Spielekatalog 2020/2021
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Nintendo Switch?
2019/2020 tél INGYENES Mi az a Nintendo Switch? A Nintendo Switch egy játékkonzol, amivel bárhol, bármikor és bárkivel játszhatsz. A Nintendo Switch termékcsaládban két konzol elérhető Nintendo Switch - minden funkcióval ellátva otthoni és menet közbeni játékhoz Három játékmód TV mód Asztali mód Hordozható mód 6-9. oldal Nintendo Switch Lite – kézi használatra kifejlesztve 10-11. oldal Bárhol, bármikor és bárkivel. Három játékmód 1 TV mód A Nintendo Switch konzol három különböző játékmódot kínál. Dokkold a Nintendo Switch konzolt, hogy a tévéden élvezhesd a HD játékélményt. Könnyen csatlakoztatható A konzol azonnal bekapcsol, a televízióhoz mikor kiveszed a dok- Hálózati adapter kolóból. A konzolt magaddal is Nintendo Switch viheted, és hordozható módban folytathatod a játékot. HDMI kábel Egyszerűen csatlakoztasd a hálózati adaptert és a HDMI kábelt a megfelelő portokhoz (a csomag mindkettőt tartalmazza). Bárhol, bármikor és bárkivel. Három játékmód 2 Hajtsd ki a támasztót, és oszd meg a képernyőt, és ezzel együtt a mókát is, Asztali mód többszemélyes játékokban. Ha a két Joy-Con kontrollert a Joy-Con markolathoz csatlakoztatod, úgy működ- Joy-Con nek, mint egy tradicionális kontroller, de a markolat nél- A Nintendo Switch konzol mind- kül, két különálló, teljesen két oldalán van egy-egy kontroller, funkcionális kontrollerként is használhatod őket. amik együtt funkcionálnak. A Nintendo Switch konzol három különböző játékmódot kínál. Három játékmód 3 Vedd a kezedbe, és játssz úgy, hogy a két Joy-Con kontroller Hordozható mód a konzolhoz van csatlakoztatva. Nintendo Switch Lite – A Nintendo Switch Lite egy kompakt, pehelykönnyű konzol, beépített vezérlőkkel. kézi használatra kifejlesztve A Nintendo Switch Lite minden Nintendo Switch szoftvert támogat, ami játszható hordozható módban. -
DESIGN-DRIVEN APPROACHES TOWARD MORE EXPRESSIVE STORYGAMES a Dissertation Submitted in Partial Satisfaction of the Requirements for the Degree Of
UNIVERSITY OF CALIFORNIA SANTA CRUZ CHANGEFUL TALES: DESIGN-DRIVEN APPROACHES TOWARD MORE EXPRESSIVE STORYGAMES A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in COMPUTER SCIENCE by Aaron A. Reed June 2017 The Dissertation of Aaron A. Reed is approved: Noah Wardrip-Fruin, Chair Michael Mateas Michael Chemers Dean Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright c by Aaron A. Reed 2017 Table of Contents List of Figures viii List of Tables xii Abstract xiii Acknowledgments xv Introduction 1 1 Framework 15 1.1 Vocabulary . 15 1.1.1 Foundational terms . 15 1.1.2 Storygames . 18 1.1.2.1 Adventure as prototypical storygame . 19 1.1.2.2 What Isn't a Storygame? . 21 1.1.3 Expressive Input . 24 1.1.4 Why Fiction? . 27 1.2 A Framework for Storygame Discussion . 30 1.2.1 The Slipperiness of Genre . 30 1.2.2 Inputs, Events, and Actions . 31 1.2.3 Mechanics and Dynamics . 32 1.2.4 Operational Logics . 33 1.2.5 Narrative Mechanics . 34 1.2.6 Narrative Logics . 36 1.2.7 The Choice Graph: A Standard Narrative Logic . 38 2 The Adventure Game: An Existing Storygame Mode 44 2.1 Definition . 46 2.2 Eureka Stories . 56 2.3 The Adventure Triangle and its Flaws . 60 2.3.1 Instability . 65 iii 2.4 Blue Lacuna ................................. 66 2.5 Three Design Solutions . 69 2.5.1 The Witness ............................. 70 2.5.2 Firewatch ............................... 78 2.5.3 Her Story ............................... 86 2.6 A Technological Fix? . -
Identity and Identification in the Historical Video Games Set in the Middle Ages
