Well Played 2.0: Video Games, Value and Meaning - OpenLibra

More documents

Recommendations

Info

Davidson, D. (2008). Well Played: Interpreting Prince of Persia: Sands of Time. Ed. Constance Steinkuehler. Games and Culture. Vol. 3, Number 3-4. Eskelinen, M. (2001). The gaming situation. Game Studies, 1(1). IGN. Prince of Persia: The Sands of Time Screenshots, Wallpapers and Pics. http://media.xbox.ign.com/media/535/535907/imgs_1.html GameLab Institute of Play. http://instituteofplay.org/. GamersHell.com. Prince of Persia Sands of Time Screenshots. http://www.gamershell.com/pc/prince_of_persia_sands_of_time/ screenshots.html. Games and Storytelling. http://www.gamesandstorytelling.net/. Games, Learning & Society 3.0. http://www.glsconference.org/. GameSpot. Prince of Persia: The Sands of Time Screens. http://www.gamespot.com/ps2/action/princeofpersiathesot/images.html GameSpy. Prince of Persia: The Sands of Time Screenshots, Wallpapers and Pics. http://media.xbox.gamespy.com/media/535/535907/imgs_1.html Game Studies. http://www.gamestudies.org/. Gee, J.P. (2004). Learning by design: Games as learning machines. Paper presented at the Game Developers Conference, San Jose CA. Available at: http://labweb.education.wisc.edu/room130/PDFs/ GeeGameDevConf.doc. Juul, J. (2005). Half-Real: Video Games Between Real Rules and Fictional Worlds. Cambridge, MA: MIT Press. Manovich, L. (2001). The Language of New Media. Cambridge MA: The MIT Press. Mateas, M. (2005). Procedural literacy: Educating the new media practitioner.” On The Horizon, 13(2). MobyGames. Prince of Persia: The Sands of Time – Screenshots. http://www.mobygames.com/game/prince-of-persia-the-sands-oftime/screenshots Media in Transition 4. http://web.mit.edu/comm-forum/mit4/. Montfort, N. (2005, March 16). Story and game. Available at: http://grandtextauto.gatech.edu/2005/03/16/story-and-game/ Ryan, M.-L. (2001). Narrative as virtual reality. Baltimore: Johns Hopkins UP. Singer, B. (1995). The Usual Suspects. Polygram Filmed Entertainment. 46
Team XBox. Prince of Persia: Sands of Time Screenshots Gallery. http://screenshots.teamxbox.com/gallery/579/Prince-of-Persia- Sands-of-Time/p1/ Ubisoft. (2003). Prince of Persia: The Sands of Time. Montreal. Ubisoft Entertainment. Wikipedia. (2007). Plot Summary of Prince of Persia: The Sands of Time. Available at http://en.wikipedia.org/wiki/ Prince_of_Persia:_The_Sands_of_Time#Plot_summa-ry, July. 47
Page 1 and 2: Well Played 2.0: Video Games, Value
Page 3 and 4: Table of Contents Thank You. Well P
Page 5 and 6: Introduction Well Played 2.0 More P
Page 7 and 8: Cloudmaker Days: A Memoir of the A.
Page 9 and 10: abbreviations from the Periodic Tab
Page 11 and 12: that curtain was. This decision was
Page 13 and 14: experience. The ambivalence I felt
Page 15 and 16: special treat: in very faint text w
Page 17 and 18: storytelling where the topic is act
Page 19 and 20: 16 It’s striking that an experien
Page 21 and 22: 57 http://www.argn.com 58 http://ww
Page 23 and 24: the level of interactive engagement
Page 25 and 26: he wants the honor and glory for hi
Page 27 and 28: cinematics are units that go beyond
Page 29 and 30: differs from the first checkpoint).
Page 31 and 32: oom that you just saw in the vision
Page 33 and 34: Figure 10. Screenshot of the Castle
Page 35 and 36: fight, the space is large enough th
Page 37 and 38: scenes have more of a pounding elem
Page 39 and 40: going to have a successful ending (
Page 41 and 42: Interestingly, it doesn’t rewind
Page 43 and 44: note, I actually let myself get kil
Page 45: an attempt to inject it into gamepl
Page 49 and 50: Gray discs require two adjacent bre
Page 51 and 52: my own music,[72] or more often, I
Page 53 and 54: allows five discs before a new row
Page 55 and 56: Chain Factor functioned as the “t
Page 57 and 58: I think, what well-designed virtual
Page 59 and 60: The genius of this system is that t
Page 61 and 62: haunting (and haunted) games I’ve
Page 63 and 64: Compared to “Sabre Wulf” and
Page 65 and 66: altitude) depending on the moment o
Page 67 and 68: Aside from that thread that explora
Page 69 and 70: would make anyone feel eager to pla
Page 71 and 72: learn on how to jump and take the o
Page 73 and 74: DREW DAVIDSON et al. (2008). Beyond
Page 75 and 76: her picture. When opening the locke
Page 77 and 78: The story advances with the explora
Page 79 and 80: Favorite moments Nothing would stop
Page 81 and 82: than yourself. Your character is re
Page 83 and 84: on presence, flow, and learning. Ho
Page 85 and 86: oach did not serve as a distraction
Page 87 and 88: game. However, some players felt pr
Page 89 and 90: sugary sweets from the picnic blank
Page 91 and 92: Csikszentmihalyi, M. (1997). Findin
Page 93 and 94: 30 square kilometers around the Che
Page 95 and 96: Deus Ex and System Shock to set the
Page 97 and 98:
the dreams,” muses this nameless
Page 99 and 100:
fails to realize that the Zone is n
Page 101 and 102:
leak, empty land-scape highlights t
Page 103 and 104:
