At Iris' house, Barry suggested they use Linda to lure Zoom, though realizing what he was saying was wrong, Iris told him it was a good idea. Jones either fell in love with a woman or the sea. Keep can be accessed on a variety of devices including tablets and smartphones through an Origin account.
My Guide to Appealing: Understand the following: 1. You can only make one appeal. He also leads the 4A Region 2 stats categories in passing, total yards and rushing for a quarterback. An elegant solution to your hoarding problem. Bowser Jr. The longer your path, the more resources you acquire.
Labs team took Linda on a practice run. He is a supporting later main character in season 1 and one of the key. A beta version of the application was publicly released on October 29, These items can be crafted by the player or dropped from blocks or mobs. It has multiple crowd control abilities, and depending on what Skill Points are invested where, the Warrior can. For other similar uses, seeMing disambiguation.
Rand lost his parents in a plane crash which resulted with the young Rand being rescued by monks and taken to K'un-Lun where he trained and eventually took the title of the Iron Fist. Drops on the vanilla wiki. Since she was a child, Mantis helped ease Ego's neurotic behavior with her powers until the Guardians came to his planet. R1-J5 served the former New Republic starfighter pilot—turned—mechanic Jarek Yeager for several years.
After becoming orphaned at a young age, Jones was taken in by Dorothy Walker and developed a deep friendship bond with her adoptive sister, Trish Walker. I found summoning spells to be fairly. Ming-Hua was a congenitally2 armless waterbending master, fugitive, and member of the Red Lotus. Stormtrooper armor was the standard armor worn by the Imperial stormtrooper. Where packages, notebooks, projects and environments are shared.
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But we just don't want to ban him as it is a first offense and he is my personal friend. The undercurrency carries with it the sedimentary traces of all forms of play. As play accretes within this digital undertow, different forms of metagaming are made exchangeable and flattened into one monolithic unit of measure: productivity. This chapter charts the undercurrency through an in-depth analysis of one of the most famous play in the history of Dota 2, a sea change in which the statistical play of two tide hunters transformed the metagame.
In the last weekend of August, in , the audience assembled at Benaroya Hall were not enjoying the Seattle Philharmonic perform the Pines of Rome They had not gathered to watch an Indigo Girls concert or listen to Ira Glass reinvent the radio.
Drawn forward as if automated, spines pneumatically straightening and hands moving to meet faces and mouths, the spectators in Seattle were caught up in The Turn of the Tide. Onlookers gazed beyond the wood-trimmed proscenium and oversized vitrines to an industrial spectacle of another sort: professional players packed behind computers, fingers clicking mechanical keyboards and multibutton mouses, faces lit by rows of LCD screens, and heads entombed in noise-cancelling headphones.
Hanging above the booths, massive movie screens projected aggregate electronic performances alongside live commentary and statistical analysis in three languages. Figure 5. A panoramic photograph of The International at Benaroya Hall documents the crowded hall, box seats, and two teams competing at the heart of the event.
Out of the hundreds of hours of tournament proceedings, seventeen seconds stand out. Throughout The International, and in Dota 2 more generally, Western teams are often described in terms of risky, aggressive play styles that result in thrilling, high octane spectacles loaded with the exceptional achievements of individual athletes.
As commentators attempted to generate compelling frame narratives on the fly, the often inscrutable and intensely complex teamwork taking place on the screen was reduced to common cultural stereotypes for the sake of spectacle. Around the time of The International, more than one racist meme emerged online depicting Chinese players top or Anti-Mage bottom a powerful hero with a long experience curve as rice farmers.
Popular narratives in which Western teams perform audience-friendly feats of daring and heroic individualism while Chinese teams opt for calculated collective wins at the expense of visual spectacle reveal how nationalism and race are still at play in digital games and how stereotypes function to reduce both the skill and, at the time, the winning strategies of East Asian players to racist tropes.
