Prince of Persia 2: the Shadow and the Flame DOS Manual
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Retrocomputing As Preservation and Remix
Retrocomputing as Preservation and Remix Yuri Takhteyev Quinn DuPont University of Toronto University of Toronto [email protected] [email protected] Abstract This paper looks at the world of retrocomputing, a constellation of largely non-professional practices involving old computing technology. Retrocomputing includes many activities that can be seen as constituting “preservation.” At the same time, it is often transformative, producing assemblages that “remix” fragments from the past with newer elements or joining together historic components that were never combined before. While such “remix” may seem to undermine preservation, it allows for fragments of computing history to be reintegrated into a living, ongoing practice, contributing to preservation in a broader sense. The seemingly unorganized nature of retrocomputing assemblages also provides space for alternative “situated knowledges” and histories of computing, which can sometimes be quite sophisticated. Recognizing such alternative epistemologies paves the way for alternative approaches to preservation. Keywords: retrocomputing, software preservation, remix Recovering #popsource In late March of 2012 Jordan Mechner received a shipment from his father, a box full of old floppies. Among them was a 3.5 inch disk labelled: “Prince of Persia / Source Code (Apple) / ©1989 Jordan Mechner (Original).” Mechner’s announcement of this find on his blog the next day took the world of nerds by storm.1 Prince of Persia, a game that Mechner single-handedly developed in the late 1980s, revolutionized computer games when it came out due to its surprisingly realistic representation of human movement. After being ported to DOS and Apple’s Mac OS in the early 1990s the game sold 2 million copies (Pham, 2001). -
The Prince of Persia Returns
THE PRINCE OF PERSIA RETURNS ACTION-PACKED PRINCE OF PERSIA ® 2 (WORKING TITLE) BOASTS BRAND NEW FREE-FORM FIGHTING SYSTEM Paris, FRANCE - May 6, 2004 - Ubisoft, one of the world's largest video game publishers, today announced that the company‘s award-winning Montreal studio is currently developing Prince of Persia ® 2 (working title) , a follow-up to the most critically acclaimed game of 2003, Prince of Persia The Sands of Time™. The Prince has to embark upon a path of both carnage and mystery to defy his preordained death. His journey leads to the infernal core of a cursed island stronghold harboring mankind‘s greatest fears. Only through grim resolve, bitter defiance and the mastery of deadly new combat arts can the Prince rise to a new level of warriorship œ and emerge from this ultimate trial with his life. In order to accomplish his mission, the Prince benefits from a brand new free- form fighting system that allows gamers to channel his anger as they wage battle without boundaries. Each game fan will find his or her own unique fighting style as they manipulate their environment and control the Ravages of Time. You can dig into an arsenal of weapons that, when used in combination, create advanced arm attacks that verge on fatal artistry! Prince of Persia ® 2 promises that game fans will fight harder, and play longer, emerging from the experience as deadly-capable skilled masters of their own unique combat art form. —Prince of Persia The Sands of Time™ was the most critically acclaimed game of 2003,“ said Yves Guillemot, President and CEO of Ubisoft, —With Prince of Persia ® 2 , we intend to build on that masterpiece that will take Prince of Persia ® one step further to take over the action-combat genre. -
Rich Interaction Model for Game and Virtual Environment Design
