Academic literature on the topic '1942 (Video game)'

Video game “authors” use procedural rhetoric to make specific arguments within the narratives of their games. As a result, they, either purposefully or incidentally, contribute to the creation and maintenance of collective/cultural memory. This process can be identified within the directorial works of Shinji Mikami that include a set of similar general themes. Though the settings of these games differ, they include several related plot elements. These include: 1) depictions of physical and emotional trauma, 2) the large-scale destruction of cities, and 3) distrust of those in power. This paper argues that Mikami, through processes of procedural rhetoric/ authorship, can be understood as an “author” of video games that fall into the larger tradition of war and atomic bomb memory in Japan. (Also known as hibakusha (bomb-affected persons) literature). As a result, his games can be understood as a part of Japan’s larger collective/cultural memory practices surrounding the atomic bombings of Hiroshima (6 August 1945) and Nagasaki (9 August 1945). In the case of Mikami, the narratives of his games follow what Akiko Hashimoto labels as the “Long Defeat”, in which Japanese collective/cultural memory struggles to cope with the cultural trauma of the Pacific War (1931-1945). To illustrate this argument the paper engages in a close reading of Mikami’s Resident Evil, Dino Crisis, Resident Evil 4, Vanquish and The Evil Within and identifies tropes that are common to Japanese war memory and hibakusha literature.

TikTok Cash melakukan praktik money game skema ponzi yang menyebabkan kerugian bagi penggunanya. Tujuan penelitian ini adalah untuk menganalisa bagaimana praktik money game skema ponzi yang dilakukan oleh TikTok Cash dan aturan yang dilanggarnya. Metode penelitian ini menggunakan teknik analisis deskriptif dalam analisis data nya dan dokumentasi dalam teknik pengumpulan datanya. Hasil dari identifikasi Money game Skema Ponzi yang ada di TikTok Cash terbukti dengan adanya biaya pendaftaran untuk anggota yang ingin menjadi pengguna bisnis TikTok Cash tersebut dengan iming – iming penghasilan yang besar melalui pekerjaan yang cukup mem-follow akun, like, dan menonton video TikTok. Pelanggaran hukum yang dilakukan oleh bisnis TikTok Cash diantaranya UU Nomor 7/2014 Pasal 9 tentang Perdagangan Tentang Perdagangan; Pasal 28 ayat (1) Undang - Undang Nomor 19 Tahun 2016 Tentang Informasi dan Transaksi Elektronik (ITE); Pasal 378 KUHP UU Nomor 1 Tahun 1946 Tentang Penipuan/Perbuatan Curang Pasal 3,4 dan 5 Undang – Undang Nomor 8 tahun 2010 Tentang Tindak Pidana Pencucian Uang. Tindakan yang dilakukan atas pelanggaran tersebut sampai saat ini yaitu pelaporan ke Bareskrim Polri dengan surat laporan polisi nomor LP/B/0105/II/2021 tertanggal 15 Februari 2021 dan pemblokiran situs TikTok Cash oleh KOMINFO”.

Cricket batting is a complex movement which can be broken down into a number of components such as the grip, stance, initial movement, backlift, downswing and followthrough. The batting backlift technique (BBT) is an important component of the overall batting technique, when the batsman lifts the bat in preparation for the downswing when impact is made with the ball. Research has demonstrated that the BBT appears to be a key contributing factor to successful batsmanship. For the purpose of this study, video footage of players from the Indian Premier League (IPL) season was analysed (n = 30). This was used to identify the type of BBT employed by the batsmen at the moment the bowler released the ball. The number of players using a lateral batting backlift technique (LBBT) (n = 27) was significantly greater than those using a straight batting backlift technique (SBBT) (χ2 = 19.2, df = 1, p < 0.001). The results showed that 90% of the top performing IPL batsmen during the 2016 season did not adopt the traditionally taught SBBT. Instead, they adopted a more looped action in which the movement of the bat at the moment the bowler released the ball was in the direction of the slips (i.e.: the fielders positioned at an angle behind the batsmen). From this study, it can be postulated that a LBBT is a key contributing factor for batting success, at least in the shorter version of the game, as represented by T20 cricket. It is suggested that in order to score at a rapid rate, as required in T20 games, a LBBT is more effective for batsmen (particularly for presenting an open face of the bat), whereas a SBBT, which is a more a defensive action, may be more suitable for use in the more extended Test match version of the game.

