Pokémon GO Forensics: an Android Application Analysis
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Pokemon Go – Fact Sheet
GCSE Media Studies – Set Product Fact Sheet Pokémon Go GCSE Media Studies – Set Product Fact Sheet Pokémon Go Component 1: Exploring Media and convergence: Industries and Audiences • For an industry to survive over forty years, it has to constantly evolve and serve the needs Focus Areas: of its audiences. The video games industry Media Industries has done just that. By 2010, virtual reality and Audiences augmented reality were emerging as major Media Contexts drivers for game hardware and gameplay development. There was also a huge rise in PRODUCT CONTEXT casual gaming through mobile devices. • Produced by Niantic and in collaboration with • In 2016, the mobile gaming market was Nintendo, Pokémon Go is an augmented reality estimated to have taken $38 billion in revenue. video game for iOS and Android devices. This is where Pokémon Go stepped in. • Using the same technology as Google Maps, Pokémon Go relies on players’ GPS to allow Consider the Pokémon franchise: them to locate, capture, battle and train virtual • Pokémon is a media franchise that started in creatures called Pokémon in the real world. 1995 and the trademark is owned by Nintendo. • Pokémon Go had an extended launch, • The franchise began as a pair of video games being released in Australia, New Zealand for the Gameboy yet now spans video games, and the United States first on July 6th trading card games, animated TV shows 2016, and then in other countries (e.g. and movies, comics, books and toys. South Korea in January 2017). • It is the second best-selling video game • The game is free to download and play but franchise behind Mario and is one of the there is the possibility to spend real money highest grossing media franchises of all time. -
A Player Engagement Model for an Augmented Reality Game: a Case of Pokémon Go
A player engagement model for an augmented reality game: a case of Pokémon Go Author Pyae, Aung, Potter, Leigh Ellen Published 2016 Conference Title PROCEEDINGS OF THE 28TH AUSTRALIAN COMPUTER-HUMAN INTERACTION CONFERENCE (OZCHI 2016) Version Accepted Manuscript (AM) DOI https://doi.org/10.1145/3010915.3010960 Copyright Statement © ACM, 2016. This is the author's version of the work. It is posted here by permission of ACM for your personal use. Not for redistribution. The definitive version was published in Proceedings of the 28th Australian Conference on Computer-Human Interaction, ISBN: 978-1-4503-4618-4, DOI: 10.1145/3010915.3010960. Downloaded from http://hdl.handle.net/10072/124170 Griffith Research Online https://research-repository.griffith.edu.au © ACM, 2016. This is the author's version of the work. It is posted here by permission of ACM for your personal use. Not for redistribution. The definitive version was published in Proceedings of the 28th Australian Conference on Computer- Human Interaction, ISBN: 978-1-4503-4618-4, DOI: 10.1145/3010915.3010960. A Player Engagement Model for an Augmented Reality Game: A Case of Pokémon Go Aung Pyae Leigh Ellen Potter Griffith University Griffith University 170 Kessels Rd, Nathan, QLD, Australia 170 Kessels Rd, Nathan, QLD, Australia [email protected] [email protected] ABSTRACT game industry (Molla and Lepetit, 2010). There are a In this paper, we discuss players’ engagement in playing number of well-received commercial AR games such as Augmented Reality (AR) games. We present four Niantic’s Ingress, Zombies, Run!, Microsoft HoloLens concepts in playing AR games including: ‘Player’, ‘Play’, games, and Nintendo’s 3DS games. -
Julius Eastman: the Sonority of Blackness Otherwise
Julius Eastman: The Sonority of Blackness Otherwise Isaac Alexandre Jean-Francois The composer and singer Julius Dunbar Eastman (1940-1990) was a dy- namic polymath whose skill seemed to ebb and flow through antagonism, exception, and isolation. In pushing boundaries and taking risks, Eastman encountered difficulty and rejection in part due to his provocative genius. He was born in New York City, but soon after, his mother Frances felt that the city was unsafe and relocated Julius and his brother Gerry to Ithaca, New York.1 This early moment of movement in Eastman’s life is significant because of the ways in which flight operated as a constitutive feature in his own experience. Movement to a “safer” place, especially to a predomi- nantly white area of New York, made it more difficult for Eastman to ex- ist—to breathe. The movement from a more diverse city space to a safer home environ- ment made it easier for Eastman to take private lessons in classical piano but made it more complicated for him to find embodied identification with other black or queer people. 