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(TMIIIP) Paid Projects Through August 31, 2020 Report Created 9/29/2020
Texas Moving Image Industry Incentive Program (TMIIIP) Paid Projects through August 31, 2020 Report Created 9/29/2020 Company Project Classification Grant Amount In-State Spending Date Paid Texas Jobs Electronic Arts Inc. SWTOR 24 Video Game $ 212,241.78 $ 2,122,417.76 8/19/2020 26 Tasmanian Devil LLC Tasmanian Devil Feature Film $ 19,507.74 $ 260,103.23 8/18/2020 61 Tool of North America LLC Dick's Sporting Goods - DecembeCommercial $ 25,660.00 $ 342,133.35 8/11/2020 53 Powerhouse Animation Studios, In Seis Manos (S01) Television $ 155,480.72 $ 1,554,807.21 8/10/2020 45 FlipNMove Productions Inc. Texas Flip N Move Season 7 Reality Television $ 603,570.00 $ 4,828,560.00 8/6/2020 519 FlipNMove Productions Inc. Texas Flip N Move Season 8 (13 E Reality Television $ 305,447.00 $ 2,443,576.00 8/6/2020 293 Nametag Films Dallas County Community CollegeCommercial $ 14,800.28 $ 296,005.60 8/4/2020 92 The Lost Husband, LLC The Lost Husband Feature Film $ 252,067.71 $ 2,016,541.67 8/3/2020 325 Armature Studio LLC Scramble Video Game $ 33,603.20 $ 672,063.91 8/3/2020 19 Daisy Cutter, LLC Hobby Lobby Christmas 2019 Commercial $ 10,229.82 $ 136,397.63 7/31/2020 31 TVM Productions, Inc. Queen Of The South - Season 2 Television $ 4,059,348.19 $ 18,041,547.51 5/1/2020 1353 Boss Fight Entertainment, Inc Zombie Boss Video Game $ 268,650.81 $ 2,149,206.51 4/30/2020 17 FlipNMove Productions Inc. -
Access Control
Security Engineering: A Guide to Building Dependable Distributed Systems CHAPTER 4 Access Control Going all the way back to early time-sharing systems, we systems people regarded the users, and any code they wrote, as the mortal enemies of us and each other. We were like the police force in a violent slum. —ROGER NEEDHAM Microsoft could have incorporated effective security measures as standard, but good sense prevailed. Security systems have a nasty habit of backfiring, and there is no doubt they would cause enormous problems. —RICK MAYBURY 4.1 Introduction Access control is the traditional center of gravity of computer security. It is where se- curity engineering meets computer science. Its function is to control which principals (persons, processes, machines, . .) have access to which resources in the sys- tem—which files they can read, which programs they can execute, how they share data with other principals, and so on. NOTE This chapter necessarily assumes more computer science background than previous chapters, but I try to keep it to a minimum. 51 Chapter 4: Access Controls Figure 4.1 Access controls at different levels in a system. Access control works at a number of levels, as shown in Figure 4.1, and described in the following: 1. The access control mechanisms, which the user sees at the application level, may express a very rich and complex security policy. A modern online busi- ness could assign staff to one of dozens of different roles, each of which could initiate some subset of several hundred possible transactions in the system. Some of these (such as credit card transactions with customers) might require online authorization from a third party while others (such as refunds) might require dual control. -
Splice: a Standardized Peripheral Logic and Interface Creation Engine
Washington University in St. Louis Washington University Open Scholarship All Computer Science and Engineering Research Computer Science and Engineering Report Number: WUCSE-2007-22 2007 Splice: A Standardized Peripheral Logic and Interface Creation Engine Justin Thiel Recent advancements in FPGA technology have allowed manufacturers to place general- purpose processors alongside user-configurable logic gates on a single chip. At first glance, these integrated devices would seem to be the ideal deployment platform for hardware- software co-designed systems, but some issues, such as incompatibility across vendors and confusion over which bus interfaces to support, have impeded adoption of these platforms. This thesis describes the design and operation of Splice, a software-based code generation tool intended to address these types of issues by providing a bus-independent structure that allows end-users to easily integrate their customized peripheral logic into embedded systems.... Read complete abstract on page 2. Follow this and additional works at: https://openscholarship.wustl.edu/cse_research Part of the Computer Engineering Commons, and the Computer Sciences Commons Recommended Citation Thiel, Justin, "Splice: A Standardized Peripheral Logic and Interface Creation Engine" Report Number: WUCSE-2007-22 (2007). All Computer Science and Engineering Research. https://openscholarship.wustl.edu/cse_research/126 Department of Computer Science & Engineering - Washington University in St. Louis Campus Box 1045 - St. Louis, MO - 63130 - ph: (314) 935-6160. This technical report is available at Washington University Open Scholarship: https://openscholarship.wustl.edu/ cse_research/126 Splice: A Standardized Peripheral Logic and Interface Creation Engine Justin Thiel Complete Abstract: Recent advancements in FPGA technology have allowed manufacturers to place general-purpose processors alongside user-configurable logic gates on a single chip. -