The article describes a methodological approach to monitoring and analyzing attacks of a highly qualified football team. The aim of the research is to develop a methodology for monitoring and analyzing attacks of highly qualified football teams, taking into account various models of the game tactics. Material and methodology. The competitive activity of the national football teams at the 2018 World Cup was studied. Research methodology: analysis and generalization of the literature sources, lesson observation, video analysis of competitive activities, methods of mathematical statistics. Results. A protocol for registration attacks of the football team has been developed. The estimated scale of penetrating attacks and playing off of standard positions of the football team is identified. A different correlation of positional and fast attacks of national football teams, which used different tactical models of the game, has been established. In one half: for the tactical model "A", positional attacks were 32.3±4.35 (61.8%), fast attacks – 20.0±1.78 (38.2%); for the tactical model "B" – positional attacks – 25.2±4.32 (52.7%), fast attacks – 22.6±4.32 (47.3%); for the tactical model "C" – positional attacks – 32.5±3.49 (67.7%), fast attacks – 15.5±3.96 (32.3%); for the tactical model "D" – positional attacks – 19.2±2.87 (41.9%), fast attacks – 26.6±2.87 (58.1%). At the 2018 world Cup, out of 169 goals, 111 (65.4%) were scored as a result of completing positional attacks, 35 (20.7%) – after playing off of the standard positions, and 23 (13.9%) – after implementing penalty kicks. Conclusions. Monitoring and analyzing the attacks of a football team allows managing persistently the competitive activities of football players both at the operational level during a single game and at the current level during a competitive tournament.