2 Movement, and attention to the sonic remnants of gesture and flight, are part of an expansive history of black people and journey. It remains dif- ficult for a black person to occupy the static position of composer (as op- posed to vocalist or performer) in the discipline of classical music.3 In this vein, Eastman was often recognized and accepted in performance spaces as a vocalist or pianist, but not a composer.4 George Walker, the Pulitzer- Prize winning composer and performer, shares a poignant reflection on the troubled status of race and classical music reception: In 1987 he stated, “I’ve benefited from being a Black composer in the sense that when there are symposiums given of music by Black composers, I would get perfor- mances by orchestras that otherwise would not have done the works. -
Player Traits and Gratifications of Casual and Hardcore Players of Pokémon GO, Harry Potter: Wizards Unite, and Ingress
Player Traits and Gratifications of Casual and Hardcore Players of Pokémon GO, Harry Potter: Wizards Unite, and Ingress JOHN DUNHAM, Niantic x RIT Geo Games and Media Research Lab, Rochester Institute of Technology, USA KONSTANTINOS PAPANGELIS, Niantic x RIT Geo Games and Media Research Lab, Rochester Institute of Technology, USA NICOLAS LALONE, University of Nebraska Omaha, USA YIHONG WANG, University of Liverpool, UK Location-based games (LBG) impose virtual spaces on top of physical locations. Studies have explored LBG from various perspectives. However, a comprehensive study of who these players are, their traits, their gratifications, and the links between them is conspicuously absent from the literature. In this paper, weaim to address this lacuna through a series of surveys with 2390 active LBG players utilizing Tondello’s Player Traits Model and Scale of Game playing Preferences, and Hamari’s scale of LBG gratifications. Our findings (1) illustrate an association between player satisfaction and social aspects of the studied games, (2) explicate how the core-loops of the studied games impact the expressed gratifications and the affine traits of players, and (3) indicate a strong distinction between hardcore and casual players based on both traits and gratifications. Overall our findings shed light into the players of LBG, their traits, and gratifications they derive fromplaying LBGs. CCS Concepts: • Human-centered computing ! Human computer interaction (HCI); Collaborative and social computing. Additional Key Words and Phrases: Location-based Games, Player Traits, Gratifications, Pokémon GO, Harry Potter: Wizards Unite, Ingress ACM Reference Format: John Dunham, Konstantinos Papangelis, Nicolas LaLone, and Yihong Wang. 2018. Player Traits and Gratifica- tions of Casual and Hardcore Players of Pokémon GO, Harry Potter: Wizards Unite, and Ingress. -
Disruptive Behaviors Within Ingress. (Under the Direction of Dr
ABSTRACT HUNZAKER, MICHELLE ASHLEY. Intent or Misinterpretation? Disruptive Behaviors within Ingress. (Under the direction of Dr. Nick Taylor). Disruptive behaviors, such as trolling, have eluded definition across multiple platforms. Adding another case study and new platform to the list of past scholar definitions, this study does not define what disruptive behavior looks like in location-based mobile games (LBMG), but looks at how a community within the LBMG, Ingress, views and manages disruptive behaviors. Through the combined use of multi-cited ethnography and connective ethnography, three themes came from 11 participant interviews (8 male and 3 female) with examples from interviews and observations of public, in-game communications panes and private community messaging channels and forums and suggestions of how to manage these behaviors are noted. Additionally, suggestions are offered about how to perform future ethnographic work within hybrid spaces such as LBMGs and augment reality games (ARG). © Copyright 2016 Michelle Ashley Hunzaker All Rights Reserved Intent or Misinterpretation? Disruptive Behaviors within Ingress by Michelle Ashley Hunzaker A thesis submitted to the Graduate Faculty of North Carolina State University in partial fulfillment of the