More than two hundred thousand sleep-deprived Chinese fans pulled all-nighters on Sunday to watch the end of the tournament. The International was broadcasted with live commentary in English, Russian, and Chinese on at least two streaming video providers and, importantly, within the Dota 2 client itself. Audiences were invited to watch The International in real-time through the same technical apparatus and graphic interface as those players competing live.
Beyond manipulating the perspective oneself or following the gestures of a live observer or professional player, Valve also implemented an artificially intelligent camera that exploited the delay between action and broadcast to algorithmically select and prematurely pan to those locations with the highest density of incoming information. Within this holistic software client, viewers selected their unique vantage point among a vast, in-game audience while, at the click of a button, they could jump from spectating to playing into their own 5 vs.
In Dota 2 , watching sports and playing sports are no longer easily separated. To this end, it is crucial that the company does not simply distribute free software, but requires users to first install Steam. Once the hurdles of installing the storefront and hooking up a credit card are overcome, the convenience of the digital marketplace, viral consumption within social networks, and impulse purchases usually at extreme discount far exceed the potential profit from the sale of a single title.
Contrary to their label, free-to-play games are not the altruistic offerings of the game companies, but rather the giftlike distribution of software in order to combat piracy and create a temporary credit economy that, after a momentary delay or deferral, will generate greater profits through in-game advertising, cosmetic markets, and player-to-player evangelization.
For Dota 2 and e-sports in general, videogame software ceases to operate simply as a game and transforms into service platforms, social networks, and online marketplaces for another type of play: a massive, million-dollar moneygame, in which free-to-play is actually a code word for free-to-pay.
This seventeen-second sea change became the breaking point of both The International and the strategic metagame that had governed much of the gameplay that summer. Who leads the way? I believe it should be Zhou. They storm up the river. Patience from Zhou, waiting in the wake. The surge! He catches everyone! Oh, this could be a total disaster! Vacuum in! Ravage on everyone! The black hole as well! LighTofHeaveN turns it around! Ravage as well, stolen by Dendi! Are you kidding me? They turn it around!
Four heroes dead for iG! Chuan trying to survive. Puppey talked about the Naga counter. They turn it around. Standing ovation from the crowd! The last tower will be going down and I think they sense blood in the water! Valve c. Whereas the English and Russian commentators worked themselves into a frenzy, the three Chinese commentators observed the reverse all-kill in a stunned radio silence, dead air hanging over their drowned team. Despite the differing emotional responses based on obvious allegiances, the question still remains: What exactly happened here?
These remediated, real-time narratives of the commentators do not adequately account for what is at play beneath the phenomenal surface of The International. There is an immense and incommensurable gulf between the human experience of The Turn of the Tide and the ultrafast electrical undercurrents governing the computational processes and network protocols that make up the mechanics of Dota 2. Rather than manipulating these currents directly, pro gamers and publishers alike rely on inductive techniques not to control, but to predict the atmospheric operations that exist along the vanishing point of human experience.
The original Defense of the Ancients has been popular in East Asia for a decade and, in , boasted around 10 million suspected Chinese players. Through Steam, Valve converts metagames into moneygames by investing in the productivity of their player base. From community-designed cosmetics to the spectacle produced by live spectators to player-programmed mods, Valve seeks out historically undervalued metagames and capitalizes on the undercurrent of player production, the undercurrency at work in The Turn of the Tide.
Over two hundred years ago, in the late eighteenth century, ripples of The Turn of the Tide were beginning to gather in the most unlikely places: in the classrooms and parlors of Johann Christian Ludwig Hellwig, the German professor of mathematics and natural science credited for inventing the wargame, or kriegsspiel.
In his marvelous seven-hundred-page tome, Playing at the World: A History of Simulating Wars, People and Fantastic Adventures from Chess to Role-Playing Games , Jon Peterson documents the first wargamers and their attempts to build miniature models of combat for recreation and research. Starting in , Hellwig expanded and instrumentalized the rules of chess in an attempt to more faithfully represent the terrain and tactics of large-scale military combat for pedagogical purposes.