Esta tesis realiza una profunda y exhaustiva mirada histórica sobre el surgimiento y posterior difusión de los videojuegos de 8 bits en España entre los años 1983 a 1992, un periodo conocido popularmente como la “Edad de oro del software español”. La tesis permite cuestionar los argumentos que hasta ahora sostenían una visión única y poco crítica sobre esta etapa, conformada básicamente alrededor de las vivencias de las primeras empresas y programadores del sector que diseñaron y comercializaron los primeros juegos para ordenadores. Centrándose más en el conocimiento de los usos y prácticas alrededor de las tecnologías en los diferentes contextos de la cotidianidad de las personas, esta tesis muestra que en el desarrollo del sector de los videojuegos en España intervinieron en realidad una mayor diversidad de actores, procesos y espacios de los mencionados habitualmente. El desarrollo del sector de los videojuegos en España coincidió con los procesos de negociación por el control, implantación y difusión de la tecnología informática en todo tipo de espacios: administración pública, universidades, escuelas, hospitales, fábricas, laboratorios, oficinas y también hogares. Los debates públicos acerca de la llamada IT Revolution que se estaba produciendo en otros países no hicieron más que incentivar la voluntad por parte del Estado de abanderar este proceso, bajo el pretexto de que el único camino para modernizar el país pasaba por conseguir su informatización. De esta manera, las tecnologías informáticas y electrónicas se identificaron como uno de los elementos clave para conseguir el desarrollo económico del país ante su inminente entrada a la Comunidad Económica Europea a partir del año 1986. Al mismo tiempo, el Estado contempló la necesidad de llevar a cabo acciones e iniciativas para familiarizar a los ciudadanos con la informática y el uso de los primeros ordenadores domésticos como herramientas educativas y de trabajo. En aquellos años se solía difundir que la informatización del país transformaría radicalmente los sectores productivos y de trabajo, así que desde el sector público se enfatizó la necesidad de adquirir las nuevas competencias relacionadas con el sector informático de cara a encontrar un trabajo estable en el futuro. Respecto a esto, el sector público percibía a la población española como a una sociedad masa de individuos totalmente desconocedora de la disciplina informática y a la que había que instruir para que emplearan los ordenadores con una finalidad utilitaria. No obstante, esta tesis también revela una inesperada agencia activa por parte de los primeros usuarios y aficionados informáticos. Con el acceso y la posibilidad de juguetear y experimentar qué se podía hacer con los primeros ordenadores, estos usuarios empezaron a hacer circular unas determinadas formas de conocimiento y prácticas que no encajaban con las utilidades “serias” inicialmente asociadas a la disciplina informática. Como resultado, el uso de los ordenadores como tecnologías de entretenimiento promovió prácticas alternativas de consumo relacionadas con el sector informático y que acabaron extendiéndose socialmente.
This thesis contributes a multifaceted and exhaustive historical account of the emergence and subsequent diffusion and circulation of 8-bit video games in Spain between 1983 and 1992, a period known, in this sense, as the “Golden Age of Spanish software”. In doing so, it problematizes the claims that have hitherto sustained a flat and one-dimensional view of this period, a perspective built essentially around the experiences of the first companies and programmers of the sector who designed and commercialized the first computer games. By focusing on probing people’s uses and practices with and around technology in their different everyday contexts, this thesis shows that a larger diversity of actors, processes and spaces than those usually pointed out were actually involved in the development of the video games sector in Spain. Such development of this industrial and technological sector concurred, in that particular context and period, with key processes of negotiation concerning the implementation, diffusion and control of computing technology in a wide range of contexts: the public administration, universities, schools, hospitals, factories, laboratories, offices and also households. The public debates around the so-called IT Revolution that was also taking place in other countries encouraged the State’s will to take a leading role these processes under the pretext of considering widespread computerization as the only way to modernize the country. In this way, computing and electronic technologies were deemed as one of the key elements to achieve the economic development of the country, even more with regards to its then impending entry in the European Economic Community in 1986. At the same time, the State pondered the need to carry out actions and initiatives aimed at familiarizing citizens with computing and the use of the first home computers as educational and work tools. In those years, it was typically publicized that the country’s computerization would lead to a radical transformation of the productive and work sectors; therefore, the public administration stressed the need for people to acquire the new skills linked to the computing sector in order to have the chance to land a steady job in the future. In this respect, the public sector considered Spanish people as a mass society of individuals ignorant of the computing field and thus in need of instruction allowing them to usefully operate computers. However, this thesis also reveals an initially unexpected active agency on the part of the first computing users and enthusiasts. Given the access and the possibility to tinker and experiment what could be done with the first computers, these users started circulating certain kinds of knowledge and practices that did not match the “serious” usages at first associated with computing. As a result, the use of computers as entertainment technologies fostered alternative consumption practices related to the computing sector that in the end permeated society at large.

As the United States shifted toward a service-based economy and an increasingly digital media environment, American youth -- particularly young men and boys -- found an opportunity to play with these values in the then-novel video game arcade. The video game industry first came of age between the successful commercialization of Pong in 1972 and the U.S. gaming industry crash of 1983. In the interim, economic and play practices in the arcade itself and media representations of the arcade and its habitués shaped and responded to the economic and cultural upheavals of the period. Arcade machines were the first computers many Americans confronted. Through public discourse about gaming and gamers, Americans engaged in a critical debate about computerization, the move to digital media culture, the restructuring of the U.S. labor economy, and the competitiveness of American youth -- particularly boys -- in a Cold War culture conceived as both hostile and technologically oriented. This study demonstrates that video gaming was an arena in which Americans grappled with larger tensions about masculinity, globalization, labor, and digitalization. By analyzing gaming as a practice of everyday life, this work not only offers a cultural history of this period of gaming, but critical insights into the crystallization of masculine identity in a postindustrial, postmodern economy.
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The video game adaptation of Blade Runner (1997) exemplifies the challenges of adapting narrative from traditional media into digital games. The key to the process of adaptation is the fictional world, which it borrows both from Philip K. Dick's novel Do Androids Dream of Electric Sheep? (1968) and Ridley Scott's film Blade Runner (1982). Each of these works provides different access points to the world, creating an intertextual relationship that can be qualified as transmedia storytelling, as defined by Jenkins (2006). The game utilizes the properties of digital environments (Murray, 2001) in order to create a world that the player can explore and participate in; for this world to have the sort of complexity and richness that gives way to engaging interactions, the game resorts to the film to create a visual representation, and to the themes of the novel. Thus the game is inescapably intertextual, since it needs of both source materials in order to make the best of the medium of the video game.

