Capable of seeing the present at different points in time, the visionary artist, Tycho, was among the first to see glimpses into the world of Ingress, predicting the death of Roland Jarvis and the event now known as Epiphany Night months before they took place. A ghost artist capable of mimicking the styles of others, Tycho's Ingress Comics 1-3 capture the events of Epiphany Night, Dr. Bogdanovich's escape and 855's cold blooded pursuit, the murder of Roland Jarvis and Hank Johnson's journey into the Congo and in riveting detail.
Storytelling for Virtual Reality serves as a bridge between students of new media and professionals working between the emerging world of VR technology and the art form of classical storytelling. Rather than examining purely the technical, the text focuses on the narrative and how stories can best be structured, created, and then told in virtual immersive spaces. Author John Bucher examines the timeless principles of storytelling and how they are being applied, transformed, and transcended in Virtual Reality. Interviews, conversations, and case studies with both pioneers and innovators in VR storytelling are featured, including industry leaders at LucasFilm, 20th Century Fox, Oculus, Insomniac Games, and Google. For more information about story, Virtual Reality, this book, and its author, please visit StorytellingforVR.com
The greatest trick the videogame industry ever pulled was convincing the world that videogames were games rather than a medium for making metagames. Elegantly defined as “games about games,” metagames implicate a diverse range of practices that stray outside the boundaries and bend the rules: from technical glitches and forbidden strategies to Renaissance painting, algorithmic trading, professional sports, and the War on Terror. In Metagaming, Stephanie Boluk and Patrick LeMieux demonstrate how games always extend beyond the screen, and how modders, mappers, streamers, spectators, analysts, and artists are changing the way we play. Metagaming uncovers these alternative histories of play by exploring the strange experiences and unexpected effects that emerge in, on, around, and through videogames. Players puzzle through the problems of perspectival rendering in Portal, perform clandestine acts of electronic espionage in EVE Online, compete and commentate in Korean StarCraft, and speedrun The Legend of Zelda in record times (with or without the use of vision). Companies like Valve attempt to capture the metagame through international e-sports and online marketplaces while the corporate history of Super Mario Bros. is undermined by the endless levels of Infinite Mario, the frustrating pranks of Asshole Mario, and even Super Mario Clouds, a ROM hack exhibited at the Whitney Museum of American Art. One of the only books to include original software alongside each chapter, Metagaming transforms videogames from packaged products into instruments, equipment, tools, and toys for intervening in the sensory and political economies of everyday life. And although videogames conflate the creativity, criticality, and craft of play with the act of consumption, we don’t simply play videogames—we make metagames.
"Hello, my name is Thomas Thwaites, and I have made a toaster." So begins The Toaster Project, the author's nine-month-long journey from his local appliance store to remote mines in the UK to his mother's backyard, where he creates a crude foundry. Along the way, he learns that an ordinary toaster is made up of 404 separate parts, that the best way to smelt metal at home is by using a method found in a fifteenth-century treatise, and that plastic is almost impossible to make from scratch. In the end, Thwaites's homemade toaster—a haunting and strangely beautiful object—cost 250 times more than the toaster he bought at the store and involved close to two thousand miles of travel to some of Britain's remotest locations. The Toaster Project may seem foolish, even insane. Yet, Thwaites's quixotic tale, told with self-deprecating wit, helps us reflect on the costs and perils of our cheap consumer culture, and in so doing reveals much about the organization of the modern world.
A consideration of the distinction between the spatiotemporal furniture of the world (tokens) and the types of which they are instances, and an argument that types exist. There is a widely recognized but infrequently discussed distinction between the spatiotemporal furniture of the world (tokens) and the types of which they are instances. Words come in both types and tokens—for example, there is only one word type 'the' but there are numerous tokens of it on this page—as do symphonies, bears, chess games, and many other types of things. In this book, Linda Wetzel examines the distinction between types and tokens and argues that types exist (as abstract objects, since they lack a unique spatiotemporal location). Wetzel demonstrates the ubiquity of references to (and quantifications over) types in science and ordinary language; types have to be reckoned with, and cannot simply be swept under the rug. Wetzel argues that there are such things as types by undermining the epistemological arguments against abstract objects and offering extended original arguments demonstrating the failure of nominalistic attempts to paraphrase away such references to (and quantifications over) types. She then focuses on the relation between types and their tokens, especially for words, showing for the first time that there is nothing that all tokens of a type need have in common other than being tokens of that type. Finally, she considers an often-overlooked problem for realism having to do with types occurring in other types (such as words in a sentence) and proposes an important and original solution, extending her discussion from words and expressions to other types that structurally involve other types (flags and stars and stripes; molecules and atoms; sonatas and notes).
Cambridge International AS & A Level Further Mathematics supports students following the 9231 syllabus. This single coursebook comprehensively covers all four modules of the syllabus and helps support students in their studies and develops their mathematical skills. Authored by experienced teachers of Further Mathematics, the coursebook provides detailed explanations and clear worked examples with practice exercises and exam-style questions. Answers are at the back of the book.
In Theorizing Myth, Bruce Lincoln traces the way scholars and others have used the category of "myth" to fetishize or deride certain kinds of stories, usually those told by others. He begins by showing that mythos yielded to logos not as part of a (mythic) "Greek miracle," but as part of struggles over political, linguistic, and epistemological authority occasioned by expanded use of writing and the practice of Athenian democracy. Lincoln then turns his attention to the period when myth was recuperated as a privileged type of narrative, a process he locates in the political and cultural ferment of the eighteenth and nineteenth centuries. Here, he connects renewed enthusiasm for myth to the nexus of Romanticism, nationalism, and Aryan triumphalism, particularly the quest for a language and set of stories on which nation-states could be founded. In the final section of this wide-ranging book, Lincoln advocates a fresh approach to the study of myth, providing varied case studies to support his view of myth—and scholarship on myth—as ideology in narrative form.
This unique take on quests, incorporating literary and digital theory, provides an excellent resource for game developers. Focused on both the theory and practice of the four main aspects of quests (spaces, objects, actors, and challenges) each theoretical section is followed by a practical section that contains exercises using the Neverwinter Nigh
