A Project in Podcasting Gaming News, Discussions and Reviews”
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World of Warcraft Online Manual
Game Experience May Change During Online Play WOWz 9/11/04 4:02 PM Page 2 Copyright ©2004 by Blizzard Entertainment. All rights reserved. The use of this software product is subject to the terms of the enclosed End User License Agreement. You must accept the End User License Agreement before you can use the product. Use of World of Warcraft, is subject to your acceptance of the World of Warcraft® Terms of Use Agreement. World of Warcraft, Warcraft and Blizzard Entertainment are trademarks or registered trademarks of Blizzard Entertainment in the U.S. and/or other countries.Windows and DirectX are trademarks or registered trademarks of Microsoft Corporation in the U.S. and/or other countries. Pentium is a registered trademark of Intel Corporation. Power Macintosh is a registered trademark of Apple Computer, Inc. Dolby and the double-D symbol are trademarks of Dolby Laboratory. Monotype is a trademark of Agfa Monotype Limited registered in the U.S. Patent and Trademark ® Office and certain other jurisdictions. Arial is a trademark of The Monotype Corporation registered in the U.S. Patent and Trademark Office and certain other jurisdictions. ITC Friz Quadrata is a trademark of The International Typeface Corporation which may be registered in certain jurisdictions. All other trademarks are the property of their respective owners. Uses high-quality DivX® Video. DivX® and the DivX® Video logo are trademarks of DivXNetworks, Inc. and are used under license. All rights reserved. AMD, the AMD logo, and combinations thereof are trademarks of Advanced Micro Devices, Inc All ATI product and product feature names and logos, including ATI, the ATI Logo, and RADEON are trademarks and / or registered trademarks of ATI Technologies Inc. -
Gamergate and Resistance to the Diversification of Gaming Culture
64 COMMENTARY: GamerGate and resistance to the diversification of gaming culture CHERIE TODD It is reported that there are now over one billion people worldwide who play multimedia video games, and the typical ‘gamer’ stereotype (mid 20s, single, white male) no longer applies (Reilly, 2015). Games are growing increasingly more pervasive as well as more social, and are now available any time on multiple platforms (PC, Xbox and PlayStation) and devices such as smart phones and iPads. Within less than a decade, video games have gone from being a niche area of entertainment for a few, to a mass medium that appeals to people of all ages and genders. Research continues to show an increase in the number of women who are now gaming, with the genders almost reaching parity. These statistics, however, tend to focus on gaming as a whole, and ignore gender splits within particular games and/or countries, where in many online games women are often a minority. As a result of this gender imbalance, the culture of games continues to be heavily influenced by highly masculinist discourse. There is an increasing diversification of gaming culture that is occurring due to the growing popularity of games. While many perceive this to be a positive step, there are some who are resistant to these fundamental shifts and who do not want the culture of games to change. Users of the hashtag #GamerGate have been the most vocal in their resistance to these changes. In 2014 reports of GamerGate activities started to circulate more widely, becoming a topical issue in the USA where news outlets began to describe the emergence of a ‘culture war’ over the diversification of gaming culture. -
It's About Ethics in Games Journalism? Gamergaters and Geek
SMSXXX10.1177/2056305116672484Social Media + SocietyBraithwaite 672484research-article2016 SI: Making Digital Cultures Social Media + Society October-December 2016: 1 –10 It’s About Ethics in Games Journalism? © The Author(s) 2016 Reprints and permissions: sagepub.co.uk/journalsPermissions.nav Gamergaters and Geek Masculinity DOI: 10.1177/2056305116672484 sms.sagepub.com Andrea Braithwaite Abstract #Gamergate is an online movement ostensibly dedicated to reforming ethics in video games journalism. In practice, it is characterized by viciously sexual and sexist attacks on women in and around gaming communities. #Gamergate is also a site for articulating “Gamergater” as a form of geek masculinity. #Gamergate discussions across social media platforms illustrate how Gamergaters produce and reproduce this gendered identity. Gamergaters perceive themselves as crusaders, under siege from critics they pejoratively refer to as SJWs (social justice warriors). By leveraging social media for concern-trolling about gaming as an innocuous masculine pastime, Gamergaters situate the heterosexual White male as both the typical gamer and the real victim of #Gamergate. #Gamergate is a specific and virulent online node in broader discussions of privilege, difference, and identity politics. Gamergaters are an instructive example of how social media operate as vectors for public discourses about gender, sexual identity, and equality, as well as safe spaces for aggressive and violent misogyny. Keywords Gamergate, gaming cultures, geek masculinity, online harassment, social media At the end of August 2014, many online gaming communities situate themselves as the “real” victims, oppressed by calls erupted into vicious arguments—ostensibly about ethics in for diversity and at risk of losing “their” games to more video game journalism, but more pointedly about gender, inclusive ones. -
'Acting Like 13 Year Old Boys?'