Under careful instruction, players began each game with over a hundred pieces adapted from pawns, knights, bishops, rooks, and queens to represent contemporary infantry, cavalry, and artillery with which they captured fortresses instead of slowly moving kings see Figure 5. As seen in Rolf F. Photographs by Ralf Wegemann, , reproduced with permission from Rolf F.
Along with the growth of mapping technologies as well as the mathematization and abstraction of vision at the turn of the nineteenth century, new disciplines like statistics and probability became of interest to governmental, economic, and military powers.
Although ancient gamblers rolled astragalus bones for play, profit, and prophecy, Ian Hacking , 11 designates the period around as the moment when contemporary Western concepts of probability emerged throughout Europe. These gave way to mathematical principles of probability that decides game events.
The Reiswitzes imported statistical models and interfaces into their wargames. What ties these historical developments in statistics, cartography, and gaming together is the reliance on numerical abstraction—the conversion and compartmentalization of otherwise undifferentiated material phenomenon into discrete quantities to be compared, exchanged, and procedurally operated upon.
From gridded topographies and mathematical probabilities, the history of wargaming negotiates the ontological tension between measurement and measured. Beyond their function as a leisure activity for aristocrats and training exercises for military students, wargames found a new audience and narrative storyworld in the twentieth century.
Tolkien—inspired fantasy settings. One such example that would be of particular historical significance to the development of Dota 2 was Warhammer: The Game of Fantasy Battles. First published in by Bryan Ansell, Richard Halliwell, Graham Eckel, and Rick Priestley, Warhammer adapted the miniature tabletop combat of wargaming to the fantasy genre.
Small, painstakingly detailed lead statuettes of wizards and warriors replaced traditional infantry and artillery. The RTS genre of videogames adapts elements of the classic wargame to a computational environment. Miniature figures are still positioned around a modular battlefield with the intention of simulating large-scale combat, but many of the gameplay elements are automated and, as such, are far more granular than most tabletop games in terms of space and speed.
Instead of placing hand-painted figurines on massive, foam-core topologies, RTS games automate dice rolls, unit positions, and even the passage of time. The built structures in the Warcraft series range from the familiar to the fantastic with farmhouses, barracks, and blacksmiths sharing the same geographic space with goblin apothecaries, gryphon aviaries, and gnomish ateliers. Confronted with the formal and mathematical mechanisms driving these virtual battlefields, human play tarries with the number, the statistic, and the score that Connor calls ratio.
Ratio renders otherwise irreducible material components, spatial gestures, or temporal events abstract and exchangeable. The urge to compare scores, to reduce unique moments of play and make them fungible with one another, is also the motor driving what Roger Caillois , 12 calls agon, or competition.
Agon lies at the heart of the most ancient games and, not coincidentally, the heart of capital. With the drama and agony of competition, it is easy to forget that actions and events of both games and commodities must, at some point, be abstracted, or grammatized, into number. In the process, play becomes precisely the act of negotiating the discontinuity between phenomenal experience or, on the other hand, material substance and the abstract rules of the game or market.
Both play and game, in this cut up form, entail utopian horizons—two divergent lines of flight propelling human desire. This dream of an immersive, escapist, autonomous, and fantastic gamespace structures consumption and production within the videogame industry. More than merely selling entertainment products, the games industry sells an ideology. Here the practical possibilities of play are expropriated into yet another form of statistical labor, an affective economy privatized within an industry designed from the ground up to capture and mobilize desire.
However, despite these utopian fantasies, play and game do not stand absolutely apart, nor do they precisely correlate. There has never been a game that is absolutely unnecessary, immaterial, and ahistorical. Since the Reiswitz family, the material and historical friction that has always existed between rules and play has been expressed and allegorized through the inclusion of probabilistic or chance-based mechanics.
Probability is the play of number that number itself makes possible. From wargames to Warhammer to Warcraft, it is probability that most closely resembles the deeply commingled, historical relation between game and play—and the primary operation driving The Turn of the Tide.