The Style of Video Games Graphics: Analyzing the Functions of Visual Styles in Storytelling and Gameplay in Video Games
The Style of Video Games Graphics: Analyzing the Functions of Visual Styles in Storytelling and Gameplay in Video Games by Yin Wu B.A., (New Media Arts, SIAT) Simon Fraser University, 2008 Thesis Submitted In Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Interactive Arts and Technology Faculty of Communication, Art and Technology Yin Wu 2012 SIMON FRASER UNIVERSITY Fall 2012 Approval Name: Yin Wu Degree: Master of Arts Title of Thesis: The Style of Video Games Graphics: Analyzing the Functions of Visual Styles in Storytelling and Gameplay in Video Games Examining Committee: Chair: Carman Neustaedter Assistant Professor School of Interactive Arts & Technology Simon Fraser University Jim Bizzocchi, Senior Supervisor Associate Professor School of Interactive Arts & Technology Simon Fraser University Steve DiPaola, Supervisor Associate Professor School of Interactive Arts & Technology Simon Fraser University Thecla Schiphorst, External Examiner Associate Professor School of Interactive Arts & Technology Simon Fraser University Date Defended/Approved: October 09, 2012 ii Partial Copyright Licence iii Abstract Every video game has a distinct visual style however the functions of visual style in game graphics have rarely been investigated in terms of medium-specific design decisions. This thesis suggests that visual style in a video game shapes players’ gaming experience in terms of three salient dimensions: narrative pleasure, ludic challenge, and aesthetic reward. The thesis first develops a context based on the fields of aesthetics, art history, visual psychology, narrative studies and new media studies. Next it builds an analytical framework with two visual styles categories containing six separate modes. This research uses examples drawn from 29 games to illustrate and to instantiate the categories and the modes. -
Game Developers’ Census, the Big Three at E3, and More
>>PRODUCT REVIEWS PHOTOSHOP CS3 EXTENDED * SPACENAVIGATOR AUGUST 2007 THE LEADING GAME INDUSTRY MAGAZINE >>CASE FOR THE TECH ARTIST >>CODERS MOUTH OFF >>THE INNER PRODUCT HOW AND WHY STUDIOS EXCLUSIVE ROUNDTABLE PAINTING WITH DOMAIN NEED THESE OXYMORONS WITH FIVE PROGRAMMERS SPECIFIC LANGUAGES Using Autodeskodesk® HumanIK® middle-middle- Autodesk® ware, Ubisoftoft MotionBuilder™ grounded ththee software enabled assassin inn his In Assassin’s Creed, th the assassin to 12 centuryy boots Ubisoft used and his run-time-time ® ® fl uidly jump Autodesk 3ds Max environment.nt. software to create from rooftops to a hero character so cobblestone real you can almost streets with ease. feel the coarseness of his tunic. HOW UBISOFT GAVE AN ASSASSIN HIS SOUL. autodesk.com/Games IImmagge cocouru tteesyy of Ubiisofft Autodesk, MotionBuilder, HumanIK and 3ds Max are registered trademarks of Autodesk, Inc., in the USA and/or other countries. All other brand names, product names, or trademarks belong to their respective holders. © 2007 Autodesk, Inc. All rights reserved. []CONTENTS AUGUST 2007 VOLUME 14, NUMBER 7 FEATURES 7 PROGRAMMERS’ ROUNDTABLE In this exclusive roundtable interview, five top technophiles discuss what’s right and wrong with game programming these days, from in-house procedures to multi-processor systems to code reuse. With Brad Bulkley, Stuart Denman, Chris Hecker, Clinton Keith, and Bruce Rogers 17 THE CODE/ART DIVIDE: 7 HOW TECHNICAL ARTISTS BRIDGE THE GAP Game studio Volition (THE PUNISHER, SAINTS ROW) makes a case for hiring a few technical artists, their value 22 ranging from time savings to smoother in-house communication. As linchpins, technical artists keep programmers and artists bonded in their mutual POSTMORTEM cause, helping to ensure that each department gets what it needs from the 22 FINAL FANTASY XII other—and within reason according to The twelfth installment in Square Enix’s wildly popular series was developed the project’s schedule. -
Video Games and the Mobilization of Anxiety and Desire
PLAYING THE CRISIS: VIDEO GAMES AND THE MOBILIZATION OF ANXIETY AND DESIRE BY ROBERT MEJIA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Kent A. Ono, Chair Professor John Nerone Professor Clifford Christians Professor Robert A. Brookey, Northern Illinois University ABSTRACT This is a critical cultural and political economic analysis of the video game as an engine of global anxiety and desire. Attempting to move beyond conventional studies of the video game as a thing-in-itself, relatively self-contained as a textual, ludic, or even technological (in the narrow sense of the word) phenomenon, I propose that gaming has come to operate as an epistemological imperative that extends beyond the site of gaming in itself. Play and pleasure have come to affect sites of culture and the structural formation of various populations beyond those conceived of as belonging to conventional gaming populations: the workplace, consumer experiences, education, warfare, and even the practice of politics itself, amongst other domains. Indeed, the central claim of this dissertation is that the video game operates with the same political and cultural gravity as that ascribed to the prison by Michel Foucault. That is, just as the prison operated as the discursive site wherein the disciplinary imaginary was honed, so too does digital play operate as that discursive site wherein the ludic imperative has emerged. To make this claim, I have had to move beyond the conventional theoretical frameworks utilized in the analysis of video games. -