RICH INTERACTION MODEL TONY FOR GAME AND VIRTUAL MANNINEN ENVIRONMENT DESIGN Department of Information Processing Science, University of Oulu OULU 2004 TONY MANNINEN RICH INTERACTION MODEL FOR GAME AND VIRTUAL ENVIRONMENT DESIGN Academic Dissertation to be presented with the assent of the Faculty of Science, University of Oulu, for public discussion in Raahensali (Auditorium L10), Linnanmaa, on February 20th, 2004, at 12 noon. OULUN YLIOPISTO, OULU 2004 Copyright © 2004 University of Oulu, 2004 Supervised by Professor Petri Pulli Reviewed by Professor Steve Benford Professor Tapio Takala ISBN 951-42-7253-6 (nid.) ISBN 951-42-7254-4 (PDF) http://herkules.oulu.fi/isbn9514272544/ ISSN 0355-3191 http://herkules.oulu.fi/issn03553191/ OULU UNIVERSITY PRESS OULU 2004 Manninen, Tony, Rich interaction model for game and virtual environment design Department of Information Processing Science, University of Oulu, P.O.Box 3000, FIN-90014 University of Oulu, Finland 2004 Oulu, Finland Abstract The focus of this thesis is on perceivable interaction forms that can be utilised in multi-player computer games and Collaborative Virtual Environments (CVEs). Interaction forms are manifestations of user-user and user-environment interaction. These forms convey the actions of the user to others, and to oneself, during synchronous communication and interaction partially resembling face-to-face encounters in the physical world. The communication, co-ordination and collaboration difficulties in current 3D CVEs have yet to be overcome. The aim of this thesis is to conceptualise and delineate the available mutually perceivable interaction forms. The research analyses entertainment industry solutions and examines their potential as providers of design implications for CVE systems in general. -
Ubisoft Announces Prince of Persia® Rival Swords for the Psp® System
UBISOFT ANNOUNCES PRINCE OF PERSIA® RIVAL SWORDS FOR THE PSP® SYSTEM The Prince of Persia Returns with New Multiplayer Feature Paris, FRANCE – SEPTEMBER 11, 2006 – Today Ubisoft, one of the world’s largest video game publishers, announced Prince of Persia® Rival Swords for the PSP® (PlayStation®Portable) system. Developed by Pipeworks Software, a division of Foundation 9 Entertainment, the game builds on last year’s console success’ Prince of Persia The Two Thrones™, and features original content such as additional levels and new multiplayer modes. The game is scheduled to ship for holiday 2006 in Europe and in 2007 in North America. In Prince of Persia Rival Swords, the Prince makes his way home to Babylon, bearing with him Kaileena, the enigmatic Empress of Time, and unspeakable scars from the Island of Time. But instead of the peace he longs for, he finds his kingdom ravaged by war and Kaileena the target of a brutal plot. When she is kidnapped, the Prince tracks her to the palace – only to see her murdered by a powerful enemy. Her death unleashes the Sands of Time, which strike the Prince and threaten to destroy everything he holds dear. Cast out on the streets, hunted as a fugitive, the Prince soon discovers that the Sands have tainted him, too. They have given rise to a deadly Dark Prince, whose spirit gradually possesses him. Key Features: • New multiplayer experience: Versus play in timed races as either the Prince or Dark Prince. Interrupt and impede your opponent’s progress by activating switches in your own level that will trigger traps and obstacles in their level. -
Ubisoft Assassins Brand Announcement EN
UBISOFT LAUNCHES NEW VIDEO GAME FRANCHISE: ASSASSIN’S CREED™ Ubisoft’s Award-Winning Montreal Studio Creates New Intellectual Property Paris FRANCE – May 2, 2006 – Today Ubisoft, one of the world’s largest video game publishers, announced the development of a new video game franchise: Assassin’s Creed™. Assassin’s Creed is being developed for PLAYSTATION®3 by an all-star team from Ubisoft’s world-class Montreal studio – the studio responsible for acclaimed franchises such as Prince of Persia ® and Tom Clancy’s Splinter Cell ®. The Assassin’s Creed franchise will combine compelling new gameplay, superb graphics, and an immersive and sophisticated storyline to deliver an epic experience that will launch the action genre into the next generation and beyond. “Assassin’s Creed is going to push the video game experience as we know it today into an entirely new direction,” said Yannis Mallat, chief executive officer at Ubisoft’s Montreal studio. “Assassin’s Creed’s compelling theme and storyline experienced through the next- generation console will captivate