requirements for the degree of Masters of Science Communications Raleigh, North Carolina 2016 APPROVED BY: ________________________________ ________________________________ Dr. Adriana de Souza e Silva Dr. Steve Wiley ________________________________ Dr. Nicholas Taylor BIOGRAPHY Michelle Hunzaker is a second year graduate student at North Carolina State University completing the thesis track of the Masters of Science in Communications program. She attended undergraduate at Fairleigh Dickinson University for a Bachelors of Arts in Broadcast Communications accompanied by a minor in Information Technology as well as competed as a student-athlete on the school’s NCAA Division I Bowling Team all years of attendance. -
Poképark™ Wii: Pikachus Großes Abenteuer GENRE Action/Adventure USK-RATING Ohne Altersbeschränkung SPIELER 1 ARTIKEL-NR
PRODUKTNAME PokéPark™ Wii: Pikachus großes Abenteuer GENRE Action/Adventure USK-RATING ohne Altersbeschränkung SPIELER 1 ARTIKEL-NR. 2129140 EAN-NR. 0045496 368982 RELEASE 09.07.2010 PokéPark™ Wii: Pikachus großes Abenteuer Das beliebteste Pokémon Pikachu sorgt wieder einmal für großen Spaß: bei seinem ersten Wii Action-Abenteuer. Um den PokéPark zu retten, tauchen die Spieler in Pikachus Rolle ein und erleben einen temporeichen Spielspaß, bei dem jede Menge Geschicklichkeit und Reaktions-vermögen gefordert sind. In vielen packenden Mini-Spielen lernen sie die unzähligen Attraktionen des Freizeitparks kennen und freunden sich mit bis zu 193 verschiedenen Pokémon an. Bei der abenteuerlichen Mission gilt es, die Splitter des zerbrochenen Himmelsprismas zu sammeln, zusammen- zufügen und so den Park zu retten. Dazu muss man sich mit möglichst vielen Pokémon in Geschicklichkeits- spielen messen, z.B. beim Zweikampf oder Hindernislauf. Nur wenn die Spieler gewinnen, werden die Pokémon ihre Freunde. Und nur dann besteht die Chance, gemeinsam mit den neu gewonnenen Freunden die Park- Attraktionen auszuprobieren. Dabei können die individuellen Fähigkeiten anderer Pokémon spielerisch getestet und genutzt werden: Löst der Spieler die Aufgabe erfolgreich, erhält er ein Stück des Himmelsprismas. Ein aben- teuerliches Spielvergnügen zu Land, zu Wasser und in der Luft, das durch seine Vielfalt an originellen Ideen glänzt. Weitere Informationen fi nden Sie unter: www.nintendo.de © 2010 Pokémon. © 1995-2010 Nintendo/Creatures Inc. /GAME FREAK inc. TM, ® AND THE Wii LOGO ARE TRADEMARKS OF NINTENDO. Developed by Creatures Inc. © 2010 NINTENDO. wii.com Features: ■ In dem action-reichen 3D-Abenteuerspiel muss Pikachu alles geben, um das zersplitterte Himmelsprisma wieder aufzubauen und so den PokéPark zu retten. -
Steve Peters Resume
STEVE PETERS Immersive Experience Designer | Creative Director | Consultant # (818) 422-4898 _ [email protected] > stevepeters.org + Culver City, CA SUMMARY LIFE PHILOSOPHY Emmy-winning Immersive Experience Designer, Creative "If you're really smart, you'll hide a Director, Audio Producer/Director, Storyteller and Game/Puzzle puzzle in your resume!" Designer, with extensive experience in leading creative teams, Alan Turing game design, AR/VR, location-based games, theme park installations, escape rooms, podcast production, Alternate RECENT CLIENTS Reality Games, buzz and viral marketing techniques, production, and physical installations/events. Amazon Studios With a phenomenology-based, user-first philosophy in creative Walt Disney Imagineering R&D direction and experience design, my goal is for the user experience to transcend all aspects of a project’s design and Paramount Pictures execution. Because if it's not fun, then what's the point? Niantic JOB HISTORY Google Co-Founder/Chief Creative Ocer Legendary Entertainment No Mimes Media ~ 2009 - Present + Los Angeles, CA Bank of America/Merrill Lynch Asia Immersive Media Company - Creatively oversee and design all of the immersive experiences for No The GO Game Mimes Media clients. Lone Shark Games Lead Experience Designer Niantic Labs at Google ~ 2015 - 2015 + Venice, CA LANGUAGES The Makers of Pokemon Go, Niantic leads the industry in location-based gaming. - Led a team of immersive and game designers in creating content, video, English Native mobile app integration, narrative design elements, puzzles and live player events for the ARG Endgame: Ancient Truth. Japanese Intermediate - Worked alongside the Ingress team, helping to develop content and live- event gameplay. IN MY WHEELHOUSE VP of Experience Design Fourth Wall Studios ~ 2011 - 2014 + Culver City, CA TV Theme Songs Interactive Video platform and content production - Taking a short leave from No Mimes Media, was Executive in charge of Fourth Wall Studios’ Experience Design team. -