Play is the most powerful, the purest, and the most effective form of communication language and self-expression available (walls, 1982). The concept of therapy through play was derived from Melanie Klein (1921) and Anna Freud (1952). Unfortunately, play is a rapidly declining art due in large part to our ever-changing, fast paced and technologically driven society where recesses are being cut and children often turn to video games instead of the outdoors. With this in mind, incorporating play into the daily academic life of children is critical and vital for their total well being – physically, socially and intellectually. The focus of this chapter is to explain the importance of play, provide a review of the literature, and discuss the theoretical framework, techniques and current trends. Special attention will be focused on how educators can utilize play therapy to enhance self-esteem, social, interpersonal and problem solving skills and reduce the everyday stress that surrounds our children today.

This chapter includes an overview of collegiate esports, which represents a relatively new competitive and involvement opportunity on campus, but which has its origins as far back as 1972. The authors begin with a timeline of video games and their evolution, transitioning to the advent of esports as a varsity activity on college and university campuses. The balance of the chapter deals with student considerations for an esports program in light of a wellness model (i.e., emotional, environmental, financial, intellectual, occupational, physical, social, and spiritual), followed by institutional considerations such as mission, student eligibility, academic supports, finances, and legal issues. The chapter concludes with future considerations related to governance of esports, opportunities for academic program synergies, and research opportunities.

This chapter introduces the reader to Tony Harrison’s audiovisual poetry, composed for and broadcast on British television through the late 1980s and 1990s. Harrison has to date made twelve full documentary film-poems, and one film-poem feature, entitled Prometheus (1998). They all brim with the darker side of European history, current affairs and class politics, and explore what limits of what poetry might do, and how it might do it, in the televisual age. The chapter sets Harrison’s film poetry in its cultural context by paying attention to the poet’s major influences in the experimental medium (John Grierson’s GPO film unit and early Soviet filmmaking), before homing in on his 1992 film-poem The Gaze of the Gorgon as a species of social psychotherapy. The act of gazing at the Medusa-like and thus usually petrifying image of twentieth-century atrocity is offered here not as a ‘dope’ to mankind, but a stimulant towards its cure. The film-poem draws explicitly on Nietzsche’s concept of ‘Dionysiac art’ and Simone Weil’s pacifist notion of ‘force’, and Robert Jay Lifton’s work on trauma and the holocaust. Harrison’s hugely ambitious and uniquely accessible film-poems are currently publically unavailable. Are they the ‘missing link’ in the evolution of contemporary film and video poetry?

Why examine the concept of telepresence? A number of emerging technologies, including virtual reality, simulation, home theater, state-of-the-art video conferencing and virtual three-dimensional (3-D) environment, are designed to give the user a type of mediated experience that has never been possible before. This new experience seems to be “real,” “direct” and “immediate.” The term telepresence has been used to describe this compelling sense of being present in these mediated virtual environments (Held & Durlach, 1992; Steuer, 1992). On the empirical side, the use of this new revolution in media technologies has expanded to telemedicine, telepsychiatry, distance learning, legal testimony from remote locations, arcade games and more (see Lombard & Ditton, 1997). An enhanced sense of telepresence is central to the usefulness and profitability of the new technologies mentioned above, and others such as the World Wide Web and high-definition television. As underlined by Zhang, Benbasat, Carey, Davis, Galletta and Strong (2002) in the management information systems field, the concept of telepresence has become an important component of our understanding of how people experience computer-mediated environments. On the theoretical side, researchers in communication, psychology and other fields are interested in particular in how people are influenced by media presentations. An understanding of telepresence can enhance our theories here, too. Despite the centrality and importance of telepresence, it has not yet been carefully defined and explicated. In fact, researchers, especially those working on human performance in virtual reality, have noted the need to conceptualize and measure telepresence more effectively (e.g., Held & Durlach, 1992; Sheridan, 1992). In the remainder of this article, we (a) review several conceptualizations of telepresence and presence in literature, (b) review telepresence determinants, (c) outline the main methods commonly used for measuring telepresence and (d) recommend attributes of future research concerning this concept.

