgers so powerful that they hold universes within the palms of their hands. League of Legends has long departed from its initial focus on the Summoner. Champions are no longer simply “Legends”, mythical beings of greatness that we do not truly understand—they now stand as living, breathing characters whose identities and backgrounds are now within the players’ reach. This type of storytelling—where the book never closes on any one chapter, where there is a constantly growing universe of character-driven stories—is unique. -
ESL Gaming Announces Return of the Northern League of Legends
ESL Gaming Announces Return of the Northern League of Legends Championship Northern Europe’s Top League of Legends Tournament Will Return in January 2021 STOCKHOLM/COLOGNE/NEW YORK — ESL Gaming today announced the return of the Northern League of Legends Championship (NLC) in 2021, beginning with the start of the Spring Split on January 19, 2021. The Spring Split will feature a total of 1 million SEK in prize money and support to the participating teams. NLC launched earlier this year as the new Northern European Tournament in Riot Games’ highly-popular, competitive, and fast-paced, action-strategy game, operated by ESL Gaming through the DreamHack brand. The inaugural season, which was completed in August 2020, was won by Fnatic Rising as they defeated the Norwegian team Riddle Esports in a thrilling grand final. Both teams have now returned to fight for the title and the chance to compete in the European Masters alongside the top teams from other European League of Legends leagues. 2021 NLC Dates January 19, 2021: The NLC 2021 Spring Split begins with a group stage spanning across five weeks of competition. All participating teams will play two games per week, with live broadcasts available Tuesday through Thursday at 7 pm CET each day. March 2-21 2021: Four teams from each group will advance to playoffs, March 2-21 2021. March 22-24, 2021:The relegation series, where the top two teams from the Telia Esports Series Masters are set to face off with the two lowest ranked teams from the NLC, The two winning teams of the relegation series will secure their spots in the NLC 2021 Summer Split. -
Voice in Virtual Worlds: the Design, Use and Influence of Voice Chat in Online Play
Voice in virtual worlds: The design, use and influence of voice chat in online play Running Head: Voice in virtual worlds ABSTRACT Communication is a critical aspect of any collaborative system. In online multiplayer games and virtual worlds it is especially complex. Users are present over long periods and require both synchronous and asynchronous communication, but may prefer to be pseudonymous or engage in identity-play while simultaneously managing virtual and physical use contexts. Initially the only medium offered for player-to-player communication in virtual worlds was text, a medium well-suited to identity-play and asynchronous communication; less so to fast-paced coordination and sociability among friends. During the past decade vendors have introduced facilities for gamers to communicate by voice. Yet little research has been conducted to help us understand its influence on the experience of virtual space: where, when and for whom voice is beneficial, and how it might be configured. To address this gap we conducted empirical research across a range of online gaming environments. We analyzed our observations in the light of theory from human-computer interaction (HCI), computer-supported cooperative work (CSCW) and computer- mediated communication (CMC). We conclude that voice radically transforms the experience of online gaming, making virtual spaces more intensely social but turning them into maelstroms of impression management, identity play, and ambiguity over what is being transmitted to whom. CONTENTS 1. INTRODUCTION 1.1. Communication in play 1.2. Prior work 1.3. Our research program 2. CASE STUDIES 2.1. Study 1: Speaking with strangers in Xbox Live 2.2. -
Esports Impact Study
0 ESPORTS INDUSTRY ASSESSMENT TABLE OF CONTENTS CONTENTS TABLE OF CONTENTS .............................................................................. 1 1. INTRODUCTION ................................................................................. 2 2. ESPORTS ECOSYSTEM ........................................................................ 4 2.1 ABOUT THE GEORGIA ECOSYSTEM ............................................................ 4 2.2 KEY PLAYERS ............................................................................................. 8 2.3 EVENTS ..................................................................................................... 8 2.4 VENUES .................................................................................................. 10 2.5 HIGH SCHOOL AND COLLEGE ESPORTS .................................................... 12 3. ESPORTS INDUSTRY ......................................................................... 14 3.1 INDUSTRY DEFINITION AND DESCRIPTION ............................................... 14 3.2 COMPETITIVE LANDSCAPE....................................................................... 16 3.3 OTHER KEY STATISTICS ............................................................................ 17 4. CONCLUSION .................................................................................. 18 5. APPENDIX - ABOUT THE GEORGIA TECH, ENTERPRISE INNOVATION INSTITUTE ........................................................................................... 19 1 ESPORTS INDUSTRY ASSESSMENT -