FACTIONS AND NATIONS: IDENTITY AND IDENTIFICATION IN THE HISTORICAL VIDEO GAMES SET IN THE MIDDLE AGES JUAN FRANCISCO JIMÉNEZ ALCÁZAR UNIVERSIDAD DE MURCIA SPAIN Date of receipt: 1st of February, 2021 Date of acceptance: 9th of March, 2021 ABSTRACT Historical video games offer players the opportunity to choose different options for managing factions and nations of the past, with which they can come to identify. The interactive and immersive nature of the medium makes this possible, and the thrill of winning or losing is enhanced by this ability to assimilate. The study focuses on those set in the medieval period, where factions respond to the various historical stages that define it. In this identity process through the video game, the player assumes a virtual role in which individual or group feelings that historically define their identity are reflected. These titles, as products of cultural expression, are also manifestations of those who have designed them, and inaccuracies due to cultural clichés or factors to be more entertaining —playability— are often resolved by gamers through the mod phenomenon. KEY WORDS Historical video game, Middle Ages, Identity, Nation, Avatar. CAPITALIA VERBA Historicorum Videoludi, Medium Aevum, Identitas, Natio, Locumtenens. IMAGO TEMPORIS. MEDIUM AEVUM, XV (2021): 451-489 / ISSN 1888-3931 / DOI 10.21001/itma.2021.15.15 451 452 JUAN FRANCISCO JIMÉNEZ ALCÁZAR 1. Options1 We must not insist on the fact that video games are a reality. It is not necessary, regardless of the position one may hold in principle about this phenomenon. Video games are a medium that came to stay and their globalization is already a fact. -
Embodying the Game
Transcoding Action: Embodying the game Pedro Cardoso & Miguel Carvalhais ID+, Faculty of Fine Arts, University of Porto, Portugal. [email protected] / [email protected] Abstract this performance that is monitored and interpreted by the While playing a video game, the player-machine interaction is not game system, registering very specific data that is solely characterised by constraints determined by which sensors subordinated to the diverse kinds of input devices that are and actuators are embedded in both parties, but also by how their in current use. actions are transcoded. This paper is focused on that transcoding, By operating those input devices the player interacts with on understanding the nuances found in the articulation between the game world. In some games, for the player to be able to the player's and the system's actions, that enable a communication feedback loop to be established through acts of gameplay. This act in the game world, she needs to control an actor, an communication process is established in two directions: 1) player agent that serves as her proxy. This proxy is her actions directed at the system and, 2) system actions aimed at the representation in the game world. It is not necessarily her player. For each of these we propose four modes of transcoding representation in the story of the game. The player’s proxy that portray how the player becomes increasingly embodied in the is the game element she directly controls, and with which system, up to the moment when the player's representation in the she puts her actions into effect. -
Threat Simulation in Virtual Limbo Preprint
This is a preprint of the article “Threat simulation in virtual limbo: An evolutionary approach to horror video games” by Jens Kjeldgaard-Christiansen and Mathias Clasen, Aarhus University. The final, published version has been published in the Journal of Gaming and Virtual Worlds and is available at https://doi.org/10.1386/jgvw.11.2.119_1. Page 2 of 33 Threat Simulation in Virtual Limbo: An Evolutionary Approach to Horror Video Games Keywords: horror, Limbo, game studies, evolution, simulation, evolutionary psychology Abstract Why would anyone want to play a game designed to scare them? We argue that an alliance between evolutionary theory and game studies can shed light on the forms and psychological functions of horror video games. Horror games invite players to simulate prototypical fear scenarios of uncertainty and danger. These scenarios challenge players to adaptively assess and negotiate their dangers. While horror games thereby instil negative emotion, they also entice players with stimulating challenges of fearful coping. Players who brave these challenges expand their emotional and behavioural repertoire and experience a sense of mastery, explaining the genre’s paradoxical appeal. We end by illustrating our evolutionary approach through an in-depth analysis of Playdead’s puzzle-horror game Limbo. Page 3 of 33 Introduction Imagine this: You are a little boy, lost somewhere deep in the woods at night. You do not know how you got there or how to get out. All you know is that your sister is out there, somewhere, possibly in great danger. You have to find her. The ambiance is alive with animal calls, the flutter of branches and bushes and a welter of noises that you cannot quite make out. -
