Dead is Dead: Why 20% Doesn\u27t Matter

Over at Cosmic America, Keith Harris beat me to the punch on this one. But Jake can attest to the fact that, since the news of the revision of Civil War dead up by 130,000 broke, I have been grumbling on and off

Dead Ends in Misere Play: The Misere Monoid of Canonical Numbers

We find the misere monoids of normal-play canonical-form integer and non-integer numbers. These come as consequences of more general results for the universe of `dead-ending' games. Left and right `ends' have previously been defined as games in which Left or Right, respectively, have no moves; here we define a dead left (right) end to be a left (right) end whose options are all left (right) ends, and we define a dead-ending game to be one in which all end followers are dead. We find the monoids and partial orders of dead ends, integers, and all numbers, and construct an infinite family of games that are equivalent to zero in the dead-ending universe

Dead cone due to parton virtuality

A general expression for the dead cone of gluons radiated by virtual partons has been derived. The conventional dead cone for massive on-shell quarks and the dead cone for the massless virtual partons have been obtained by using different limits of the general expression. Radiative suppression due to the virtuality of initial parton jets in Heavy-Ion Collisions (HIC) has been discussed. It is observed that the suppression caused by the high virtuality is overwhelmingly large as compared to that on account of conventional dead-cone of heavy quarks. The dead cone due to virtuality may play a crucial role in explaining the observed similar suppression patterns of light and heavy quarks jets in heavy ion collisions at Relativistic Heavy Ion Collider (RHIC)

Playing with the dead:transmedia narratives and the Walking Dead games

This chapter discusses the theory and practice of transmedia narratives within the storyworld created by Robert Kirkman, Tony Moore and Charlie Adlard’s comics series The Walking Dead. It examines key aspects from the comics series and AMC’s adaptive television franchise to consider how both have been utilized and adapted for games. Particular focus will be paid to Telltale Games’ The Walking Dead, Gamagio’s The Walking Dead Assault and Terminal Reality’s The Walking Dead: Survival Instinct. The chapter explains the core concepts of transmedia narratives as they relate to The Walking Dead, places the games in the context of both the comics and television franchise, examines the significance of commercial and grassroot extensions and considers the role gaming and interactive narratives have within rich storyworlds. In examining The Walking Dead as a transmedia property, the authors demonstrate how vast narratives are adopted, modified and transformed in contemporary popular culture