‘Acting like 13 year old boys?’ Exploring the discourse of online harassment and the diversity of harassers Lucy Fisher-Hackworth Submitted to the Department of Gender Studies, University of Utrecht In partial fulfilment of the requirements for the Erasmus Mundus Master's Degree in Women's and Gender Studies Main supervisor: Dr.Domitilla Olivieri (University of Utrecht) Second reader: Dr. Jasmina Lukic (Central European University) Utrecht, the Netherlands 2016 Approved: _________________________________________ 1 ABSTRACT In this thesis, I have undertaken research into the users behind online harassment. The impetus behind this was to investigate taken for granted assumptions about who harassers are, what they do online, and how they do it. To begin, I highlight the discourse of online harassment of women in scholarship and online-news media, discussing the assumptions made about who is harassing and why. I discuss the lack of consideration of multi-layered harassment and argue for more research that takes into consideration the intersectionality of harassing content, and the experiences of all women online. I provide an overview of online methodologies and of feminism on the internet. I then undertake an investigation into harassers behind online harassment of women, and find trends in user profiles, user behaviour, and in online communication patterns more broadly. I discuss how researching this topic affected me personally, reflecting on the impact of viewing high amounts abusive content. My findings challenged many of the assumptions initially identified, so, with that in mind, I provide a discussion of why such assumptions are problematic. I argue that such assumptions contribute to a discourse that homogenizes harassment and harassers, and overlooks broader internet-specific behaviours. -
The Tragedy of the Gamer: a Dramatistic Study of Gamergate By
The Tragedy of the Gamer: A Dramatistic Study of GamerGate by Mason Stephen Langenbach A thesis submitted to the Graduate Faculty of Auburn University in partial fulfillment of the requirements for the Degree of Master of Arts Auburn, Alabama May 5, 2019 Keywords: dramatism, scapegoat, mortification, GamerGate Copyright 2019 by Mason Stephen Langenbach Approved by Michael Milford, Chair, Professor of Communication Andrea Kelley, Professor of Media Studies Elizabeth Larson, Professor of Communication Abstract In August 2014, a small but active group of gamers began a relentless online harassment campaign against notable women in the videogame industry in a controversy known as GamerGate. In response, game journalists from several prominent gaming websites published op-eds condemning the incident and declared that “gamers are dead.” Using Burke’s dramatistic method, this thesis will examine these articles as operating within the genre of tragedy, outlining the journalists’ efforts to scapegoat the gamer. It will argue that game journalists simultaneously engaged in mortification not to purge the guilt within themselves but to further the scapegoating process. An extension of dramatistic theory will be offered which asserts that mortification can be appropriated by rhetors seeking to ascend within their social order’s hierarchy. ii Acknowledgments This project was long and arduous, and I would not have been able to complete it without the help of several individuals. First, I would like to thank all of my graduate professors who have given me the gift of education and knowledge throughout these past two years. To the members of my committee, Dr. Milford, Dr. Kelley, and Dr. -
The Effects of Latency on Player Performance and Experience in A
The Effects of Latency on Player Performance and Experience in a Cloud Gaming System Robert Dabrowski, Christian Manuel, Robert Smieja May 7, 2014 An Interactive Qualifying Project Report: submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science Approved by: Professor Mark Claypool, Advisor Professor David Finkel, Advisor This report represents the work of three WPI undergraduate students submitted to the faculty as evidence of completion of a degree requirement. WPI routinely publishes these reports on its web site without editorial or peer review. Abstract Due to the increasing popularity of thin client systems for gaming, it is important to un- derstand the effects of different network conditions on users. This paper describes our experiments to determine the effects of latency on player performance and quality of expe- rience (QoE). For our experiments, we collected player scores and subjective ratings from users as they played short game sessions with different amounts of additional latency. We found that QoE ratings and player scores decrease linearly as latency is added. For ev- ery 100 ms of added latency, players reduced their QoE ratings by 14% on average. This information may provide insight to game designers and network engineers on how latency affects the users, allowing them to optimize their systems while understanding the effects on their clients. This experiment design should also prove useful to thin client researchers looking to conduct user studies while controlling not only latency, but also other network conditions like packet loss. Contents 1 Introduction 1 2 Background Research 4 2.1 Thin Client Technology . -