audiences and affect them on the same level as an epic novel or film.” The first game in the Assassin’s Creed franchise is set in 1191 AD, when the Third Crusade was tearing the Holy Land apart. Shrouded in secrecy and feared for their ruthlessness, the Assassins intend to stop the hostilities by suppressing both sides of the conflict. Players, assuming the role of the main character Altair, will have the power to throw their immediate environment into chaos and to shape events during this pivotal moment in history. Ubisoft has a strong record of creating some of the industry’s top-selling video game franchises and anticipates that Assassin’s Creed will experience the same success. -
Download Resume
Objective A high performing, team-player in art direction, web design, and award winning computer animation, I am seeking a challenging full time opportunity to direct projects where my advanced skills, education, and 15+ years of professional experience can be fully utilized. Nicole Tostevin Summary of Qualifications Contact • Art Direction • Ecommerce Experience 415.203.0721 • Product Design • eLearning Educational Design [email protected] • Integrated Brand Design • Animatics • UI/UX Design • User Research Online Portfolio • Storyboarding • Usability Testing www.redheadart.com • WordPress Design/Development • User Stories / Journeys / Flows • Responsive Web Design • Interviews and Surveys • Information Graphics/Animation • Sketch |Wireframes • Social Media Design • Interactive Prototyping • Multimedia Storytelling • Low/High Fidelity Mockups • Graphic Design | Illustration • Style Guides • Animation | Motion Graphics • Mood Boards Education • CALIFORNIA INSTITUTE OF THE ARTS M.F.A. Experimental Animation, Graduate Film School, Valencia, CA • SAN FRANCISCO ART INSTITUTE 1/3 of M.F.A. work in Graduate Video, Computer Art, Performance Art • POMONA COLLEGE B.F.A. Art Major, Claremont Colleges, Claremont, CA Computer & Technology Skills • Adobe Creative Suite • Principle • Sketch | Zeplin • InVision • Adobe Experience Design • Framer • Adobe Photoshop • Keynote | PowerPoint • Adobe Illustrator • Google Slides • After Effects / Cinema 4D • Adobe Captivate • Premiere Pro • Docebo LMS • Adobe Animate • Google Web Designer • Flash | -
Cultural Heritage and Environmental Communication Through Digital Games
Cultural Heritage and Environmental Communication Through Digital Games Andrea Piano University of Cagliari Facoltà di Studi Umanistici via Is Mirrionis 1, Cagliari, Italy [email protected] Sara Cuccu University of Cagliari Facoltà di Architettura via Corte D’Appello 87, Cagliari, Italy [email protected] Keywords cultural heritage, territory, environment, tourism INTRODUCTION The PAC-PAC research project of the University of Cagliari explores the potential of video games in promoting, valorizing, and communicating cultural heritage. Through the creation of digital games set in less well-known cultural sites, the project aims to investigate how such ludic experiences could influence touristic interest and cultural heritage divulgation. PREMISES It has been noted that storytelling and experiential tourism have a reflection on cultural heritage diffusion. More specifically, video game narratives can forge emotional connections with represented places and spaces, re-defining interest in cultural values, customs, and geographical areas (Calabrese & Ragone, 2016). Ergodic media (Aarseth, 1997) produce a vast number of narratives, especially what has been defined as alterbiographies: narratives that are generated during the player’s interaction with the game system (Calleja, 2009). Hence, it appears plausible to see digital games as resources for cultural heritage communication and valorization; through narrative generation, they establish emotional bonds between the user and the experience, including places, cultural objects, and peculiar landmarks. Exemplary cases, such as Assassin’s Creed II’s (Ubisoft Montreal, 2009) digital representation of the town of Monteriggioni, suggest that ludic experiences can build interest over heritage sites. Empiric data confirm in fact an impact of digital games on mass tourism and, most importantly, on disseminating cultural heritage knowledge (Barresi & Dresseno, 2017). -
