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Street Fighter
STREET FIGHTER by Luis Filipe Based on Capcom's videogame "Street Fighter II" Copyright © 2019 This is a fan script [email protected] OVER BLACK. All we hear is the excited CHEER of a crowd. Hundreds of voices roaring in unison, teasing something to come. Under those voices, there is also the rhythmic sound of TRAMPLES on the floor that sound like drums. CUT TO: INT. CORRIDOR - NIGHT A dirty, dimly lit corridor. A few meters ahead, a beam of light leaks through a door that gives access to another scenario. Standing in the corridor hidden in total shadow, a barefoot MAN attired in a white karate gi uniform tightens a black martial arts BELT. We do not see his face. The cheer continues, seeming to be coming from beyond that door in the hallway. After putting on the belt, the man takes a pair of RED GLOVES from his duffel bag, which is on a bench beside him. He wears them calmly. Finally, he also grabs a RED HEADBAND from the bag and ties it around his head. All this is almost ritualistic for him. When completed, the mysterious man walks toward the corridor door where comes the intense light. INT. STREET FIGHTER ARENA - NIGHT A large warehouse-like room. Wooden boxes surround the boundaries of the fighting area. And behind these boxes are the spectators, some sit in stands and others stand on feet. Our mysterious man comes in, revealing his face for the first time: RYU. A Japanese experienced martial artist. The audience goes wild to see him there. -
Adjustment Description Alterations to V-Shift's
Adjustment Description Abilities granting invincibility or armor from the 1st frame, as well as low- risk or high-return moves invincible to throws have all been adjusted to have less effective throw invincibility. Alterations to V-Shift's Considering V-Shift's offensive and defensive capabilities, normal throws offensive/defensive should have enough impact to reliably handle V-Shifts, but characters with capabilities the invincible abilities mentioned above had an easy way to deal with throws and strikes. This gave their defense such a strong advantage that offensive opponents struggled against it. These adjustments seek to correct this issue. These general adjustments are a continuation of previous adjustments. Improvements to While V-Skills and V-Triggers have already been adjusted overall, players infrequently used V-Triggers tend to use one V-Skill and V-Trigger over the other, so we have further and V-Skills strengthened the techniques themselves and the moves that rely on their input. Some characters have been rebalanced in light of previous adjustments. We have buffed characters who were lacking in strength or who were Rebalancing of some largely left alone in previous adjustments. characters Characters with downward adjustments have not had their moves altered significantly; rather, the risks and returns of moves have been properly balanced. Balance Change Overview We've adjusted Nash's close-quarters attack, standing light kick, to yield more of an advantage on hit, and we have further improved Nash's impressive mid to long-distance combat. Standing light kick was previously adjusted to have faster start-up and to be easier to land, but we noticed that it didn't grant the same rewards as it did for other characters. -
Cgcopyright 2013 Alexander Jaffe
c Copyright 2013 Alexander Jaffe Understanding Game Balance with Quantitative Methods Alexander Jaffe A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: James R. Lee, Chair Zoran Popovi´c,Chair Anna Karlin Program Authorized to Offer Degree: UW Computer Science & Engineering University of Washington Abstract Understanding Game Balance with Quantitative Methods Alexander Jaffe Co-Chairs of the Supervisory Committee: Professor James R. Lee CSE Professor Zoran Popovi´c CSE Game balancing is the fine-tuning phase in which a functioning game is adjusted to be deep, fair, and interesting. Balancing is difficult and time-consuming, as designers must repeatedly tweak parameters and run lengthy playtests to evaluate the effects of these changes. Only recently has