California State Assembly Committee on Arts, Entertainment, Sports, Tourism and Internet Media
California State Assembly Committee on Arts, Entertainment, Sports, Tourism and Internet Media Video Games: The Quintessential California Industry Erik V. Huey Senior Vice President of Government Affairs Entertainment Software Association August 21, 2015 The Entertainment Software Association Serves business and public affairs needs of U.S. computer and video game publishers • 34 member companies • Activities include: o Business and consumer research o Government relations o Legal and policy advocacy . Global anti-piracy program . Domestic and international IP policy . Technology policy • Also operates E3, Video Game Impact, Video Game Voters Network, ESA Foundation The Entertainment Software Association E3 2015 • Generated more than $40 million for Los Angeles • 6,500 hotel rooms on peak • 52,200 attendees • 300 exhibitors • Media o More than 60 billion media impressions generated o More than 4,000 journalists attended E3 2015 Consumer Engagement Enhanced Consumer Engagement • On Twitch, more than 21 million people watched E3 • More than 1 million E3 videos posted on YouTube • 6.3 million tweets with #E3 • 50 unique E3 topics trended worldwide and in the U.S. on Twitter • More than 7.5 million Instagram “likes” Not your Father’s Video Games 1972 1981 1980 How Video Games are Made • Creating a modern game is similar to creating a blockbuster movie in terms of how it’s made, time, cost, and scope • Designers, actors, musicians, artists, and more are all used That was then, this is now… That was then, this is now… 2001 2013 150–250 million -
Transmedia Storytelling in the Warcraft Universe: the Role of Intermediality in Shaping the Warcraft Lore
Transmedia Storytelling in the Warcraft Universe: the Role of Intermediality in Shaping the Warcraft Lore Eszter Barabás A research Paper submitted to the University of Dublin, in partial fulfillment of the requirements for the degree of Master of Science Interactive Digital Media 2020 Declaration I have read and I understand the plagiarism provisions in the General Regulations of the University Calendar for the current year, found at: http://www.tcd.ie/calendar I have also completed the Online Tutorial on avoiding plagiarism ‘Ready, Steady, Write’, located at http://tcd-ie.libguides.com/plagiarism/ready-steady-write I declare that the work described in this research Paper is, except where otherwise stated, entirely my own work and has not been submitted as an exercise for a degree at this or any other university. Signed: Eszter Barabás 2020 Permission to lend and/or copy I agree that Trinity College Library may lend or copy this research Paper upon request. Signed: Eszter Barabás 2020 Summary This paper examines the popular franchise known as Warcraft, applying the theory of intermediality to the different mediums that contribute to it, analyzing each of their roles and how intermediality manifests across all platforms. The three established forms of intermediality, that of medial transposition, media combination and intermedial references are used, as well as the concept of transmedia storytelling, considered a fourth type. These categories are first introduced and defined, along with the vast network of media artifacts that contribute to the Warcraft lore. Each consecutive chapter focuses on one form of intermediality, applying it to a few representative works from the Warcraft franchise. -
Star Fox Zero E3 2015
Star Fox Zero (E3 2015 !) 1 / 3 Star Fox Zero (E3 2015 !) 2 / 3 ... are Falco Lombardi from Star Fox, Bandanna Dee from Kirby, and (at last!) how do you ... Jul 11, 2015 · A mod for the famous flash fangame, Super Smash Flash 2! ... of Super Smash Bros Ultimate at E3 2018 and Nintendo pulled no punches! ... NEWS Jan 08, 2019 · Year 2: Events of Banjo-Tooie, Metroid: Zero Mission, .... (We love our fans!) ... version shows it must have been worse than star fox zero because if that game can make it. ... At E3 2011, it MENU.. We Can Rebuild Him: In Star Fox 64 and Star Fox Zero, all of the defeated Star Wolf pilots return ... It was announced at E3 2014 for the 2015 holidays, but that sort of fell through. ... (Love Goggins in The Shield and Justified — dark dramas!). First released bundled with Star Fox 64, the accessory gave a more realistic ... Fox Team (bottom right) at E3's Digital Event 2015 for the launch of Star Fox Zero" .... STAR FOX ZERO Gameplay - E3 2015 Nintendo Direct (HD) ... Star Fox Zero - Gameplay Trailer (Nintendo .... The Electronic Entertainment Expo for 2015 is over and now the wait is on for the new games coming soon to a console near you! Brett Larson .... 119 Star Fox Zero, Konami leaves Consoles, & PS VR. ANTiFanboy Podcast • By ANTiFanboy • Sep 21, 2015. Share. Loading… 00:00 ... (Listen to this one just for our reaction to the Best Picture winner!) 2:10:42 ... 306 E3 2019 Hype-O-Meter.. Check out all Nintendo @ E3 2015 updates here: http://e3.nintendo.com/ Subscribe for more Nintendo fun ... -
