Francis Scott Keys Am I Truly Free

Wednesday, November 17, 2021 9:04:31 PM

Francis Scott Keys Am I Truly Free

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This pic is from the days i only encased myself then spent most of the night on my knees. Here's my CL ad. I can host in bloomington and we can meet in a bar beforehand. Can I tell you how I've met other CDs before? Some have not gone this far and only met to shop, some have gone further. This way makes it entirely up to you. I would like to have a mutual masturbation, bondage, or shopping session together.

I'm totally sub and oral. I really really luv your ballgag pics! I will meet you at a bar, my favorites are Hooters and I see that the Rack Bar waitresses wear pantyhose too. We don't have to be dressed and you don't even have to meet me but you will see me sitting by myself and you will notice i'm dressed a little different. You'll see that I'm wearing women's exercise clothes, a top in feminine colors and tight spandex exercise shorts. You'll also see that I'm wearing pantyhose. If you like what u see, please ask the waitress to send me a drink with a small gift bag. This is where the fun begins. In the bag will be a clear plastic starbucks cup that is filled with cum that you've saved over these two weeks in the freezer and thawed out before we meet and a harness ring gag.

When the waitress brings me the drink and gift bag, she'll be curious as to what's inside. I will first take out the trainer harness ring gag and she'll probably ask, what is that? I'll explain what it is--i've had one waitress immediately recognize it and wink at me! Then, I will clearly, within her sight and anyone who wants to see me take out your clear cup of cum and drink some of the cum through a straw.

I just know that it will be creamy and salty. I will be in heaven! I will then tell the waitress "yummmmm" and swirl it in my mouth. Of course if you don't want her to connect us both, you could drop it off before and i'll ask for it when i get there. Just let it warm up so that it's not frozen when you drop it off and i'll warm it before i drink it. Then i will hand her a wireless remote control and say "please give this back to the one who gave me such a wonderful drink" and I'll point to the semen cup.

She might be confused and quizzically ask "what, turns YOU on?. I'll ask her while i'm being jolted, "p One Hooters girl kept turning it on and off as she delivered it to my stud--I've done this before! Once she gives it to you, you are in control. I will drink anytime you turn me on. You can always do this when the waitresses stops by. Small bursts of my plug will make me sip delicious tastes of your semen. If you want me to take off the lid and gulp it, turn me on full blast. I hope i can contain myself while cumming and drinking cum!

If you want, you can come over anytime to join me and control me in front of the waitress--or waitresses i've done this before and had a bunch of Hooters girls watching me squirm and take turns getting pictures with me having an orgasm face--I loved it!!!! If u want, i'll bring my slut clothes, FM shoes and wig to change and return to our table as a real cumslut. I will give you the key to my hotel room and we can meet back there. I would like you to bind and gag me so that I'm your total fuck puppet. I hope that you enjoy slutty clothes that include pantyhose and heels. I can suck anything when I'm dressed like a slut!

If so, please start to save and freeze your sperm daily so that I have a lot of loads to drink. I can drink as much as 16 ounces of cum. I just luv to do it in public. I did meet the guy at the racks bar and I was in my exercise top and pantyhose covering my entire body. My waitress didn't know what to say when she said, OMG, you have nylons on your arms. He controlled me in front of her but it went unnoticed. We went back to my hotel room and I. Inspired by mysticism, the narrator uses desire and its fulfillment as the principle of life and religion. The senses are explored in depth in contact with a nature rich in gifts, captured in landscapes with oriental colors from Biskra and the painter Etienne Dinet.

May your vision be new at every moment. The wise man is the one who surprises himself with everything. Throw out my book; tell you that it is only one of the thousand possible postures in front of life. Look for yours. What someone else would have done as well as you, don't do. Be devoted in. There are strange possibilities in every man. The present would be full of all futures, if the past did not already project a history.

But, alas! I wish no rest other than the sleep of death. I am afraid that any desire, any energy that I would not have satisfied during my life, for their survival will torment me. I hope, after having expressed on this earth all that awaited me, I am satisfied, I hope to die completely desperate. No, not sympathy, Nathaniel, love. You realize, don't you, that it's not the same thing. It is out of fear of a loss of love that sometimes I was able to sympathize with sadness, trouble, pain that otherwise I would have barely endured. Leave everyone to take care of their own lives. I can't write today because a wheel turns in the barn. Yesterday I saw her; she was beating rapeseed.

The ball flew away; the grain rolled on the ground. The dust suffocated. Everything that seeks to assert itself denies itself; everything that renounces itself affirms itself. Tomorrow's dream is a joy, but tomorrow's joy is another, and fortunately nothing resembles the dream we had of it; for it is different that everything is worth anything. Dare to be what you are. Don't let it get out of hand. There are admirable possibilities in every being.

Persuade yourself of your strength and youth. Know how to tell you over and over again: He only cares about me. I settle down in this point of the space that I occupy, in this precise moment of duration. I do not accept that it is not crucial. I extend my arms all the way. I say: this is the south, the north I am effect; I will be cause. Determining cause! An opportunity that will never come again. I am; but I want to find a reason for being. I want to know why I live. What absurd conception of the world and life manages to cause three-quarters of our misery, and by attachment to the past refuses to understand that tomorrow's joy is only possible if the joy of today gives way, that each wave owes the beauty of its curve only to the withdrawal of that which precedes it, that each flower must wither for its fruit, that this one, if it does not fall and die, does not die.