The Unity Glue Principles and Strategies for a Maintainable Unity Project Structure
Zurich University of the Arts Game Design Orientation C The Unity Glue Principles and strategies for a maintainable Unity project structure. Author: Mentors: Goran Saric René Bauer May 22, 2017 Mela Kocher 1 Abstract Today game developers can find hundreds of tutorials on the internet covering specific topics for the popular game engine “Unity”. However, there is a lack of corresponding literature to explain how to integrate all of these different topics together into one big, scalable, and maintainable project. Moreover, Unity’s application program interface was not designed to follow a specific workflow: game developers have the freedom to work in various ways. I personally think this open setting is especially good for fast prototyping production processes, but when it comes to larger projects, where multiple people have to work together productively, the overly flexible engine can easily lead developers to organization problems and bugs. To address this problem, my master’s thesis focuses on project structures within Unity 5.6. In order to first get an overview of existing practices, I interviewed individual developers and game studios. By analysing different methods and approaches for organizing assets and source code, I developed a reliable workflow for my current Unity game “FAR: Lone Sails” [l1]. The results of my research are a “cookbook” that helps to create a maintainable project structure for teams working on a collaborative basis in Unity. 2 Contents 1 Introduction 5 1.1 Thesis structure 5 1.2 Context 6 1.2.1 -
Xenoblade Chronicles X Field Level Insufficient? What Do You Mean Insufficient? Your Field Level Is Insufficient Game! *Mumbles
Xenoblade Chronicles X Play Journal Entries Matthew mstrickland1 12/17/2015 6:46 PM ·Spoilers Field level insufficient? What do you mean insufficient? Your field level is insufficient game! *Mumbles loudly about discouraging exploration.* E Yeah! e 1 r 16 D Advertisement Share this Post 1 Tweet 2 Share Embed Comment Matthew 12/17/2015 7:02 PM I went across a frozen lake full of level 50 enemies. I was having to be sneaky while my feet were cold! When I go out of my way to get a probe like that, I expect a reward! Not to be told I'm not good enough. *Grumbles even more.* E Yeah! e 1 D T3R3Z1 12/17/2015 8:45 PM The Mechanical Skill levels go up to 5. Eleonora won't even let you upgrade it that far. I kid you not. E Yeah! e 1 D Matthew 12/17/2015 8:47 PM Mine's three. E Yeah! e 0 D T3R3Z1 12/17/2015 8:52 PM Mine is 4, and that's as far as it goes for now, apparently. I have no idea how to get to 5. X'D E Yeah! e 0 D Matthew 12/17/2015 8:53 PM My friend Nintendoer has run into that issue, I think he found a probe is Cauldros that needed a Mechanical level 5 to use. This one right here is the highest I've found, though. E Yeah! e 0 D T3R3Z1 12/17/2015 8:57 PM Oh, I've seen several level 5s. -
Family Friendly Magazine 129 in PDF Format
Family Friendly Gaming The VOICE of TM the FAMILY in GAMING Kingdom Hearts III, Ooblets, Monster Hunter World and more in this fabu- lous issue!! ISSUE #129 NI NO KUNI II REVENANT KING- DOM wants you to April 2018 role play. CONTENTS ISSUE #129 April 2018 CONTENTS Links: Home Page Section Page(s) Editor’s Desk 4 Female Side 5 Comics 7 Sound Off 8 - 10 Look Back 12 Quiz 13 Devotional 14 Helpful Thoughts 15 In The News 16 - 23 We Would Play That! 24 Reviews 25 - 37 Sports 38 - 41 Developing Games 42 - 67 Now Playing 68 - 83 Last Minute Tidbits 84 - 106 “Family Friendly Gaming” is trademarked. Contents of Family Friendly Gaming