In pinball cabinets, electric toys, and videogames physical forces like gravity, momentum, friction, acceleration, and electricity—along with the infelicities of MacDraw- and MacDraft-style interfaces—replace the rules of the game sometimes skeuomorphically simulating the rules of analog games, sometimes disavowing rules altogether.
In digital games rules become mechanized; in analog games mechanics are often ignored. Whereas the official rulebook of Major League Baseball details the composition of each team, methods for scoring, and the precise geometry of the field, it does not include the gravity of the Earth see Figure 5.
Whereas videogames attempt to reduce all player actions and social rules to their mechanics, exposing the ideological drive to conflate the game with play, metagaming entails the material, historical, and experiential complexities that videogames that the ideological avatar of play rule out. How disabled players negotiate standardized control schemes, how siblings take turns according to house rules, how partygoers drink for each digital death, and even how probabilities predict play are all metagames.
Metagaming accounts for those external rules or social customs built in, on, around, and through videogames. The strategies of speedrunners, preferences of pro gamers, and even the tendencies of conspicuous consumers are not what is packaged and sold in stores, distributed on digital networks, or produced by hardworking programmers.
Whereas the videogame can be reduced to an abstract set of binary numerals or algorithmic instructions that nevertheless structure the way we play, metagaming constitutes the material histories exceeding the algorithm. And one of the most intricate and influential metagames evolved and continues to evolve within Warcraft III is a mod called The Defense of the Ancients.
The personal preferences and quirks of individual players coupled with the coevolution of common strategies and patch updates is the metagame of Dota 2. Ninety-two heroes with about four abilities each who can use one hundred and thirty-eight items offer an almost inconceivable range of statistical variation not to mention the specific strategies executed in real time within a match see Figure 5.
With the draft, Dota 2 offloads game design decisions like the balance between various hero combinations to the players, as they collectively design—via the ever evolving metagame—what kind of Dota 2 they will play. The Siren-Seer metagame is all too evident in the statistics for The International. Out of ninety-two possible heroes, the top three banned and picked throughout the entire tournament were Dark Seer at times and Naga Siren tied with Rubick at Captains used their limited number of picks and bans to prevent the competition from lining up overpowered combinations of heroes.
Oh god, if they give up the Tidehunter. How do you take a fight? Yet, the footage of the team gathered together in their glass box shows the Ukrainians grinning ear-to-ear and giggling mischievously. While not the strongest or fastest hero in Dota 2, in , Tidehunter was a very defensive pick who could be used to support fragile teammates and buy them time to level up and get some gold.
Beyond his early game utility, Tidehunter also has a powerful ultimate ability called Ravage that can stun a whole team if they are clustered together and is often used to initiate large 5 vs. In this tournament, in this series, in this match against this team, and with this specific metagame, how could picking Tidehunter go wrong?
Like Counter-Strike , Team Fortress , and Day of Defeat before it, Valve has built a business on converting player-produced metagames into service platforms that flatten leisure activities alongside other forms of labor. Werner . In All Your History, and in games journalism more broadly, Dota is presented as a historical anomaly, a mutant mod with evolutionary origins outside the umbrella of the games industry.
The industry—a complex ecosystem of corporate stockholders, development studios, trade shows, global distribution companies, retail vendors, and both independent and completely dependent journalists—attempts to subsume much of the history of videogames and games in general within its sphere of influence.
Although Dota is a mutant, it did not spontaneously emerge. Featuring a seemingly counterintuitive mixture of gameplay borrowed from RTS, action adventure, roleplaying, and tower defense games, AoS instituted many of the defining albeit nascent features of Dota : the map, the mechanics, and the mission.
Yet the mod was underplayed. The bizarre mixture of mechanics would not prove viable until remade in another game engine: the Warcraft III World Editor Compared to an early four-lane tower defense map like Aeon of Strife top , the onscreen mini-maps from Dota 2 left , Heroes of Newerth middle , and League of Legends right reveal a very similar, symmetric design for team versus team gameplay.