From the day when I convinced myself that I didn't need to be happy, happiness began to dwell in me; yes, from the day when I convinced myself that I didn't need anything to be happy. It seemed to me, after giving the touch of selfishness, that I had poured forth such an abundance of joy from my heart that I could water all the others with it. This work of youth, long matured, is that of a "convalescent who embraces life as something he almost lost". No novel, no essay, no long poem in prose, this unclassifiable work is a little bit all this at once.

The subject of the work is given from the Warning which precedes the first book:"Let my book teach you to be more interested in you than in itself. Terrestrial Foods are the great work of Gide, without which the author's knowledge is incomplete. It is, however, surprisingly different from the Pastoral Symphony, the False Minters or the Narrow Gate, which adopts the Romanesque form. A long poem in prose, a textbook of hedonistic philosophy or a travel narrative, it is read like an exalted praise of nature and the senses. The fruits, the gardens, the soil are so many beauties rediscovered by new organs and which want to be free of any physical, sentimental and social attachment.

It is freedom in uppercase, pleasure erected as a law above the heart and mind, absolute availability to the world and the moment - all this contradicts the very writing of this manual, which stirs memories and shapes this new ethic of joy rather than being satisfied with the present. Algiers seemed so hot and full of festivities that I wanted to leave it for three days; but at Blidah, where I was in a place like Blidah, where I could not believe it! I go out in the morning; I walk around, I don't look at anything and see everything; a wonderful symphony is formed and unheard sensations are organized in me.

The hour goes by, my excitement aligns itself, as the less vertical sun's march is slower. Then I choose, to be or something, of what to fall in love with, - but I want it to move, because my emotion, once fixed, is no longer alive. It seems to me then at every moment that I have not yet seen or tasted anything. I'm lost in a disorderly pursuit of the things that flee. Yesterday I ran to the top of the hills overlooking Blidah, to see the sun a little longer; to see the sunset and the fiery clouds colouring the white terraces. I surprise the shade and silence under the trees; I lurk in the moonlight; I often feel as if I am swimming, so much the warm, luminous air envelops me and lifts me softly.

The book was written in the year of Gide's marriage and appeared in a review in before publication the next year. Gide admitted to the intellectual influence of Nietzsche's Also Sprach Zarathustra but the true genesis was the author's own journey from the deforming influence of his puritanical religious upbringing to liberation in the arms of North African boys. Andre Maurois draws attention to the similarity of moral outlook between the two works in these words: "Like Thus Spake Zarathustra, Les Nourritures Terrestres is a gospel in the root sense of the word: glad tidings. Tidings about the meaning of life addressed to a dearly loved disciple whom Gide calls Nathanael. The book has three characters: the narrator, the narrator's teacher, Menalque, and the young Nathanael.

Menalque has two lessons to impart through the narrator. The first is to flee families, rules, stability. Gide himself suffered so much from "snug homes" that he harped on its dangers all his life. The second is to seek adventure, excess, fervor; one should loathe the lukewarm, security, all tempered feelings. A subtly structured collection of lyrical fragments, reminiscences, poems, travel notes, and aphorisms, the book came to command such a following after World War I that Gide wrote a preface stressing the work's self-critical dimension. Nevertheless it influenced a generation of young writers, including the existentialists Albert Camus and Jean-Paul Sartre, to cast off all that is artificial or merely conventional. Gide develops the theme of the relationship with matter and natural elements, in an ode that is both lyrical and sensual.

Through the work, an almost extatic enthusiasm for life emerges, making the text a kind of gospel of the awakening of the senses; in fact, it seems that sensuality almost acts as a profession of faith, or even a new religion, so much so one feels fervour and emotion, especially for the earth, the harvests, the fruits, all that is physical and fleshy. The entire text can be considered a true hymn to the libido sentiendi. In terms of filigree, it is also about sexuality, even if this theme is not directly mentioned in the book. In this sense, the work can be interpreted as a hyperbole on desire and eroticism, the evocation of harvests and "food" having the value of a symbol of the desired body.

It is, above all, a book on desire, on thirst, the objects evoked as a pretext for expressing this desire, often unquenchable, irrepressible, overflowing, which succeeds in magnifying and transcending the whole world. It is not strictly speaking a novel, but rather a long prose poem in which sensuality is expressed, tinged with fervour and contact with nature. The question of the kind of terrestrial food finds its answer in an aesthetics of diversity. Gide proposes hybrid structures, made up of obsolete poetic forms ballads, rounds , fragments of diaries, notebooks, wandering notes. Despite the current editions, it is important to know that the original manuscript took great liberties in terms of typography, even going so far as to resemble the future modernist verses and other calligrams in vogue at the beginning of the twentieth century.