is the copyright of Paul Bury, and Yolanda Bury with the exception of trademarks and related indicia (example Digital Praise); which are prop- erty of their individual owners. Use of anything in Family Friendly Gaming that Paul and Yolanda Bury claims copyright to is a violation of federal copyright law. Contact the editor at the business address of: Family Friendly Gaming 7910 Autumn Creek Drive Cordova, TN 38018 [email protected] Trademark Notice Nintendo, Sony, Microsoft all have trademarks on their respective machines, and games. The current seal of approval, and boy/girl pics were drawn by Elijah Hughes thanks to a wonderful donation from Tim Emmerich. Peter and Noah are inspiration to their parents. Family Friendly Gaming Page 2 Page 3 Family Friendly Gaming Editor’s Desk FEMALE SIDE this instance I feel wonderful. God has given God is my prize and my goal. -
Playing for Keeps Enhancing Sustainability in Australia’S Interactive Entertainment Industry © Screen Australia 2011 ISBN: 978-1-920998-17-2
Playing for Keeps Enhancing sustainability in Australia’s interactive entertainment industry © Screen Australia 2011 ISBN: 978-1-920998-17-2 The text in this report is released subject to a Creative Commons BY licence (Licence). This means, in summary, that you may reproduce, transmit and distribute the text, provided that you do not do so for commercial purposes, and provided that you attribute the text as extracted from Screen Australia’s report Playing for Keeps: Enhancing Sustainability in Australia's Interactive Entertainment Industry, November 2011. You must not alter, transform or build upon the text in this report. Your rights under the Licence are in addition to any fair dealing rights which you have under the Copyright Act 1968 (Cwlth). For further terms of the Licence, please see http://creativecommons.org/licenses/by-nc-nd/3.0/. You are not licensed to reproduce, transmit or distribute any still photographs contained in this report. This report draws from a number of resources. While Screen Australia has undertaken all reasonable measures to ensure its accuracy we cannot accept responsibility for inaccuracies and omissions. www.screenaustralia.gov.au/research Cover picture: Gesundheit! Developed by Revolutionary Concepts and published by Konami Report design: Alison White Designs Pty Limited Contents EXECUTIVE SUMMARY 2 BUILDING A KNOWLEDGE BASE 4 ECOLOGY OF THE SECTOR 6 High-end console games 7 Games for digital distribution 8 Publishing and distribution 9 Creative digital services 10 Middleware and related services 11 FACTORS IMPACTING SUSTAINABILITY 13 Shifting demographics 14 Growth factors 18 Industry pressure points 20 OPTIONS TO SUPPORT SUSTAINABILITY 23 Current government support 23 Future support 24 Alternator character Courtesy: Alternator Pty Ltd 1 Executive summary The challenges facing the interactive INTERACTIVE INDUSTRY entertainment industry are intrinsically ENTERTAINMENT IS A PRESSURE POINTS linked to those of the broader screen MAINSTREAM ACTIVITY Despite growing participation, the sector. -
Catalogo Nintendo Switch
Inverno 2020/2021 OMAGGIO Che cos'è Nintendo Switch? Nintendo Switch è una console per giocare dove, quando e con chi vuoi La famiglia Nintendo Switch comprende due console Nintendo Switch – pensata per giocare a casa oppure dove vuoi Tre modi di giocare Modalità TV Modalità da tavolo Modalità portatile p.06 ~ p.09 Nintendo Switch Lite pensata per giocare in mobilità p.10 ~ p.11 Dove, quando e con chi vuoi. Tre modalità 1 Modalità TV Nintendo Switch consente tre modalità di gioco. Inserisci Nintendo Switch nella base e gioca in HD sulla tua TV. Collegarlo alla TV è facile La console si accende appena la rimuovi Adattatore AC dalla base. Porta la console con te e Nintendo Switch continua a giocare in modalità portatile. Cavo HDMI Basta collegare l'adattatore AC e il cavo HDMI inclusi nella confezione a ogni uscita. Dove, quando e con chi vuoi. Tre modalità 2 Usa lo stand integrato e condividi il divertimento Modalità da tavolo con un gioco multiplayer. Inserendo i due Joy-Con nell'impugnatura