computer science played a role in balancing, through quantitative balance analysis. Such methods take two forms: analytics for repositories of real gameplay, and the study of simulated players. In this work I rectify a deficiency of prior work: largely ignoring the players themselves. I argue that variety among players is the main source of depth in many games, and that analysis should be contextualized by the behavioral properties of players. Concretely, I present a formalization of diverse forms of game balance. This formulation, called `restricted play', reveals the connection between balancing concerns, by effectively reducing them to the fairness of games with restricted players. Using restricted play as a foundation, I contribute four novel methods of quantitative balance analysis. I first show how game balance be estimated without players, using sim- ulated agents under algorithmic restrictions. -
Playstation 4
PLAYSTATION 4 7 DAYS TO DIE DRAGONBALL XENOVERSE 2 LEGO DC SUPERVILLAINS A WAY OUT DRAGONS DAWN OF NEW RID LEGO MARVEL AVENGERS AC EZIO COLLECTION DYNASTY WARRIORS 8 XTRE LEGO MARVEL SUPERHERO 2 AC ODYSSEY DYNASTY WARRIORS 9 LEGO MOVIE 2 ACCEL WORLD VS SWORD AR EARTH DEFENSE FORCE 4.1 LEGO THE INCREDIBLES ACE COMBAT 7 EARTHFALL DE LOST SPHEAR AIR CONFLICTS SECRET ELEX MEGADIMENSION NEPTU VII AKIBAS TRIP UNDEAD & UN ELITE DANGEROUS METRO EXODUS ALL STAR FRUIT RACING F1 18 MONSTER ENERGY SUPERC 2 AMAZING SPIDERMAN 2 FAIRY FENCER F ADF MONSTER ENERGY SUPERCRO ANTHEM FAR CRY NEW DAWN MONSTER HUNTER WORLD AO INTERNATIONAL TENNIS FATE EXTELLA LINK MORTAL KOMBAT XL ARK SURVIVAL EVOLVED FIFA 19 MOTO GP 18 ASSASSINS CREED 3 REMAS FINAL FANTASY X/X MX VS ATV ALL OUT ASSETTO CORSA UE FIRE PRO WRESTLING WORL MXGP PRO ASTROBOT RESCUE MISSION VR FISHING SIM WORLD MY HERO ONES JUSTICE ATELIER SOPHIE ALCHEMIS FIST OF THE NORTH STAR NARUTO SUNS TRILOGY ATTACK ON TITAN 2 FLAT OUT 4 TI NARUTO TO BORUTO SHIN S ATTACK ON TITAN GALGUN 2 NBA LIVE 18 BATTLEFIELD 5 GENERATION ZERO NELKE & THE LEG ALCHEM BLAZBLUE CROSS TAG BATT GENERATION ZERO XB1 NHL 19 BLOODBORNE GOTY GENESIS ALPHA ONE NIER AUTOMATA CALL OF CTHULHU GHOSTBUSTERS NIOH CARS 3 DRIVEN GOAT SIMULATOR NO HEROES ALLOWED VR COD BLACK OPS 4 GOD EATER 3 ODIN SPHERE LEIFTH COD MW REMASTERED GOD OF WAR OMEGA LABYRINTH Z CONSTRUCTOR HD GOD WARS FUTURE PAST ONE PIECE BURNING CRASH BANDICO NSANE TRI GRAND AGES MEDIEVAL ONE PIECE WORLD SEEKER CYBERDIMENSION NEPTUN 4 GRIP OUTLAST TRINITY DAKAR 18 GUILTY GEAR -
Fighting Games, Performativity, and Social Game Play a Dissertation
The Art of War: Fighting Games, Performativity, and Social Game Play A dissertation presented to the faculty of the Scripps College of Communication of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Todd L. Harper November 2010 © 2010 Todd L. Harper. All Rights Reserved. This dissertation titled The Art of War: Fighting Games, Performativity, and Social Game Play by TODD L. HARPER has been approved for the School of Media Arts and Studies and the Scripps College of Communication by Mia L. Consalvo Associate Professor of Media Arts and Studies Gregory J. Shepherd Dean, Scripps College of Communication ii ABSTRACT HARPER, TODD L., Ph.D., November 2010, Mass Communications The Art of War: Fighting Games, Performativity, and Social Game Play (244 pp.) Director of Dissertation: Mia L. Consalvo This dissertation draws on feminist theory – specifically, performance and performativity – to explore how digital game players construct the game experience and social play. Scholarship in game studies has established the formal aspects of a game as being a combination of its rules and the fiction or narrative that contextualizes those rules. The question remains, how do the ways people play games influence what makes up a game, and how those players understand themselves as players and as social actors through the gaming experience? Taking a qualitative approach, this study explored players of fighting games: competitive games of one-on-one combat. Specifically, it combined observations at the Evolution fighting game tournament in July, 2009 and in-depth interviews with fighting game enthusiasts. In addition, three groups of college students with varying histories and experiences with games were observed playing both competitive and cooperative games together. -