On the other hand, editors have tended to pick up the text and some verse episodes are now presented as a block of prose. The novelistic aspect of the book is to be found in the theme of travel, in the existence of emblematic characters and above all in the reconstruction of a hedonistic life that transgresses traditional morality. The Foods are in a sense the joyful and solar counterpart of Oscar Wilde's De Profundis, a dark work in which the Irish writer also developed, but "negatively" through absence and lack, a form of absolute sensuality that seeks to free itself from the narrow moralism of the Victorian era, conformism and social conventions.

Gide was born in Paris on 22 November , into a middle-class Protestant family. His father was a Paris University professor of law who died in His uncle was the political economist Charles Gide. An accomplished pianist, he regrets that he did not meet excellent teachers early enough to make him a true musician. In , he entered the Alsatian School, beginning a discontinuous schooling2. Indeed, he was soon dismissed for three months after letting go of his "bad habits", that is to say masturbation.

Shortly after his return to school - "healed" by the threat of a doctor's castration and the sadness of his parents - the disease keeps him away from it again. In spite of the medical and parental objections, onanism - which he calls "vice" 3 and which he does not practice without a strong taste for sin and sad defeat - will later regain its place among his habits, which will make him write at the age of 23 that he lived until he was "completely virgin and depraved". The death of his father on October 28,, pushed him away from normal schooling. During one of his stays in Rouen in the fall of , he surprised his cousin Madeleine's secret sorrow about her mother's adulterous relationships.

In his emotion, he discovers "a new orientation to his life". There a long and tortuous relationship emerges. Gide is fascinated by the young girl, by her consciousness of evil, her rigid and conformist sense of what to do, a sum of differences that attracts her. Little by little, he builds a perfect image of his cousin that he falls in love with, in a purely intellectual and yet passionate way. He draws heavily from the Bible, Greek authors, and practices asceticism. The following year, while preparing for the baccalaureate in philosophy at Henri-IV high school , he discovered Schopenhauer.

After graduating from the baccalaureate in , he began to attend literary fairs, meeting many writers. In the spring of , a trip to Germany without his mother was an opportunity to deepen his knowledge of Goethe. Gide then begins to think that "it is a duty to be happy. It's also the beginning of tension with her mother. However, the latter decided to support her son in the conquest of Madeleine, against the rest of the Rondeaux family and the young girl herself, who remained firmly opposed to a union with her cousin.

In the summer of , he wrote the Voyage d' Urien, which was co-authored with the painter Maurice Denis, who produced thirty original lithographs The book is ignored by critics and little encouragement is given to those close to them. In the fall, after a brief barracks stint - poorly experienced - and five review boards, Gide was reformed. However, it is another friendship, that of Paul Laurens, which will play a decisive role. The young painter, as part of a scholarship, must travel for one year and invites him to join him. This journey, reported in "Si le grain ne meurt" is going to be for Gide the occasion of a moral and sexual emancipation that he called for from his vows. They left in October for a nine-month trip to Tunisia, Algeria. Juliette Gide's sudden intrusion, worried about her son's health, broke their intimacy before the journey resumed without her in April I am genuinely surprised that my recent pictures have proven to be of some interest.

I never expect anyone to look at them let alone read the narratives that accompany them. I have to admit the pictures serve only as a platform for the narrative. As I am alone with my transvestism I need an outlet and posting a picture provides me with a voice for my bottled up thoughts, dreams and concerns. Increasingly I find I wish to express all the facets of my transvestism, including topics normally considered taboo by cross-dressers. When I was younger I was confused and distraught with trying to understand some of the feelings and desires I had regarding my urge to dress as a woman and behave as a female may.

I am also aware some can empathise with what I am saying which is a relief for one who is alone with their transvestite desires. I am using Flickr as my outlet for self expression and I am guilty of not thinking through what I write. What happens is the desire to cross-dress is frequently strong but I cannot do so. I find myself browsing my photo archive and then I choose a picture to post and start typing. It is stream of consciousness outpouring so may make for a rambling prose should anyone actually decide to read my words.

I post and write on Flickr for purely selfish reasons I need the relief of doing something related to my cross-dressing to help me cope during the times I cannot actually engage in the activity. As I say recently, this has been pleasantly received on Flickr but I still have my detractors who have no hesitation in writing to me directly and condemning me for my narratives and rubbish photos their words. I am not sure why I induced such hostility in some but I am getting used to it now. I see though my photo posts in have had a positive response judging by the comments others have kindly posted. This heartens me and strengthens my resolve to carry on and to try and not let the hostile e-mails diminish me.

When I posted my last picture it was from my early days of cross-dressing. It was taken in March and I was still learning how to dress up as a woman. I suppressed my cross-dressing for over twenty years and finally began to dress in mid November Emotionally I was all over the place when I dressed up as a woman in that period and what I notice looking through these early attempts at trying to look like a female is the way I dress and pose. I appear to be trying to be sexy and alluring.

Something was obviously motivating me to do this back then. It was almost like I was in love with my own female image! I was certainly and undeniably excited by the experience. I did experience that crashing negativity that occurs rapidly after masturbating while cross-dressed which manifests itself as shame and self disgust and an urgency to just take off the clothes and wash off the make-up. That used to happen every time I became Helene, in my first year of practicing transvestism I had a different female name, I was know as Cathy Mann. I was a confused individual back then riding a wave of excitement, erotica and terror followed always by negative feelings. Yet, underpinning all of that was real joy, euphoria and pure elation.