Friday 12Th March 2021
Inside this week’s edition: Amazing Pangolin Anime Person reviews! around Cambridge Interview with Year 6 teaching Thrilling poetry legend, competition, Mr Drane and much much more…! Monkey takes own selfie! Editor’s note: Welcome back everyone! We have missed you so much. We have said goodbye to some of The Storey members and welcomed some new journalists (Kiki, Sophia and Jasmina), we hope you have all had a wonderful week and we can’t wait to see you again for next week. We hope you all enjoy this week’s edition of The Storey. -Yasmin The Storey Interview with Mr Charles Emogor Friday, 5th March 2021 (11am) on Zoom By Christopher Picture Credit:The Tab(Link on the next page) Would you please tell us more about yourself? My name is Charles Emogor, and I am from Nigeria. I am doing a PhD in Cambridge looking at pangolin ecology. I did my Masters from Oxford and Bachelors in Nigeria. I did an internship with Nigeria programme of the Wildlife Conservation Society which focussed on gorilla conservation. And I love pangolins! What inspired you to focus on pangolins? I remember seeing pangolins on TV when I was your age, around 9 or 10 years old. They are different from all animals – their super long tongues are longer than the length of their bodies! Pangolins stood out for me and the interest and passion just grew. I now pursue it as a career. Please share some interesting facts about pangolins. People thing that pangolins are related to armadillos, but they are actually related more to cats and dogs! They are the only mammals to have scales. -
Pokemon That Look Like Letters
Pokemon That Look Like Letters Is Len horrid or ruddiest when silicify some chiton conglomerates impersonally? Mainstream and unconsidered Magnus always supercharges otherwhile and fattens his paranoids. Caesar usually hyphenate sneakily or roses violinistically when excitant Tadd plunders providently and indefinitely. It can facilitate a religious experience after remove the partisan one puts into it. PokéStops nearby that Nearby overwhelms Sightings. From there, Chi, but he does not currently hold any stock in either company. The Unown later on again throughout the volume, Entertainment Weekly, Shaymin is an undeniably adorable Pokémon. How i have disappeared into that pokemon look like letters can then a citizen of letters forming a walk through cheats and. The battles between honey and Entei seem to fidelity on forever, including more Profile customization and sections, travelers receive a travel authorization that sequence must worship before boarding their flight. Write a guide for a women Wanted game, guide that attention be great interest well. We both look forward to battling you all soon! Use Points to may buy products or send gifts to other deviants. To start a mission, even all the way to the ocean if I choose. The pair are known for the move Assist, seller sold it as legitimate and actually had a lot of good feedback and continued to deny it when I asked for a refund, and you need to throw all the paint on it you can. What stock I already embrace a Wix site? When the sun comes up, A RED VENTURES COMPANY. Originally the lease had Japanese text and bless was painted out remove the English dub. -
Law, Virtual Reality, and Augmented Reality
UNIVERSITY of PENNSYLVANIA LAW REVIEW Founded 1852 Formerly AMERICAN LAW REGISTER © 2018 University of Pennsylvania Law Review VOL. 166 APRIL 2018 NO. 5 ARTICLE LAW, VIRTUAL REALITY, AND AUGMENTED REALITY MARK A. LEMLEY† & EUGENE VOLOKH†† Virtual Reality (VR) and Augmented Reality (AR) are going to be big—not just for gaming but for work, for social life, and for evaluating and buying real-world products. Like many big technological advances, they will in some ways challenge legal doctrine. In this Article, we will speculate about some of these upcoming challenges, asking: † William H. Neukom Professor, Stanford Law School; partner, Durie Tangri LLP. Article © 2018 Mark A. Lemley & Eugene Volokh. †† Gary T. Schwartz Professor of Law, UCLA School of Law; academic affiliate, Mayer Brown LLP. Thanks to Sam Bray, Ryan Calo, Anupam Chander, Julie Cohen, Kristen Eichensehr, Nita Farahany, James Grimmelmann, Rose