Revista Gameblast - 15.Pdf
ÍNDICE De volta aos ringues O rei dos jogos de luta está prestes a tomar a atenção dos jogadores mais uma vez! Isso porque estamos a poucos dias do lançamento do ano da Capcom: Street Fighter V, a luta da noite aqui na Revista GameBlast. Para o aquecimento, vamos revisitar jogos e lutadores da franquia, além de muita coisa sobre o gênero dos jogos de luta. Nos intervalos, confira tudo sobre Mighty No.9, Far Cry Primal e muito mais! Boa leitura! – Rafael Neves BLAST FROM THE PAST Street Fighter III 3rd Strike (PS2) 04 DIRETOR GERAL / PROJETO GRÁFICO Sérgio Estrella PRÉVIA Street Fighter DIRETOR EDITORIAL V (Multi) 10 Rafael Neves DIRETOR DE PAUTAS Alberto Canen PRÉVIA João Pedro Meireles Lucas Pinheiro Silva Mighty No. 9 Pedro Vicente (Multi) 19 DIRETOR DE REVISÃO Alberto Canen PRÉVIA DIRETOR DE Far Cry Primal DIAGRAMAÇÃO (Multi) 25 Breno Madureira REDAÇÃO Dácio Augusto TOP 10 Ítalo Chianca July Dourado Melhores participações Renan Pinheiro em jogos de luta 31 REVISÃO Bruno Alves PERFIL Henrique Minatogawa Luigi Santana M. Bison (Street Fighter) 36 Vitor Tibério DIAGRAMAÇÃO Breno Madureira Bruno Italiani ANÁLISE David Vieira Guilherme Lima Resident Evil Zero Leandro Fernandes ONLINE HD Remaster (Multi) Letícia Fernandes ILUSTRAÇÕES ANÁLISE S. Carlos Sr. Raposo Pony Island (PC) ONLINE CAPA Felipe Araujo gameblast.com.br 2 ÍNDICE HQ Blast: Piada eterna... E receba todas as edições FAÇA SUA ASSINATURA em seu computador, smartphone ou tablet com antecedência, além de brindes, promoções GRÁTIS DA e edições bônus! REVISTA GAMEBLAST! ASSINAR! gameblast.com.br 3 BLAST FROM THE PAST por Renan Pinheiro Revisão: Henrique Minatogawa Diagramação: Bruno Italiani Street Fighter II chegou ao seu auge e quebrou a desconfiança dos fãs mais tradicionais com a inovação da barra de Super lançando a versão definitiva:Super Street Fighter II Turbo. -
Black Characters in the Street Fighter Series |Thezonegamer
10/10/2016 Black characters in the Street Fighter series |TheZonegamer LOOKING FOR SOMETHING? HOME ABOUT THEZONEGAMER CONTACT US 1.4k TUESDAY BLACK CHARACTERS IN THE STREET FIGHTER SERIES 16 FEBRUARY 2016 RECENT POSTS On Nintendo and Limited Character Customization Nintendo has often been accused of been stuck in the past and this isn't so far from truth when you... Aug22 2016 | More > Why Sazh deserves a spot in Dissidia Final Fantasy It's been a rocky ride for Sazh Katzroy ever since his debut appearance in Final Fantasy XIII. A... Aug12 2016 | More > Capcom's first Street Fighter game, which was created by Takashi Nishiyama and Hiroshi Tekken 7: Fated Matsumoto made it's way into arcades from around late August of 1987. It would be the Retribution Adds New Character Master Raven first game in which Capcom's golden boy Ryu would make his debut in, but he wouldn't be Fans of the Tekken series the only Street fighter. noticed the absent of black characters in Tekken 7 since the game's... Jul18 2016 | More > "The series's first black character was an African American heavyweight 10 Things You Can Do In boxer." Final Fantasy XV Final Fantasy 15 is at long last free from Square Enix's The story was centred around a martial arts tournament featuring fighters from all over the vault and is releasing this world (five countries to be exact) and had 10 contenders in total, all of whom were non year on... Jun21 2016 | More > playable. Each character had unique and authentic fighting styles but in typical fashion, Mirror's Edge Catalyst: the game's first black character was an African American heavyweight boxer. -
Street Fighter X Tekken Pc Download Street Fighter X Tekken