The two conflicting emotions used to cause me great exhaustion and confusion. In my case I can still on occasion experience it today and if so then I really enjoy the moment and fortunately no longer suffer from the negative crash that used to occur. All of this talk about sexual arousal leads me onto to today's picture. This was a very early effort to dress as a woman taken in February , just three months into my cross-dressing explorations at the age of I was rather shocked at myself when I saw this picture recently as I wonder what was I thinking when I dressed and posed for it? Looking at it today I see an overt attempt at being sexy.

I had tousled my wig to try and create a feminine slightly vulnerable, sexy yet alluring look, my eyes tell me I was completely into doing this, I wanted men to desire me as a female and I chose that classic male fantasy of seeing a girl just wearing a white shirt and showing off her legs whilst wearing heavy mascara and red lipstick. This whole image can only have been motivated by sex, I can see no other explanation. What I can clearly recall after seeing the picture was I was very much into doing it on that evening, I adored being this woman and if a man desired me I would have been incredibly thrilled and excited by that. Here is the thing though, that thrill is pure ego, I love the idea of being a man that can be a sexy woman.

I say that yet I have no attraction or desire for sex with a man! Despite my fears of ridicule and highlighting what a pathetic individual I am having such dreams I am posting this picture because I think many of us go through this stage with our cross-dressing. Unfortunately some find the final experience so negative after the the emotional high they then feel they must suppress their cross-dressing. My intention is to explain one is not alone with such experiences, they occur more often amongst transvestites than one may imagine.

I think it is incredible to attempt such a look even if, like me, the results are not convincing. The desire needs to be set free. It is an intensely private experience and if done with consideration for others harms nobody and one will feel truly liberated. If you are a transvestite and have an urge to pose as a sexy woman then you will need to do it. Suppressing it will not help, it is best to give it a go.

In my case I was motivated by sexual excitement and loved the fact that as a man I was going against my gender. We all have different motivations. I am admitting to the sexual arousal not denying it because I used to experience it frequently when I cross-dressed. Obviously being aroused is not good for wearing a dress! At some point one needs to move on from this stage and in time this happens. Nearly fifteen years on from my first day as an adult male transvestite in a dress my arousal is far less frequent but it does happen on occasion. If you do get aroused then enjoy the moment and work through the negative crash if it occurs as it will pass if you are patient and just wait instead of giving in to it.

Understanding this leads onto a better and more rewarding long term cross-dressing experience. I would also advocate patience if you have an urge to purge all your female clothing, lingerie, wigs, make-up and shoes. Do not throw it all away! If you feel you want to then try to exercise some will power and just seal it up in boxes and put in storage some where. You will regret throwing it away not to mention the expense of having to purchase it all over again. You will purchase again because the desire is never going to leave you, it is with us for life. It is all about managing things and being aware and ensuring others are not affected by our actions.

I wanted men to see me as a sexy desirable woman and I admit I was totally…totally…into posing in this way back in on that February evening in I may be pathetic and delusional but wow…was I having a lot of fun and excitement! Explore Trending Events More More. Tags girl masturbating. Related groups — girl masturbating View all 8. Asian amatuer girl. View all All Photos Tagged girl masturbating.

And I, Loglady Loon, want to challenge them all. For this reason I tried to do the opposite process. Here the Freak comes to life. The Freak Showroom originates from here. Show will be available for 15 days and it will start on 2nd February Get ready for some late night boobies!!! Thanking about you always does this to me! Don't forget to favorite the pics you like!! Loglady Loon. Reading your comments always does this to me D by princess hienrichs SLinworld. I knew a girl named Nikki I guess you could say she was a sex fiend I met her in a hotel lobby Masturbating with a magazine She said how'd you like to waste some time And I could not resist when I saw little Nikki grind She took me to her castle And I just couldn't believe my eyes She had so many devices Everything that money could buy She said sign your name on the dotted line The lights went out And Nikki started to grind Aaah Nikki!!!

The castle started spinning Or maybe it was my brain I can't tell you what she did to me But my body will never be the same Her lovin' will kick your behind Oh, she'll show you no mercy But she'll sho'nuff sho'nuff show you how to grind Woke up the next morning Nikki wasn't there I looked all over and all I found Was a phone number on the stairs It said thank you for a funky time Call me up whenever you want to grind Oh, Nikki, ohhhh!!! Come back Nikki, come back!!!

Girls Masturbating Together by Masturbating Together. All Day by Jasmine Idlemind. Screen Capture from my video flic. Tanjas Titten mit 18 by mirko Hot or Ugly? Debauchery Intimacy Posh Couples Bed v9. Integration The Bed Engine This is perfect for a couple's romantic get away. Darling Nikki by princess hienrichs SLinworld. My need to dress has changed over the years, good old times, when the urge is very strong. I also quite like being a sissy whore or leather mistress at times. Boy bounced back from the dead My business still shady I still tip toe on the ledge That shit ain't ever changing I take my chance riding dirty while speeding Lane swangin' I fucking made it to 30 without my neck breaking My gun that's holding a 30 that got his legs shaking Meanwhile his girl in the room with my picture masturbating credit hair J hair tram.