The Cold War and the nuclear threat made it as difficult, after 1945, to look forward affirmatively as to look back. Enlightenment ideas of a ‘project of modernity’ gave way to postmodern scepticism and stasis, reflected by Samuel Beckett and the nouveau roman, and in other ways in the fiction of Malcolm Lowry and Thomas Mann and the repetitive chronologies of Joyce Cary, Lawrence Durrell and others. After the 1960s, authors such as Muriel Spark confronted the Holocaust and recent history more directly, as in later decades did Ian McEwan, Martin Amis, Graham Swift and others. In this fiction, and generally later in the century, concerns with the clock’s constraints were diminished by long familiarity and by several new factors. These included technologies of film, video, globalised media and the internet, along with increased international travel and encounters with less industrialised cultures. Science fiction, too, and imagination of time-travel, was both symptomatic yet partly redemptive of horological stress. There remained, however, numerous (often historical) novels by authors such as Gabriel García Marquéz, Salman Rushdie, Alasdair Gray and Thomas Pynchon – re-examining, in Mason & Dixon, C18th practices of global measurement – still concerned with the stresses clockwork chronology imposed on modern history.

This article presents a research project carried out at the BT Mobility Research Center with the aim of developing appropriate applications for pervasive iTV, paying special attention to the personal and social contextual usage of this media within the entertainment, work, and government environments. It prospects a future trend in the use of pervasive interactive multimedia systems in future communications scenarios for mobile and pervasive iTV, that is, the use of handhelds as interfaces to extend and enhance the TV experience outside the home boundaries. The new scenarios discussed in this article are based on the assumption that mobile phones interconnected with other surrounding interfaces (e.g., iTV, PCs, PDAs, in-car-navigators, smart-house appliances, etc.), will be decisive in the creation of pervasive interactive multimedia systems. With its recent development into becoming an interactive system, TV seems to increasingly replace traditional “passive” TV platforms through active viewers- participation (Lamont & Afshan, 1999). Moreover, interactive television gives viewers the opportunity to extend their UX of television for activities that currently occur more typically on the Web (Steemers, 1998). These activities are consequent to the enhanced communication possibilities that have been enabled by new media: users can browse information, personalize their viewing choices, play interactive games, carry out e-commerce activities (shopping, banking, voting, etc.), and play increasingly active roles in broadcast programs (to the extent of interacting with other viewers). At the same time, recent technological developments in handsets have converted them into tools for creation, editing, and diffusion of multimedia content. The last mobile phones are equipped with large screen, color display, photo and video camera, and with functionalities as MMS, video call, image, sound, and video editing software. As an intrinsic characteristic of these interfaces, all these operations can be done in any place, time, and environment. This freedom of action can lead to scenarios of pervasive multimedia interaction. In fact, a nomadic generation of users will benefit from pervasive interactive multimedia systems on many levels, not only by merely having access to TV broadcast on their handhelds or playing active roles in interacting with TV programs. The most challenging aspect of iTV is indeed the creativity and the one-to-one connectivity that this medium can enable. This attribute will allow users to become “multimedia-content producers”: They will create content in multimedia formats and share it with others. This research attempts to identify the mutual influence between technology and society. This phenomenon is particularly evident with social technology designed to integrate into household routines. Making effective predictions about new technology requires exploring the critical disconnections between the ways in which such technologies are produced and the ways in which they are consumed, or rejected (Fischer, 1992; Lee & Lee, 1995).