Blizzard released Warcraft III, along with its editing tools, and modders went crazy. Importantly, the original DotA focused more on player-versus-player PvP competition than AoS by allowing two teams of five players aided by AI rather than a single set of players working together against a computerized opponent. With these basic elements added to AoS, DotA began to gain steam. With so many tweaks and changes being tested out within this ad hoc, player-driven development community, compilations emerged over time featuring the most popular mechanics and hero units borrowed from dozens of different games.
More than simply building a clearinghouse for favorite heroes, items, and abilities, Feak took on the mercurial task of consolidating, tweaking, balancing, and debugging the game with a loose team of modders who designed many of the features that have come to define the genre. Feak worked on DotA Allstars until version 6. But rather than building a game around leveling a single unit for cooperative player versus environment PvE challenges like World of Warcraft, DotA focused on manipulating individual units in a team-based, PvP setting.
Because the game emerged from a community of modders rather than the games industry proper, for many years DotA was undervalued in terms of both economic and cultural capital. After the newfound euphoria for the MMO and a rocky shift of power, Neichus picked up where Feak left off before handing Allstars over to IceFrog, who continued to labor in relative obscurity and without pay to maintain DotA.
Not much is known about IceFrog, the elusive and longest-serving developer of DotA who began modding the game with Feak and Neichus in October Whereas Eul propagated the explosion of experiments with his JASS source code and, following the first Allstars mods, Feak carefully selected features which would come to define DotA, IceFrog introduced a half-decade-long, glacial age in which the mod stabilized and hardened around a centralized director, a unified design philosophy, and an international scope.
The long evolution of DotA as a species of software slowed as player productivity migrated from the creation of ever-multiplying mods to the culture of competitive play. While Neichus co-authored a few versions of the map starting with 6. With a stable, international version of DotA Allstars available in , version 5. In , international teams were beginning to treat DotA like a sport and with its aging technical requirements the mod could be played on almost any personal computer, from the newest gaming laptops to the beige towers and CRT screens of the late nineties.
With a thriving community and informal global economy, it was only a matter of time before DotA moved from the realm of play to that of profit. Rather than design a new game with original characters, edited map, and different items like League of Legends or attempt a faithful remake of the Warcraft III mod with similar frame rates and polygon counts like Heroes of Newerth , Valve tasked IceFrog and Eul with translating DotA to their Source Engine.
With Dota 2, vestigial features that arose due to the eccentricities of the Warcraft III World Editor become deliberate game design choices. Whereas both Riot and Blizzard appealed to the rights of the community of modders and players, each planned to protect the name of the game for its own interests. The land grab that took place between and in the form of these trademark lawsuits demonstrates one way that corporations enclose the metagame.
Despite its generality, Riot promoted the acronym MOBA multiplayer online battle arena as a way to distance their product, League of Legends, from Dota after Valve acquired the proprietary eponym. Even the transition from the acronym DotA to the word Dota reified the game as a commodity and relocated the metagame from early communities of play built on the exchange of unique designs to a service platform for cosmetic markets, e-sports, and emerging forms of spectatorship.
The technical evolution of Dota began in the antediluvian wake of RTS games and, after surfacing as one of the most successful mods of all time, generated an entire genre of competitive play. Under the management of IceFrog and newly funded by Valve, Dota 2 is less a sequel and more of a service platform, expropriating the metagaming practices that have long supported the game as a global sport.
Yet, the calcification of the play into a professional sport—specifically what has come to be known as e-sports—marks a moment when the evolution of Dota stabilizes and moves away from the production of software to culture. Well beyond the evolution of Dota and its recent acquisition by Valve, the origins of e-sports stretch back to the development of the earliest electronic games.
Taylor offers a rich history of competitive videogaming and documents a half-century of attempts to position computer games within the arena of spectator sport. In one respect, games have always engaged agon, the cut between ratio and kinesis.
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