Do you want to get to know me better? I hope you enjoy the story around this photo. Do you want to touch my ass? Write in the comments what you want to do to me now. Tanjas Titten by mirko Out on the lake by Shae. Laughing at all the avian kibitzers! Sur le lac, riant de tous les aviaires opportunistes! Do you want to watch a video? If you want to watch the video, text me in the comments. Last week by Shae. He's lookin' around this club and it looks like people are havin' a shit fit now.. My '90s was like the Navy, you was like the Bradys You still fly kites daily!

Catch me in my Mercedes Bumpin' "Ice, Ice Baby, " screamin' Shady 'til I die Like a half a pair of dice, life's crazy So I live it to the fullest 'til I'm Swayze And you only live it once, so I'm thinkin' 'bout this nice, nice lady Wait, no, stop me now 'fore I get on a roll Damn Let me tell you what this pretty little dame's name is, 'cause she's kinda famous And I hope that I don't sound too heinous when I say this Nicki Minaj, but I wanna stick My penis in your anus!

You morons think that I'm a genius Really I belong inside a dang insane asylum, cleanin', try them trailer parks Crazy, I am back, and I am razor-sharp, baby And that's back wit' a capital B wit' an exclamation mark Maybe you should listen when I flip the linguistics 'Cause I'm'onna rip this mystical slick shit You don't wanna become another victim or statistic of this shit 'Cause after I spit the bullets, I'ma treat these shell casings like a soccer ball I'ma kick the ballistics! So get this dick, I'ma live this I'm livin' life in the fast lane Movin' at the speed of life and I can't slow down Only got a gallon in the gas tank But I'm almost at the finish line, so I can't stop now I don't really know where I'm headed, just enjoyin' the ride Just gon' roll 'til I drop and ride 'til I die I'm livin' life in the fast lane Pedal to the metal I'm livin' life in the fast lane Pedal to the metal Yeah My whole goal as a poet's to be relaxed in orbit At war wit' a bottle, this Captain Morgan attacks my organs C'mon My slow flow is euphoric, it's like I rap endorphins Woo!

I made a pact with the Devil that says "I'll let you take me You let me take this shovel, dig up the corspes, Jack Kevorkian" C'mon Go 'back and forth in more beef that you can pack a fork in I'm livin' the life of the infinite enemy down My tenement, too many now, to send my serenity powers Spin 'em around, enterin' in the vicinity Now Was called Eminem, but he threw away the candy and ate the rapper Chewed him up Pt! Fuck them all He's shuts the whole motherfuckin' Walmart d-d-down every time he comes a-r-r-round And he came to the club tonight wit' 5'9?

Love by Roy Richard Llowarch. What would you like to do to me? The myth of Narcissus Seamus Heaney references Narcissus in his poem "Personal Helicon" from his first collection "Death of a Naturalist": "To stare, big-eyed Narcissus, into some spring Is beneath all adult dignity. Woods are protected by flood. Nice portaits by Aileen. Another shot of my lovely friend Rio wyn , very much out of her element. No gimmicks, no upsale. But keeping fans coming back for more requires a huge volume of content. One way developers and publishers are approaching this is by offering sandbox environments that turn players into creators, which extends the shelf life of their games and creates new revenue streams.

These days, games are no longer pieces of content on their own. They have become jumping points for an ever-growing library of user-generated content — whether it's updated characters, maps, modes, or other digital extensions. It's a virtuous circle that's growing at an exponential rate. People watching other people play video games has inspired more people to play games and, in turn, spend more money on gaming. The relationships between these different groups of individuals continues to be complementary to each other, which I believe has been the catalyst for the remarkable growth that the industry continues to see. This will only continue to get bigger as more people are choosing to play and watch video games.

As mobile gaming continues in popularity, we see in parallel that of the top games watched on YT in , four were games available on mobile devices 1. Over the next five years, the lines between playing and watching will continue to blur through partnerships with games and an expansion of platforms. You could be watching a live stream on YouTube, click a button and jump right into the action yourself, or receive a digital item to use next time you jump into the game after watching. The ability for viewers, creators, and players to influence one another will open the door to types of gaming we haven't even imagined yet.

And as mobile devices and infrastructure continue to improve, players around the globe who don't have access to PCs, consoles, or cloud platforms will be right in there with them. These trends show no signs of slowing down, setting mobile up for continued massive growth. I firmly believe gaming videos will continue to engage both spectators and players in the same way the world of sports has captured audiences: with both athletes and fans actively participating. But what will set Gaming apart is that publishers, creators, and viewers will influence each other in ways traditional sports never could. Back then, the stereotype of gamers was some dude playing video games alone in a basement.. That cliche has proven to be misguided as billions across the world are not just playing, but choosing gaming video as their primary category of content to consume.