Video Game Collection MS 17 00 Game This Collection Includes Early Game Systems and Games As Well As Computer Games
Finding Aid Report Video Game Collection MS 17_00 Game This collection includes early game systems and games as well as computer games. Many of these materials were given to the WPI Archives in 2005 and 2006, around the time Gordon Library hosted a Video Game traveling exhibit from Stanford University. As well as MS 17, which is a general video game collection, there are other game collections in the Archives, with other MS numbers. Container List Container Folder Date Title None Series I - Atari Systems & Games MS 17_01 Game This collection includes video game systems, related equipment, and video games. The following games do not work, per IQP group 2009-2010: Asteroids (1 of 2), Battlezone, Berzerk, Big Bird's Egg Catch, Chopper Command, Frogger, Laser Blast, Maze Craze, Missile Command, RealSports Football, Seaquest, Stampede, Video Olympics Container List Container Folder Date Title Box 1 Atari Video Game Console & Controllers 2 Original Atari Video Game Consoles with 4 of the original joystick controllers Box 2 Atari Electronic Ware This box includes miscellaneous electronic equipment for the Atari videogame system. Includes: 2 Original joystick controllers, 2 TAC-2 Totally Accurate controllers, 1 Red Command controller, Atari 5200 Series Controller, 2 Pong Paddle Controllers, a TV/Antenna Converter, and a power converter. Box 3 Atari Video Games This box includes all Atari video games in the WPI collection: Air Sea Battle, Asteroids (2), Backgammon, Battlezone, Berzerk (2), Big Bird's Egg Catch, Breakout, Casino, Cookie Monster Munch, Chopper Command, Combat, Defender, Donkey Kong, E.T., Frogger, Haunted House, Sneak'n Peek, Surround, Street Racer, Video Chess Box 4 AtariVideo Games This box includes the following videogames for Atari: Word Zapper, Towering Inferno, Football, Stampede, Raiders of the Lost Ark, Ms. -
The Controversy of Star Wars: Battlefront 2 and the Influencers That Fueled the Fire
The controversy of Star Wars: Battlefront 2 and the influencers that fueled the fire By Johan Forsberg JMK, Institution of media studies Bachelor’s thesis 15 points Medie- och kommunikationsvetenskap – kandidatkurs 30 hp Autumn term of 2018 Mentor: Jonas Jonsson Abstract The video game industry is an industry that has lately come to use and abuse the user the collective intelligence of social media. Corporations have come to rely on their communities as a form of free labor; instead of letting paid testers at the company judge the product, they have chosen to let users on social media communities do this for free. In the case of Star Wars: Battlefront 2, gamers even had to pay to play the beta version of the game. The purpose of this thesis was to investigate how the release of the beta unfolded, with the user responses that followed and finally how EA Games chose to respond. Consumers, YouTubers and journalists alike gave the beta version of the game heavy criticism for being exploitative, almost gambling-like in nature. This thesis analyzed the language used in some of the key posts, reviews and videos surrounding the video game. It also analyzed Walt Disney’s impact on the decisions by EA Games. The study concludes that the controversy ultimately failed to damage EA Games in any long- lasting way, as a year later the stock value of the company has grown by 50%. The essay also concludes that EA Games chose to take immediate action not because of criticism from the media, but because of pressure from stakeholder Walt Disney. -
In the Digital Games Medium
Georgia State University ScholarWorks @ Georgia State University Communication Theses Department of Communication 7-15-2009 L337 Soccer Moms: Conceptions of "Hardcore" and "Casual" in the Digital Games Medium Steven Andrew Boyer Follow this and additional works at: https://scholarworks.gsu.edu/communication_theses Recommended Citation Boyer, Steven Andrew, "L337 Soccer Moms: Conceptions of "Hardcore" and "Casual" in the Digital Games Medium." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/communication_theses/53 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]. L337 SOCCER MOMS CONCEPTIONS OF “HARDCORE” AND “CASUAL” IN THE DIGITAL GAMES MEDIUM by STEVEN BOYER Under the Direction of Ted Friedman ABSTRACT As digital games have become increasingly significant in the entertainment media landscape, the terms “casual” and “hardcore” have become the primary ways to describe gaming audiences, genres, and gameplay. However, these terms are saturated with outdated stereotypes involving gender, age, and class. Focusing on industrial discourse, this thesis examines this dichotomy, emphasizing areas of discontinuity and overlap to question why these terms have become so ubiquitous in gaming discourse and what functions they fulfill for a variety of groups including the industry, advertisers, and audience members. Ultimately, I suggest that these terms need to be replaced in order to move beyond restrictive stereotypes, proposing a new framework for digital games that takes into consideration user motivation, personal investment, and historical specificity.