street fighter x tekken pc download Street Fighter X Tekken. The long awaited dream match-up between the two leaders in the fighting genre becomes a reality. Street Fighter X Tekken delivers the ultimate tag team match up featuring iconic characters from each franchise, and one of the most robust character line ups in fighting game history. With the addition of new gameplay mechanics, the acclaimed fighting engine from Street Fighter IV has been refined to suit the needs of both Street Fighter and Tekken players alike. DREAM MATCH UP � Dozens of playable characters including Hugo, Ibuki, Poison, Dhalsim, Ryu, Ken, Guile, Abel, and Chun-Li from Street Fighter as well as Raven, Kuma, Yoshimitsu, Steve, Kazuya, Nina, King, Marduk, and Bob from Tekken. REAL-TIME TAG BATTLE � Fight as a team of two and switch between characters strategically. FAMILIAR CONTROLS � In Street Fighter X Tekken, controls will feel familiar for fans of both series. JUGGLE SYSTEM � Toss your foes into Tekken-style juggles with Street Fighter X Tekken�s universal air launching system. CROSS ASSAULT � By using the Cross Gauge, a player can activate Cross Assault and attack with both of their characters at the same time. SUPER ART � Using the Cross Gauge you can immediately unleash a Super Art. Ryu�s famed Shinku Hadoken, Kazuya�s Devil Beam as well as the Tekken characters all have original Super Art techniques. ROBUST ONLINE MODES � In addition to the online features from Super Street Fighter IV, Street Fighter X Tekken features totally upgraded online functionality and some new surprises. Game mode: single / multiplayer Multiplayer mode: Internet Player counter: 1-2. -
Metagame Balance
Metagame Balance Alex Jaffe @blinkity Data Scientist, Designer, Programmer Spry Fox 1 Today I’ll be doing a deep dive into one aspect of game balance. It’s the 25-minute lightning talk version of the 800-minute ring cycle talk. I’ll be developing one big idea, so hold on tight! Balance In the fall of 2012, I worked as a technical designer, using data to help balance PlayStation All-Stars Battle Royale, Superbot and Sony Santa Monica’s four- player brawler featuring PS characters from throughout the years. Btw, the game is great, and surprisingly unique, despite its well-known resemblance to that other four-player mascot brawler, Shrek Super Slam. My job was to make sense of the telemetry we gathered and use it to help the designers balance every aspect of the game. What were the impacts of skill, stage, move selection, etc. and what could that tell us about what the game feels like to play? Balance In the fall of 2012, I worked as a technical designer, using data to help balance PlayStation All-Stars Battle Royale, Superbot and Sony Santa Monica’s four- player brawler featuring PS characters from throughout the years. Btw, the game is great, and surprisingly unique, despite its well-known resemblance to that other four-player mascot brawler, Shrek Super Slam. My job was to make sense of the telemetry we gathered and use it to help the designers balance every aspect of the game. What were the impacts of skill, stage, move selection, etc. and what could that tell us about what the game feels like to play? Character Balance There were a lot of big questions about what it’s like to play the game, but at least one pretty quantitative question was paramount: are these characters balanced with respect to one another? I.e. -
4. the Street Fighter Lady
4. The Street Fighter Lady Invisibility and Gender in Game Composition Andy Lemon and Hillegonda C Rietveld Transactions of the Digital Games Research Association December 2019, Vol. 5 No. 1, pp. 107-133. ISSN 2328-9422 © The text of this work is licensed under a Creative Commons Attribution — NonCommercial –NonDerivative 4.0 License (http://creativecommons.org/licenses/by-nc- nd/ 2.5/). IMAGES: All images appearing in this work are property of the respective copyright owners, and are not released into the Creative Commons. The respective owners reserve all rights ABSTRACT The international success of Japanese game design provides an example of the invisibility of female game composers, as well as of gendered identification in game music production and sound design. Yoko Shimomura, the female composer who produced the iconic soundtrack for the 1991 arcade game, Street Fighter II (Capcom 1991), seems to have been invisible to game developers and music producers, which is partly due to the way in which the