Today, we see larger, more diverse audiences connecting and actively exploring rich, high-gloss alternative realities. What should game developers make of ever-shifting preferences in both games and gaming content? When ideating, keep high-growth genres in mind to inspire your next creation. Here are genres gamers around the world are paying attention to as they search for their next experience: 7. Ethan Wang, Vice President of NetEase uncovers the process behind a global launch, using real-life case studies to do the talking. From product development to market segmentation, discover what goes into developing an internationally recognised game with Navigating Global Launches. Retention is a matter of keeping them engaged and delighted.

Here are some key shifts in game engagement globally: 1,2. Over the last decade, APAC has become a gaming powerhouse, influencing developers in every other major market. Thanks to the widespread adoption of low-cost smartphones and affordable broadband, as well as a booming population, the audience and developer community for connected games in the region is surging Thanks to the widespread adoption of low-cost smartphones and affordable broadband, as well as a booming population, the audience and developer community for connected games in the region is surging. Strong GDP growth also means people have more leisure time and more disposable income to spend on entertainment. As a result, the audience in Asia is rapidly shifting toward higher-quality gaming experiences, spurring continued innovation.

So, what do these converging trends mean? While there is no one-size-fits-all approach, here are key insights to keep top of mind:. APAC is not a monolithic market and should be explored in detail. APAC is the biggest gaming market at a global level, and its sophisticated gamers and game ecosystem continue to raise the bar for continued innovation and product quality. They have more money to spend, and their expectations for game play and new features are high. Emerging gaming markets like Southeast Asia and India continue to experience high growth as a larger number of consumers go online via smartphones while Australia and New Zealand are also seeing increased growth as game studios and user acquisition knowledge continue to mature.

In those markets, key played genres tend to be casual and hyper casual games. Players are not willing to spend as much money as in mature markets, therefore studios tend to be making money through alternatives to in-app purchases IAP like in-app advertising. In China, we see a mix of both: higher paying hard-core gaming fans in the largest cities, more casual and price-sensitive players in suburban areas. Developers must put in the effort to understand their target audiences and what they're looking for. They must master localization, game design and mechanics, preferred transaction methods and revenue models for each audience if they wish to be successful.

Monetization strategies should evolve not just per region, but per country. Developers need to combine multiple ways of making money, whether via a diverse games portfolio with different revenue models for each, or by mixing up different streams in a single game based on player behavior. For example, if I am the CEO of a Japanese studio launching an IAP-only game in India or Vietnam, I may be leaving money on the table given the payer percentage is very low in emerging markets vs mature ones. I should know my markets and users, and adopt a hybrid monetization approach that combines both in-app advertising and IAP.

This way, I will be capturing the most value from non-payers in Vietnam and India, a larger proportion than in Japan or Korea , and from potential purchasers via IAP. Remember: revenue may be king, but engagement is the kingdom. As players become more engaged emotionally and socially with a title, they are naturally more willing to spend or engage with brand activations further down the line. Experimenting with how your content can bring your community joy is key to sustainable success. Growth in female gamers continue to outpace that of male gamers. This growth is also accounted for from a revenue standpoint.

The pandemic was one factor that accelerated this growth, and we expect to continue seeing strong growth among women gamers. Collaborate with local members of the gaming community. One of the most amazing things about the gaming ecosystem in Asia is the evolving sense of community and the role communities play. At the start of our industry, developers were working independent of each other. Now developers would go out of their way to help each other, even when they compete in some areas. With so many opportunities continuing to unveil themselves every year, we've been urging developers to expand their horizons. If you make casual games, consider making hard core titles or creating hybrids that combine genres to appeal to different types of players.

If you rely mostly on ad revenue, consider introducing IAPs. Not every industry embraces community the way game developers do — turn towards it and let inspiration, experimentation, and collaboration guide your next big hit. At Google APAC, our mission is to support our developers throughout their lifecycle — whether you are an independent game developer, or part of a big game studio. I look forward to continuing our commitment to maintain and grow a healthy gaming ecosystem and content creators. Niantic is evolving the player experience for gamers across the globe.

Evolve the Player Experience answers the questions of tomorrow, today. The global pandemic has had an enormous impact on the gaming industry, and games have had a huge impact on us. More than ever, gaming has become a source of connection and community for people around the world while we sheltered in place The global pandemic has had an enormous impact on the gaming industry. More than ever, gaming has become a source of connection and community for people around the world while we shelter in place.

The kinds of games people play changed significantly. People are engaging with games more often during the day, but for shorter periods of time. New audiences for games that developers may have ignored or minimized in the past are now demanding to be embraced as gaming becomes a fundamental part of socially connected experiences. With gaming becoming more embedded in our lives, more people are experiencing games in a non-linear fashion. Instead of going on six-hour raids, they might play for six minutes during downtime at work or between meals. Cloud-based platforms like stadia enable this by allowing players to stop a game and pick where they left off, or to start a game on one device and continue on another. As a result of these smaller time increments, people are engaging in different types of activities when they play.

Instead of advancing a game's narrative, for example, they might spend that time customizing a character or connecting with a guild mate. In order to accommodate these changing behaviors, game developers should explore building less rigidly defined experiences. For example, creating more short demos for people to sample, or brief loops they can quickly complete within a longer game.