Joy-Con Joy-Con ottieni un controller tradizionale. Nintendo Switch dispone di Senza l'impugnatura, ogni Joy-Con è un controller due controller, uno per lato, che indipendente. funzionano anche insieme. Nintendo Switch consente tre modalità di gioco. Tre modalità 3 Collega i controller Joy-Con alla console e Modalità portatile gioca dove vuoi. Nintendo Switch Lite – Nintendo Switch Lite è una console compatta, leggera e con comandi integrati. pensata per giocare in mobilità Nintendo Switch Lite è compatibile con tutti i software per Nintendo Switch che possono essere giocati in modalità portatile. -
Animal Crossing
Alice in Wonderland Harry Potter & the Deathly Hallows Adventures of Tintin Part 2 Destroy All Humans: Big Willy Alien Syndrome Harry Potter & the Order of the Unleashed Alvin & the Chipmunks Phoenix Dirt 2 Amazing Spider-Man Harvest Moon: Tree of Tranquility Disney Epic Mickey AMF Bowling Pinbusters Hasbro Family Game Night Disney’s Planes And Then There Were None Hasbro Family Game Night 2 Dodgeball: Pirates vs. Ninjas Angry Birds Star Wars Hasbro Family Game Night 3 Dog Island Animal Crossing: City Folk Heatseeker Donkey Kong Country Returns Ant Bully High School Musical Donkey Kong: Jungle beat Avatar :The Last Airbender Incredible Hulk Dragon Ball Z Budokai Tenkaichi 2 Avatar :The Last Airbender: The Indiana Jones and the Staff of Kings Dragon Quest Swords burning earth Iron Man Dreamworks Super Star Kartz Backyard Baseball 2009 Jenga Driver : San Francisco Backyard Football Jeopardy Elebits Bakugan Battle Brawlers: Defenders of Just Dance Emergency Mayhem the Core Just Dance Summer Party Endless Ocean Barnyard Just Dance 2 Endless Ocean Blue World Battalion Wars 2 Just Dance 3 Epic Mickey 2:Power of Two Battleship Just Dance 4 Excitebots: Trick Racing Beatles Rockband Just Dance 2014 Family Feud 2010 Edition Ben 10 Omniverse Just Dance 2015 Family Game Night 4 Big Brain Academy Just Dance 2017 Fantastic Four: Rise of the Silver Surfer Bigs King of Fighters collection: Orochi FIFA Soccer 09 All-Play Bionicle Heroes Saga FIFA Soccer 12 Black Eyed Peas Experience Kirby’s Epic Yarn FIFA Soccer 13 Blazing Angels Kirby’s Return to Dream -
Nintendo Co., Ltd
Nintendo Co., Ltd. Earnings Release for Fiscal Year Ended March 2018 Supplementary Information [Note] Forecasts announced by Nintendo Co., Ltd. herein are prepared based on management's assumptions with information available at this time and therefore involve known and unknown risks and uncertainties. Please note such risks and uncertainties may cause the actual results to be materially different from the forecasts (earnings forecast, dividend forecast and other forecasts). Nintendo Co., Ltd. Consolidated Statements of Income Transition million yen FY3/2014 FY3/2015 FY3/2016 FY3/2017 FY3/2018 Net sales 571,726 549,780 504,459 489,095 1,055,682 Cost of sales 408,506 335,196 283,494 290,197 652,141 Gross profit 163,219 214,584 220,965 198,898 403,540 (Gross profit ratio) (28.5%) (39.0%) (43.8%) (40.7%) (38.2%) Selling, general and administrative expenses 209,645 189,814 188,083 169,535 225,983 Operating profit -46,425 24,770 32,881 29,362 177,557 (Operating profit ratio) (-8.1%) (4.5%) (6.5%) (6.0%) (16.8%) Non-operating income 53,136 46,043 14,550 28,593 23,509 (of which foreign exchange gains) (39,287) (34,051) ( - ) ( - ) ( - ) Non-operating expenses 624 283 18,641 7,591 1,710 (of which foreign exchange losses) ( - ) ( - ) (18,356) (5,256) (766) Ordinary profit 6,086 70,530 28,790 50,364 199,356 (Ordinary profit ratio) (1.1%) (12.8%) (5.7%) (10.3%) (18.9%) Extraordinary income 4,922 3,737 407 64,775 3,240 Extraordinary losses 79 2,176 1,482 409 1,507 Profit before income taxes 10,929 72,091 27,715 114,730 201,090 Income taxes 34,132 30,228 11,197 12,147 60,144 Profit -23,202 41,862 16,518 102,582 140,945 Profit attributable to non-controlling interests 20 18 13 8 1,354 Profit attributable to owners of parent -23,222 41,843 16,505 102,574 139,590 (Profit attributable to (-4.1%) (7.6%) (3.3%) (21.0%) (13.2%) owners of parent ratio) - 1 - Nintendo Co., Ltd.