Search results for "C_THR86_2305 Latest Study Guide 📟 Reliable C_THR86_2305 Test Sample ⌛ C_THR86_2305 Braindumps 🥈 Open [ www.pdfvce.com ] and search for [ C_THR86_2305 ] to download exam materials for free 🤲Test C_THR86_2305 Lab Questions"
| Results 981 - 990 of 1053
|
Page 99 of 106
|
|
Sorted by: Relevance | Sort by: Date
|
Results per-page: 10 | 20 | 50 | All
|
[…]and exuberance for words. “Stop & Go To Slow,” for instance, was composed while driving, “[o]ne line written and collected in a notebook every time the car stopped” (American Standard/Canada Dry 115). This form establishes a literal mapping of Cain’s cityscape through language, since it is drawn from his particular commute. It connects his thoughts and his physical movement in the city through a linguistic cartography, which suggests the ways in which daily life is composed and ordered by language. The exercises in formal constraint with which Cain engages can reflect how little space outside of language is available; the […]
[…]chronological order – in that the most recent texts appear in the third section, while the latest texts in the first section are relatively old, and so on – so that the three parts suggest a rough overall development of Kac’s work. Before I consider the overall work of this book, let me note that there are several things this book is not. It is not a comprehensive account of Kac’s activity as an artist. Telepresence & Bio Art covers what may be the best known of Kac’s endeavors, but other aspects are unrepresented. His holopoetry and other language art […]
[…]is strongly present in CoC. The Mythos pushes it strongly. It is not expected that one can go toe-to-toe with Shoggoth so a more investigative theme is suggested by the rulebook (Petersen and Willis 2005: 26). Some fans of the Cthulhu Mythos are appalled by the idea that one might want to have it any other way. Reading a review of the d20 CoC the reviewer answered a presumably prevalent question: “Does this game – through use of its level/feat/class based groundwork *promote* sessions in which Investigators attack cultist hide-outs A-Team style? No – bad players and worse Gamemasters promote […]
[…]Strategies Life in the Garden was not the result of analytically plotting out content to form. It emerged organically through a process of constant prototyping and playtesting, modifying and refining the format and writing – and later, the images, layout, and packaging. Some of my design strategies included the following: Appropriating Eden The garden of Eden is a set of characters, situations, themes, and ideas that are incredibly pregnant with meanings and possible interpretation. Members of the cast (Eve, God, Adam, the serpent, and the occasional anonymous angel) can be invoked without resorting to backstory exposition. By writing into a […]
[…]my interest in literature, is probably the reason why I try to give a strong theme to all my games and to have them tell something that feels like a story, something you can retell when the game is over – something you can dream of. I always keep in mind when designing a game that it must have a kind of “story arc” (I hope I’ve understood this idea, since there’s no equivalent for “story arc” in the French language), a thread that will both help players place themselves in the game, know where and when they are, and […]
[…]as a villainous character, and vice versa. The original COC design involved Investigators trying to complete “case” cards, and Mythos players trying to complete “conspiracy” cards, but this made no sense in the new seven-faction design. I collapsed the cases and conspiracies into one “story card” deck that was functionally distinct from the AGOT “plot” deck. Instead of each player bringing a customized plot deck, in COC the players would draw from a central deck of story cards, three of which would be drawn at the start of each game and placed between the players. When a story card was […]
[…]that allow the consumer to recognize the IP as being unique and valuable. It’s also a good way to examine differences in storytelling across different media. During the last several years, I’ve created licensed board games from such diverse game media as video games (Warcraft and Doom) and pen-and-paper role-playing games (Call of Cthulhu). Each such conversion brings its own challenges, but at the core is a single task: How can I retell a story designed for an entirely different medium in a way that acknowledges the strengths and weaknesses of the medium I’m working in? Perhaps the best illustration […]
[…]the player to give in and fail to break up. The title is a Windows-executable program, available for download at robert.zubek.net. The player begins the interaction by selecting some personal information for the simulated soon-to-be-ex, after which an instant messenger window opens. The interaction mimics standard IM chat – it happens in real time via typed natural English text and emoticons. The system does not attempt strong semantic processing of the player’s utterances. Rather, it works by categorizing the utterances as situation-sensitive “moves” in an interaction space, whose significance depends not just on the text of the utterance, but also […]
[…]a point with that NPC. If Narracott aids an NPC, the player gains a point. The NPCs’ answers to questions and willingness to cooperate with Narracott’s plans depend on the state. Here are two possible replies to a question the player chooses to ask, depending upon his current standing with the NPC Lombard: You said you recognized Owen’s voice? (+1 on suspicion meter) Lombard: Alright, Narracott, I’ll tell you. I was hired by Archibald Morris, the non-existent Mr. Owen’s attorney. He first made contact with me over the telephone. It was Morris’ voice on that recording, I’d swear to it. […]
[…]Fictions” section of Second Person, focusing on the conversion of human ludic interaction into computational processes – a necessary condition for computer games. Editors’ Introduction to “Computational Fictions” What makes computer games different from other games? What makes Pong different from tennis, video poker different from traditional poker, or one of EA’s Lord of the Rings computer role-playing games different from Dungeons & Dragons? Of course, the differences are many, when considering particular games – for example, whether referees are employed, cards are used, or hard cover rulebooks of hundreds of pages are regularly published. But another type of difference […]