Developers should also consider ways to make it easier for players to hop in and out of the action, by designing their games with cloud gaming platforms in mind. This ability to play together while physically apart will only become more important over time. Gaming platforms have enabled the ability to engage much larger groups at once, enabling new communities to form and new types of gameplay to evolve.

Because the audience is broader, and playtime is more distributed over the day, there is also increased competition for players' attention. Game studios are no longer just competing against other games. They're competing against everything else people are doing with their free time, like watching Netflix or going for a bike ride. Developers need to focus on what motivates this new breed of gamers — why they're playing, and what they hope to get out of it.

They need to reward players more frequently and in more personalized ways to keep them engaged, and invest more effort into fostering communities that grow over time. Games must not leave behind inclusion when searching for new audiences. For example, there are between and million people worldwide who suffer from one or more physical impairments — whether sight, hearing, motor or cognitive skills. Now, companies like Microsoft and Unreal have begun focusing on accessible experiences, such as text to speech. Connection, personalization, and accessibility will be keys to success in the digital gaming world going forward. Top game developers see a much higher retention than industry average, suggesting they are building games people love to keep playing.

These preferences and behaviors have continued to evolve within the past year. In a survey conducted by Google, we found gamers were unsurprisingly more willing to pay for gaming content as they sheltered in place. This spend is increasing in areas that deepen connections within the game, such as:. Can we balance play and profit? From the developers behind The Angry Birds, discover how this global organisation is evolving their operations to stay ahead of the curve with Connecting Play and Profit. Developers of free-to-play games often struggle to find the best ways to monetize their titles. Should they rely on interstitial or banner ads? Offer in-game currency as a reward for viewing video ads?

Aggressively promote in-app purchases? Develop a tiered subscription model? Armenia-based game development company Rockbite Games, for example, offers both in-app purchases and in-app ads. By providing two options to earn in-game currency, and by dynamically customizing their digital store through Firebase Remote Config , they were able to further increase their revenue. Developers who want to maximize revenue and grow their studios need to employ a hybrid monetization strategy. But to avoid alienating their audience, they need to do it by adapting revenue models to each player's personal preferences — the same way they create dynamic content within a game. The key to this strategy is the intelligent application of analytics, which requires a few crucial steps.

Just as you use data to guide how game play unfolds, you should also use it to determine the monetization strategies that resonate the best with each player. Tools like Firebase and Google Analytics can offer rich insight into player behavior and help you predict which players will spend money inside the game and identify those who will not. By segmenting users, you can find opportunities to personalize each player's ad experience, optimizing your monetization strategy. So the first step is to understand and segment all of your players. Which ones are high spenders? Who is unlikely to ever make an in-game purchase?

The key is to match players with offers tailored to their preferences and behavior. PeopleFun, developer of popular casual games such as Wordscapes, wanted to introduce rewarded ads without cannibalizing revenue from in-app purchases. Using Firebase Predictions , PeopleFun was able to identify players who were less likely to make in-app purchases, and show rewarded ads only to them. The result: A significant boost in the lifetime value of all Wordscapes players. It's important to remember that just because a game is free-to-play doesn't mean the people who've downloaded it are averse to spending money. Similarly, if a type of ad format doesn't resonate with a user or doesn't appeal to you, personally , it doesn't mean that it won't resonate with others.

Assumptions, biases, or models that worked in someone else's game are not viable indicators of how your players will respond. When it comes down to it, successful monetization strategies are built on a foundation of experimentation. Once you've segmented players based on their purchase behavior, intent, session duration, and other factors, you can test different variables to determine which types of offers work best for each segment.

Hybrid monetization models maximize revenue without sacrificing the affordability that fans of free-to-play games love. But monetization is not a feature that can be bolted on after a game is nearly completed. Some studios make the mistake of splitting production into two phases -- first designing gameplay, then focusing on driving revenue. This is a mistake. Your monetization strategy needs to be a core part of the development process, while remaining flexible enough to be optimized later based on testing.

While running experiments in a live game with actual players may seem scary, tools like Firebase and Google Analytics can allow you to easily create experiments and get insights from them without disrupting the player experience or requiring you to publish new versions of each game. In turn, you'll see a boost in earnings, and highly-engaged players enjoying an improved user experience. The method of consumption changes the experiences of gamers, and trends show the world is looking for more ways to experience the fun. Gaming has changed tremendously since I first began designing games in The industry has gone from a niche hobby to a global juggernaut that's larger than music, movies, and books combined.

And it shows no sign of slowing down. At the same time, game design has also evolved At the same time, game design has also evolved. The sheer number of designers has grown exponentially, and expanded into so many niches that there is rarely a single job title called 'game designer'. People who create free-to-play mobile games have little in common with developers working on AAA console or PC titles.

And designers of those titles have become hyper-specialized by subgenre. When the pandemic hit, the changes that were already underway went into overdrive. The need to shelter in place changed how and where game designers do their work. Downloads and cloud-based gaming surged. Designers who want to succeed in the industry today need to be fluent in these macro trends. But some things that haven't changed: The need to tell a compelling story and to build a community around that storyline. If you can do those things consistently and well, you will thrive. Thanks to the pandemic, we have seen dramatic shifts in the industry over the past 12 months. But not all of the changes have been negative. It also drove huge innovation across the gaming space.