Download the Making of Prince of Persia: Journals 1985
THE MAKING OF PRINCE OF PERSIA: JOURNALS 1985 - 1993 DOWNLOAD FREE BOOK Jordan Mechner, Danica Novgorodoff | 330 pages | 22 Dec 2011 | Createspace | 9781468093650 | English | Scotts Valley, CA, United States '+_.F(d)+' If you are hoping for a deep dive into how he developed the game or solved programming problems, you might be better just to email and ask him. It also analyses reviews to verify trustworthiness. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. Praise for The Art of Doing Science and Engineering Hamming was always as much a teacher as a scientist, and having spent The Making of Prince of Persia: Journals 1985 - 1993 lifetime forming and confirming a theory of great people, he felt he could prepare the next generation for even greater greatness. Tyler The Making of Prince of Persia: Journals 1985 - 1993. He argues there is one goal we should promote above all else: maximizing the sustainable rate of economic growth. High Growth Handbook. Mitchell Waldrop is a freelance writer and editor. It is not a retrospective; instead, it is a present-tense diary written by the creator throughout the creation of his most influential work. Elad jam-packs every useful lesson about building and scaling companies into a single, digestible book. Richard W. The Making of Prince of Persia: Journals 1985 - 1993 Growth Handbook is the playbook for turning a startup into a unicorn and navigating the most complex challenges that confront leaders and operators in high-growth startups. Read our privacy policy. There's a saying that people don't leave companies, they leave managers. -
What Is MAGIC?
presents WWW.MAGIC-IP.COM What is MAGIC? Monaco Anime Game International Conferences (MAGIC) is an annual event organised by Monaco-based, animation, feature films and video game production company Shibuya Productions and held at the Grimaldi Forum in Monaco. This one-day event is dedicated to pop-culture, in the company of very special guests. It features people from the worlds of: Video games Manga Animation Comics French comics Cinema TV 2 MAGIC 2018 IN NUMBERS 18 1 3,000 day visitors 35 +100 world-class international guests journalists 8 1 official Gala partners dinner 1 After-party 3 MAGIC 2018 MAIN HIGHLIGHTS CONFERENCES AND ROUND-TABLE DEBATES THE MAGIC INTERNATIONAL COSPLAY MASTERS CONTEST THE MAGIC INTERNATIONAL MANGA CONTEST 4 A UNIQUE VIDEO GAME CONTEST REWARDING THE WINNER WITH A €100,000 CASH PRIZE TOWARDS THEIR PROJECT. AUTOGRAPH SIGNINGS EXHIBITION AREA 5 MAGIC TAKES PLACES IN A PRESTIGIOUS 6 VENUE – THE GRIMALDI FORUM A unique place in the heart of the Principality World-renowned An auditorium for the conferences Allocated rooms for the contests An exhibition Hall 7 MANY GUESTS Ida Lundgren, Cédric Biscay (Shibuya Productions), Greta Lundgren, Dolph Lundgren (Rocky IV) Jordan Mechner (Prince of Persia) Karen Green Colleen Doran (Columbia University) (Wonder Woman) Yu Suzuki (Shenmue) Yoji Shinkawa (Metal Gear Solid) 8 Jacky (Club Dorothée) Bill Sienkiewicz (The Walking Dead) Maxence Devoghelaere (Epic Loon) Mai Lan (Autopilote) Philippe Moreau (Vampyr) From left to right : Yasuharu Sadaie (Shibuya Productions), Shûhei -
Focalization in 3D Video Games Michael Nitsche Georgia Institute of Technology 686 Cherry St Atlanta, GA 30332-0165 ++1 404 8947000 [email protected]
Focalization in 3D Video Games Michael Nitsche Georgia Institute of Technology 686 Cherry St Atlanta, GA 30332-0165 ++1 404 8947000 [email protected] ABSTRACT that ‘if I throw a ball at you, I don’t expect you to drop it This paper investigates Bal’s concept of focalization for and wait until it starts telling stories’ [8] reaches too far. 3D video games. First, the argument traces focalization in In contrast to board games or physical games, video the historical development of camera strategies in 3D games present us not with a ball but a moving video video games. It highlights the detachment of the camera image of one. The ball in Pong (Nolan Bushnell for Atari/ into an own