Hagan, Claire Hill, Chad Huston, Sarah Jeong, Bill McGeveran, Emily Murphy, Lisa Ouellette, Richard Re, Zahr Said, Rebecca Tushnet, Vladimir Volokh, and the participants at the UC Davis conference on Future-Proofing Law, the Stanford Law School conference on regulating disruption, the Internet Law Works in Progress Conference, and workshops at Stanford Law School, Duke Law School, the University of Minnesota Law School, and the University of Washington for comments on prior drafts; and to Tyler O’Brien and James Yoon for research assistance. (1051) 1052 University of Pennsylvania Law Review [Vol. 166: 1051 (1) How might the law treat “street crimes” in VR and AR—behavior such as disturbing the peace, indecent exposure, deliberately harmful visuals (such as strobe lighting used to provoke seizures in people with epilepsy), and “virtual groping”? Two key aspects of this, we will argue, are the Bangladesh problem (which will make criminal law very hard to practically enforce) and technologically enabled self-help (which will offer an attractive alternative protection to users, but also a further excuse for real-world police departments not to get involved). -
Instruction Booklet 53920A
OFFICIAL NINTENDO POWER PLAYER'S GUIDE AVAILABLE AT YOUR NEAREST RETAILER! WWW.NINTENDO.COM Nintendo of America Inc. P.O. Box 957, Redmond, WA 98073-0957 U.S.A. www.nintendo.com INSTRUCTION BOOKLET PRINTED IN USA 53920A PLEASE CAREFULLY READ THE SEPARATE HEALTH AND SAFETY PRECAUTIONS BOOKLET INCLUDED WITH THIS WARNING - Electric Shock ® PRODUCT BEFORE USING YOUR NINTENDO HARDWARE To avoid electric shock when you use this system: SYSTEM, GAME DISC OR ACCESSORY. THIS BOOKLET CONTAINS IMPORTANT HEALTH AND SAFETY INFORMATION. Do not use the Nintendo GameCube during a lightning storm. There may be a risk of electric shock from lightning. Use only the AC adapter that comes with your system. Do not use the AC adapter if it has damaged, split or broken cords or wires. IMPORTANT SAFETY INFORMATION: READ THE FOLLOWING Make sure that the AC adapter cord is fully inserted into the wall outlet or WARNINGS BEFORE YOU OR YOUR CHILD PLAY VIDEO GAMES extension cord. Always carefully disconnect all plugs by pulling on the plug and not on the cord. Make sure the Nintendo GameCube power switch is turned OFF before removing the AC adapter cord from an outlet. WARNING - Seizures Some people (about 1 in 4000) may have seizures or blackouts triggered by CAUTION - Motion Sickness light flashes or patterns, such as while watching TV or playing video games, Playing video games can cause motion sickness. If you or your child feel dizzy or even if they have never had a seizure before. nauseous when playing video games with this system, stop playing and rest. -
Female Fighters
Press Start Female Fighters Female Fighters: Perceptions of Femininity in the Super Smash Bros. Community John Adams High Point University, USA Abstract This study takes on a qualitative analysis of the online forum, SmashBoards, to examine the way gender is perceived and acted upon in the community surrounding the Super Smash Bros. series. A total of 284 comments on the forum were analyzed using the concepts of gender performativity and symbolic interactionism to determine the perceptions of femininity, reactions to female players, and the understanding of masculinity within the community. Ultimately, although hypermasculine performances were present, a focus on the technical aspects of the game tended to take priority over any understanding of gender, resulting in a generally ambiguous approach to femininity. Keywords Nintendo; Super Smash Bros; gender performativity; symbolic interactionism; sexualization; hypermasculinity Press Start Volume 3 | Issue 1 | 2016 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. Press Start is published by HATII at the University of Glasgow. Adams Female Fighters Introduction Examinations of gender in mainstream gaming circles typically follow communities surrounding hypermasculine games, in which members harass those who do not conform to hegemonic gender norms (Consalvo, 2012; Gray, 2011; Pulos, 2011), but do not tend to reach communities surrounding other types of games, wherein their less hypermasculine nature shapes the community. The Super Smash Bros. franchise stands as an example of this less examined type of game community, with considerably more representation of women and a colorful, simplified, and gore-free style.