For example, the need to work remotely led to a surge in distributed teams. Writers, artists, developers, and designers no longer have to be in the same place or even the same city to work on the same game. When game development is more geographically distributed, the cost of producing a game decreases. Studios can spend more money on design talent and support. And the people on those teams are likely to be from more diverse backgrounds, which almost invariably leads to greater creativity and innovation in game design.

The ability to work remotely and design games for cloud platforms like Stadia will ultimately allow smaller boutique studios to compete with the majors on a nearly equal basis. And that will benefit everyone. And more of them are playing casual and mobile games than ever before. In a time when people are still largely living apart, shared gaming experiences are helping to fulfill our need for community. Here, too, cloud-based games that can support larger numbers of players at once have an advantage. Despite all the changes, a few constants remain.

For example, two big influences on me as a young player and later as a designer were Sid Meier's Pirates and World of Warcraft. Both embodied universal truths that remain true today. Pirates showcases how an intricate game still lives or dies on the strength of its storytelling. If I ever designed a game that weaves together mechanical systems with player-driven storytelling as elegantly as Pirates , I could die happy.

For its part, World of Warcraft demonstrated the power and potential of online connections. It created a community that was both so big and yet so closely interconnected that it has influenced every modern multiplayer game that followed. I recently learned that this is from a book of adages by J. It seems to be a deep part of human nature that sometimes we need thorns to wake us. There can be no question that the coronavirus pandemic has been a tragedy the scope of which we will spend generations fully understanding. But our species is at its best, its most innovative, when challenges like this appear. The silver linings are bittersweet, but we carry on. And often, what these thorns reveal is our most human core -- the ways in which we are all connected.

What does the future of gaming sales look like? Is equality across platforms important? As devices have become more powerful and connectivity more ubiquitous, the type of audiences playing games, the devices they use to play them, and the kinds of games they play has rapidly evolved. Game developers now need to develop experiences for a wide range of devices, with back-end services that support cross-play and cross-progression across devices Game developers now need to develop experiences for a wide range of devices, with back-end services that support cross-play and cross-progression across devices. Prior to this change, high-fidelity games like Call of Duty required a dedicated gaming console or a high-end PC; now they can run on a mobile phone. This emerging capability to enjoy titles across the device ecosystem has elevated players' expectations.

Players now want engaging high fidelity experiences across a variety of platforms. This allows them to easily interact with friends and family, even if one player in the group uses a high-end console or gaming PC and the other is on her mobile phone. Players want to start a game at home on a console and bring it with them on the road with a mobile platform.

Throughout all of this, players expect their purchases, rewards, and progression to be reflected and available across platforms. Although this concept of cross-device play seemingly democratizes access globally to tier one titles, there are inhibitors limiting the reach to new audiences. First, high-fidelity experiences require high-end devices with powerful processors and GPUs and sufficient memory.

These devices are affordable and available in developed markets to modestly large populations of gamers. However, these high-end devices are beyond the reach of people in many parts of the world, greatly limiting high quality game content reach to players globally. Game streaming offers a solution to this problem, transforming a computationally demanding game into a stream of video bits that can be easily consumed by any commodity device. This is accomplished by moving the powerful processors, GPUs, and memory from the device into a cloud data center and delivering the game as a stream.

A key requirement to make streaming work is low latency and consistent bandwidth between the consumer device and the cloud data center. This introduces a challenge, though: many of the places in the world that could most benefit from this democratization of gaming content — rural areas and emerging markets such as South America, Africa, and Eastern Europe — are too distant from cloud data centers for streaming to work as intended.

The solution to bringing the democratizing benefits of game streaming to global audiences is through edge computing. Edge computing shifts powerful CPUs and GPUs from large centralized cloud data centers to decentralized locations much closer to players all around the world, including telco and enterprise edge locations. This shift to the network edge of these powerful computing resources truly opens up the benefits of game streaming to many more locations.

Edge computing brings great promise for players, by delivering high quality streams to all types of devices. However, this shift from a centralized model with tens of cloud data centers to a decentralized model with thousands of edge locations introduces new levels of complexity for game developers. Without a centralized and standardized framework to manage edge computing resources, a game developer would need to interact with dozens of edge providers around the world, each with diverse technology stacks. This enables game developers large and small to realize the combined benefits of cloud and edge computing without taking on all of the massive operational overhead of dealing with dozens of different providers and tech stacks.

Games which run out of tens of cloud locations today serving primarily large metros and the developed world can run from hundreds or thousands of locations tomorrow serving a truly global audience — bringing an entirely new and more inclusive generation of players into the world of gaming and interactive experiences. The proliferation of high-fidelity game experiences to a global audience is only the beginning of the potential that edge computing provides. However, there are whole new classes of interactive experiences that exclusively become possible with the lower latency that only edge computing can provide. Imagine that you are attending a sporting event in a 5G-enabled stadium. You hold up your phone and real-time statistics are composited over video of players as they move around the field.

Ball-tracking is rendered into the live video to assist visually impaired spectators more easily keep track of the action. And perhaps even 3D models of historical all-star players run plays along with real players on the field.

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