interactive operator. Then, it exemplifies the Atari, USA 1972) as well as in MVP Baseball 2005 visual focalization in video games using two case studies. (Brent Nielsen for EA/ EA, USA 2005) is “shown” from In the following, it looks at possible problems and effects a certain perspective and in a certain context. That is why of focalization. The argument concludes that dynamic focalization is important for games. focalization allows video games to apply narrative A narrative situation is at work in the presentation of the guidance without the linearity of a “telling” voice. ball. The level of its complexity might vary and the narrative situation might be dwarfed next to other more dominant factors during the gameplay (e.g. in Pong), but Keywords it is an essential part of the way especially 3D video Video game, camera, focalization, narrative perspective. -
Broderbund-Ppersia2ad
• I I II You've been cast out of the palace as a beggar. The princess has turned against you. The palace guards want your head on a skewer. And you haven't even had breakfast yet. This is not good. '6t It gets worse. One minute you're fleeing for your very life across roof tops. The next, you find yourself washed up on a desert island ... or amidst ancient ruins, face to face with a disembodied head (and boy is it hungry!). This is really not good. '6t You stumble upon quicksand, serpents, spikes, magic spells, a skeleton with a sick sense of humor, and then ... well ... things get just a mite tricky. '6t Introducing Prince of Persia®2: The Shadow & the FlameT.MSome call it a dozen Arabian Nights movies rolled into one. Actually, it's your worst Arabian nightmare: '6t So get some sleep. Once t~is ~~~ertAderbund " swashbuckler begms, you may never sleep agam. '"\j"" •~ PULSE-QUICKENING ACTION• RICH MOVIE-LIKE STORY AND SOUNDTRACK• INCREDIBLY REALISTIC ANIMATION A CINEMATIC ACT ION GAME BY JORDAN MECHNER • REQUIRES JOMHZ 286 0R FASTER MACillNE. HARD DRIVE AND VGA REQUIRED. tCI Copyright 1993 Jordan Mechner, Br0dert>und Software, Inc. Prince of Persia Is a registered trademarl< and The Shadow & the Flame Is a trademarl< ol Br0dert>und Software. All rights reseived. 2 WAYS TO SAVE $5.00 ON PRINCE OF PERSIA 2! Name .........AllC $5.00 EITHER: Buy Prince of Persia 2 at your local software store and Address get a $5.00 refund direct from Bn~derbund. • Fill out your address information below. -
Finding Aid to the Jordan Mechner Papers, 1913-2016
Brian Sutton-Smith Library and Archives of Play Jordan Mechner Papers Finding Aid to the Jordan Mechner Papers, 1913-2016 Summary Information Title: Jordan Mechner papers Creator: Jordan Mechner (primary) ID: 114.1911 Date: 1913–2016 (inclusive); 1984–1999 (bulk) Extent: 32 linear feet (physical); 922 GB (digital) Language: The materials in this collection are primarily in English, though there are instances of French, Spanish, Italian, German, and Japanese. Abstract: The Jordan Mechner papers are a compilation of game design documentation, notes, reference materials, drawings, film, video, photographs, source code, business records, legal documents, correspondence, and marketing materials created and retained by Jordan Mechner during his career in the video game industry. The bulk of the materials are dated between 1984 and 1999. Repository: Brian Sutton-Smith Library and Archives of Play at The Strong One Manhattan Square Rochester, New York 14607 585.263.2700 [email protected] Administrative Information Conditions Governing Access: Some materials of financial or legal nature have been restricted by the donor. These documents will not be open for research use until the year 2044. They are denoted as such in this finding aid and are separated from unrestricted files. Conditions Governing Use: The remainder of this collection is open for research use by staff of The Strong and by users of its library and archives. Though the donor has not transferred intellectual property rights (including, but not limited to any copyright, trademark, and associated rights therein) to The Strong, he has given permission for The Strong to make copies in all media for museum, educational, and research purposes.