The storyline, characters, and even
Page 105 and 106:
enough. Call of Duty 4: Modern Warf
Page 107 and 108:
developers utilize environmental es
Page 109 and 110:
The title of the novel is a referen
Page 111 and 112:
And yet the same sun, the same moon
Page 113 and 114:
(www.perimeterpartners.com), Bill H
Page 115 and 116:
Actraiser Andy Jih While many other
Page 117 and 118:
simple to dive into: run left and r
Page 119 and 120:
the only task left is to go to the
Page 121 and 122:
have ended the game simply with an
Page 123 and 124:
For an adventure game to succeed, i
Page 125 and 126:
cinematic, Manny despairs of his lo
Page 127 and 128:
normal day-to-day life to reach new
Page 129 and 130:
weren’t completed due to budget a
Page 131 and 132:
mechanic Elementals that look like
Page 133 and 134:
gameplay mechanics in Fallout 3. Th
Page 135 and 136:
with moral dilemmas is done with th
Page 137 and 138:
contained vignette will also make m
Page 139 and 140:
One of the most discussed Quests in
Page 141 and 142:
the grove to help the Wasteland whi
Page 143 and 144:
weapons lost will change playing st
Page 145 and 146:
nonexistent, and few gamers I talk
Page 147 and 148:
Cyan is notorious for baffling play
Page 149 and 150:
Figure 2: The Cleft in the desert,
Page 151 and 152:
“writing” Ages, housed in “li
Page 153 and 154:
ook, that book appears in your Relt
Page 155 and 156:
visits to solve, each player needs
Page 157 and 158:
them prideful and greedy. The impli
Page 159 and 160:
midst and walking down the path. If
Page 161 and 162:
Figure 17: Decoding the door in Ede
Page 163 and 164:
As mentioned earlier, central to Ur
Page 165 and 166:
Immersive Game Design: Indigo Proph
Page 167 and 168:
compartmentalizes all of the conten
Page 169 and 170:
immediate connection between player
Page 171 and 172:
initiating a similar game-ending ev
Page 173 and 174:
interactions have even greater sign
Page 175 and 176:
was trying to concentrate on inputt
Page 177 and 178:
Lions & Jackals: The Politics of Fa
Page 179 and 180:
Banga, meaning “the all-powerful
Page 181 and 182:
ealization of what he turned into.
Page 183 and 184:
Maybe 80% of our players are just l
Page 185 and 186:
Jeffries, L.B. “Far Cry 2: The He
Page 187 and 188:
Looking beyond the moments, it is i
Page 189 and 190:
prowess. There is some level of apt
Page 191 and 192:
solid short-term goal, much like fi
Page 193 and 194:
time or exploring the same game lev
Page 195 and 196:
and seamless; the player is whisked
Page 197 and 198:
Rasmus: I have an absolute love for
Page 199 and 200:
feeling that there is something int
Page 201 and 202:
sessions make it easy to get into t
Page 203 and 204:
the game sometimes. Isn’t this a
Page 205 and 206:
Jesper: I would argue that the disc
Page 207 and 208:
incredibly exciting and rewarding,
Page 209 and 210:
playing games — ironic, I suppose
Page 211 and 212:
Sutton-Smith, Brian. 2008. Play The
Page 213 and 214:
dilemma itself. Should I, the playe
Page 215 and 216:
Pool of Radiance Sam Roberts Pool o
Page 217 and 218:
play experience of Pool of Radiance
Page 219 and 220:
probably at what might be called th
Page 221 and 222:
containing a moment of choice, is a
Page 223 and 224:
interpreted, without remaining hide
Page 225 and 226:
Making and Unmaking Place in The Da
Page 227 and 228:
technical accomplishments, the play
Page 229 and 230:
understanding.”[160] Time of day
Page 231 and 232:
ears).[167] Videogames take advanta
Page 233 and 234:
the orphanage, church, warehouses,
Page 235 and 236:
Golden Arm and His Girl Friday, tel
Page 237 and 238:
directions except toward the goal.
Page 239 and 240:
This dynamic is played out in a sho
Page 241 and 242:
169 Celia Pearce, “Narrative Envi
Page 243 and 244:
ilovebees: Playing and Designing in
Page 245 and 246:
Curious parties falling through the
Page 247 and 248:
Columns of paired numbers appear, l
Page 249 and 250:
may be, they may still need to be n
Page 251 and 252:
strength of its developers and its
Page 253 and 254:
Resident Evil 4: The Mercenaries Mi
Page 255 and 256:
skills at RE4 have earned you the p
Page 257 and 258:
Another important factor that adds
Page 259 and 260:
The strongest pressure on the playe
Page 261 and 262:
• Do I have enough health left to
Page 263 and 264:
New Section Francisco Souki It was
Page 265 and 266:
the game stayed true throughout the
Page 267 and 268:
a reflective Mamma mia! You only ne
Page 269 and 270:
point it all took shape in my head.
Page 271 and 272:
neutral planet, the attacking ships
Page 273 and 274:
want to attempt to play at an exper
Page 275 and 276:
abusive language. Most importantly,
Page 277 and 278:
Stephen Jacobs is an Associate Prof
Page 279 and 280:
granted by the EPSON Ibérica’s
Page 281 and 282:
and Second Person. He is cited in m
Page 283 and 284:
of Gaming and Computer-Mediated Sim
Page 285 and 286:
designing and developing cross-medi
show all

Well Played 2.0: Video Games, Value and Meaning - OpenLibra

Create successful ePaper yourself

Delete template?

Save as template?