The Rising Esports Industry and the Need for Regulation
TIME TO BE GROWN-UPS ABOUT VIDEO GAMING: THE RISING ESPORTS INDUSTRY AND THE NEED FOR REGULATION Katherine E. Hollist* Ten years ago, eSports were an eccentric pastime primarily enjoyed in South Korea. However, in the past several years, eSports have seen meteoric growth in dozens of markets, attracting tens of millions of viewers each year in the United States, alone. Meanwhile, the players who make up the various teams that play eSports professionally enjoy few protections. The result is that many of these players— whose average ages are between 18 and 22—are experiencing health complications after practicing as much as 14 hours a day to retain their professional status. This Note will explore why traditional solutions, like existing labor laws, fail to address the problem, why unionizing is impracticable under the current model, and finally, suggest regulatory solutions to address the unique characteristics of the industry. TABLE OF CONTENTS INTRODUCTION ..................................................................................................... 824 I. WHAT ARE ESPORTS? ....................................................................................... 825 II. THE PROBLEMS PLAYERS FACE UNDER THE CURRENT MODEL ....................... 831 III. THE COMPLICATIONS WITH COLLECTIVE BARGAINING ................................. 837 IV. GETTING THE GOVERNMENT INVOLVED: THE WHY AND THE HOW .............. 839 A. Regulate the Visas ...................................................................................... 842 B. Form an -
'POP/STARS' Coming to Beat Saber As Playable Track
Hit K/DA song ‘POP/STARS’ coming to Beat Saber as playable track League of Legends’ chart-topping single will make its VR debut on December 21 Dublin, Ireland – Riot Games is excited to announce it has collaborated with Beat Games to bring the viral hit ‘POP/STARS’ – which debuted at #1 on the World Digital Song Sales chart and hit 100 million views on YouTube in just one month – to the VR rhythm game Beat Saber! Owners of the game will be able to play the track free of charge, no DLC purchase required. "We’ve been blown away by the reaction to ‘POP/STARS’ and the variety of amazing adaptations that content creators from both the League community and beyond have brought to life,” said Tom Ebsworth, EU Marketing Director for Riot Games. “As huge Beat Saber fans ourselves, both of the game and Beat Games who share our passion for gaming and music, it was a no-brainer that this crossover needed to exist. We’re excited to give fans of the song a new way to experience it and to hear what they think!" “The moment we listened to ‘POP/STARS’ we knew for sure this is going to be a hit in Beat Saber,” said Jaroslav Beck, Beat Games CEO. “The track is so pulsing and the video is just epic – it matches our game perfectly. We are so excited that with Beat Saber, players finally get a chance to experience ‘POP/STARS’ on a whole new level and literally feel every beat.” This will be the first time that a song from the League of Legends universe has been officially licenced for use in a rhythm game. -
Gamespeak for N00bs a Linguistic and Pragmatic Analysis of Gamers‟ Language
Gamespeak for n00bs A linguistic and pragmatic analysis of gamers‟ language Diplomarbeit zur Erlangung des akademischen Grades einer Magistra der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Jasmin FUCHS am Institut für Anglistik und Amerikanistik Begutachterin: Ao.Univ.-Prof. Mag. Dr. Phil. Hermine Penz Graz, 2013 Table of Contents 1. Introduction ........................................................................................................................ 5 2. The multiplayer game Counter-Strike: Source .................................................................. 7 2.1. Gameplay ................................................................................................................... 7 3. Language and the Internet .................................................................................................. 8 3.1. Computer-mediated communication .......................................................................... 9 3.2. Types of computer-mediated communication .......................................................... 10 3.3. Synchronous communication ................................................................................... 11 3.4. Asynchronous communication ................................................................................. 12 3.5. Computer-mediated communication tools used in games ........................................ 12 3.5.1. TeamSpeak ......................................................................................................... 13 3.5.2.