game is credited as a team effort. Regardless of their personal gender identity, game composers respond to themed briefs by 107 108 The Street Fighter Lady drawing on transnational musical ideas and gendered stereotypes that resonate with the Global Popular. Game music, as imagined as suitable for hyper-masculine game arcades, seems to draw on a masculinist aesthetic developed in Hollywood compositions. In turn, Street Fighter II’s music and the competitive game culture of arcade fighting games has been interwoven with masculinist music scenes of hip-hop and grime. The discussion of the music of Street Fighter II and the musical versions it inspired, nevertheless highlights that although seemingly simplified gendered stereotypes are reproduced within the game, gender identification itself can be complex within the context of game music composition. -
GRY WIDEO JAKO FORMA KOMUNIKACJI SPOŁECZNEJ GRY WIDEO JAKO FORMA KOMUNIKACJI SPOŁECZNEJ Pod Redakcją Katarzyny Kubas I Przemysława Ciszka
GRY WIDEO JAKO FORMA KOMUNIKACJI SPOŁECZNEJ GRY WIDEO JAKO FORMA KOMUNIKACJI SPOŁECZNEJ pod redakcją Katarzyny Kubas i Przemysława Ciszka Kielce 2017 recenzja naukowa: dr hab. Rafał Kochanowicz (UAM) redakcja naukowa: Katarzyna Kubas, Przemysław Ciszek korekta języka polskiego: Marlena Chudzik korekta języka angielskiego: dr Jan Kobyłecki skład i łamanie: Przemysław Ciszek rysunek na okładce: Mateusz Kaczmarczyk ISBN 978-83-65139-90-0 INSTYTUT DZIENNIKARSTWA IDI I INFORMACJI Instytut Dziennikarstwa i Informacji ul. Świętokrzyska 21D, 25-406 Kielce Uniwersytet Jana Kochanowskiego w Kielcach Copyright © by Uniwersytet Jana Kochanowskiego, Kielce 2017 Spis treści Wstęp........................................................................................................................5 Bartosz Pietrzyk Między grą a rzeczywistością – aspekt społeczny gier na przykładzie aplikacji Pokemon Go ................................................................................................7 Agnieszka Kiejziewicz Ucieczka do świata gry. Środowisko wirtualne w filmowych narracjach cyberpunkowych.............................................................................21 Damian Laskowski Moralność w grach wideo..................................................................................34 Malwina Wojtla Wpływ życia realnego na World of Tanks.........................................................47 Przemysław Ciszek Cenzura w grach wideo – próba charakterystyki zjawiska...................................70 Maciej Kośmicki Polski internet -
Pots Style Compilation
CHARACTER MAIN THEME STAGE STORY FIGHT 1 STORY FIGHT 2 BOSS (FAKE) FINAL BOSS (SECRET) FINAL BOSS Nightmare Geese; THEME: Kyo; THEME: Esaka Ken; THEME: Stage of God Rugal; THEME: The Lord Soy Sauce for Geese [FFS Reinterpretation (Ryu Suzaku Castle (Japan) Akuma THEME: Theme Ryu Forever (Kyo Kusanagi) Capcom - Street Fighter God [CvS2] STAGE: Osaka original/non-arrange ver] Stage) [SSFIIT HDR] [SSFFIIT HDR] of Akuma [SFIV] [KOF97] Remix [CvS2] [CvS2] STAGE: Geese Tower - Inner Sanctum [RBFFS] Nightmare Geese; THEME: Mai; THEME: "Floating" Cammy; THEME: M. Bison; THEME: God Rugal; THEME: The Lord Soy Sauce for Geese [FFS Street Market (Chun-Li on a Fantasy for Chun-Li Beijing (China) [SFA2] Theme of Cammy Theme of M. Bison God [CvS2] STAGE: Osaka original/non-arrange ver] Stage) [SSFIIT HDR] Yvonne Lerolle (Mai [SFIV] [SFIV] [CvS2] STAGE: Geese Tower - Inner Shiranui Stage) [FF3] Sanctum [RBFFS] Charlie; THEME: Rugal; THEME: The ЯR Nightmare Geese; THEME: Decisive Bout - Theme (Rugal Bernstein) M. Bison; THEME: God Rugal; THEME: The Lord Soy Sauce for Geese [FFS Guile Stage [Street Ghost Valley, Nevada Guile of Charlie [SFA3] [KOF98] STAGE: The Theme of M. Bison God [CvS2] STAGE: Osaka original/non-arrange ver] Fighter Tribute Album] (USA) [SFA3] STAGE: Frankfort Black Noah (round 1) [SFIV] [CvS2] STAGE: Geese Tower - Inner Hangar (USA) [SFA3] [KOF94] Sanctum [RBFFS] Nightmare Geese; THEME: God Rugal; THEME: The Lord Soy Sauce for Geese [FFS Theme of Sakura Setagaya-ku Ni-chome, Karin; THEME: Theme Yuri; THEME: Diet (Yuri Ryu; THEME: Ryu