March 2019 Mike Lang, School Counselor
west salem middle Page !1 school 440 East Ave West Salem, WI 54669 Phone - (608) 786-2090 Fax - (608) 786-1081 Principal - Ben Wopat Associate Principal - Mike Johnson Volume 7 - Issue 8 2019 Special points of interest: Dear Families, *Winter Wellness - March 1 With the recent weather we’ve been experiencing, flexibility has been the key as *End of Trimester - March 7 our staff and students have adapted to the conditions. Winter sports have *Early Release - March 6 ended, the temperature will eventually increase, and spring will be here before we know it. A big thank you to our staff, students, and parents in ensuring we maintain a focus on learning during the inconsistent routines we’ve had to adapt Students of the Month 2 to. Upcoming Dates 4 We held our annual Winter Wellness day on Friday, March 1. It was great to Counselor Comments 5 witness the impact this day had for both our students and staff. This experience Healthy Living provides an opportunity for them to interact in a different setting than the day- to-day school experience. I was also very proud to hear the positive feedback Grade 5 news 6 from each location our students visited. Panther Pride was on display in the Grade 6 news 7 community as our students were respectful, responsible, and safe in the settings Success Center/ 9 we visited. Homework In March we continue to provide engaging and enriching activities for our Grade 7 news 10 students: State Math Counts, Middle School Musical, Grade 6-8 Band Grade 8 news 12 Extravaganza, and the Trimester 2 Awards Assembly. -
Caveat Venditor: Technologically Protected Subsidized Goods and the Customers Who Hack Them Christopher Soghoian
Northwestern Journal of Technology and Intellectual Property Volume 6 Article 3 Issue 1 Fall Fall 2007 Caveat Venditor: Technologically Protected Subsidized Goods and the Customers Who Hack Them Christopher Soghoian Recommended Citation Christopher Soghoian, Caveat Venditor: Technologically Protected Subsidized Goods and the Customers Who Hack Them, 6 Nw. J. Tech. & Intell. Prop. 46 (2007). https://scholarlycommons.law.northwestern.edu/njtip/vol6/iss1/3 This Article is brought to you for free and open access by Northwestern Pritzker School of Law Scholarly Commons. It has been accepted for inclusion in Northwestern Journal of Technology and Intellectual Property by an authorized editor of Northwestern Pritzker School of Law Scholarly Commons. NORTHWESTERN JOURNAL OF TECHNOLOGY AND INTELLECTUAL PROPERTY Caveat Venditor: Technologically Protected Subsidized Goods and the Customers Who Hack Them Christopher Soghoian Fall 2007 VOL. 6, NO. 1 © 2007 by Northwestern University School of Law Northwestern Journal of Technology and Intellectual Property Copyright 2007 by Northwestern University School of Law Volume 6, Number 1 (Fall 2007) Northwestern Journal of Technology and Intellectual Property Caveat Venditor: Technologically Protected Subsidized Goods and the Customers Who Hack Them By Christopher Soghoian* I. INTRODUCTION ¶1 This paper focuses on the subsidization of a technology-based durable good.1 It goes on to discuss the delicate dance between the producer trying to protect its profit, competitors trying to create and sell aftermarket goods,2 and those innovative customers who use the items in completely unplanned and unprofitable ways. ¶2 An age old, but increasingly popular business model involves the subsidization of a proprietary durable good by a manufacturer, such that the good is sold below cost.3 Due to careful design, technological, and legal restrictions, the producer creates a primary product that is only compatible with its own aftermarket goods. -
Advance Program
1 Advance Program N O L O G H Y C E T I N S P I R A T I O N N I N I O N O V A T The 41st International Conference and Exhibition on Computer Graphics and Interactive Techniques Table of Contents s2014.siggraph.org Table of Contents 2 3 Conference at a Glance 27 Real-Time Live! 4 Reasons to Attend 28 Studio 5 Conference Overview 32 Talks 7 Conference Schedule 37 Technical Papers 10 Art Gallery: Acting in Translation 50 Exhibitor Tech Talks 12 Art Papers 51 Exhibitor List (as of 6 June) 13 Computer Animation Festival 52 Job Fair Participants (as of 6 June) 14 Courses (See Studio for more Courses.) 53 General Information 18 Emerging Technologies 54 Registration Fee Information 20 Panels 55 Conference Committee 22 Production Sessions 56 Co-Located Events Cover images left to right: 1. Mesh Denoising via L0 Minimization © 2013 Lei He & Scott Schaefer, Texas A&M University. 2. ORU BURUS © 2013 Supinfocom Valenciennes, Autour de Minuit. 3. Weighted Averages on Surfaces Using Phong Projection © 2013 Daniele Panozzo, ETH Zürich. 4. not over © 2013 Toru Hayai, Taiyo Kikaku co., ltd. 5. The Octopus and the Geisha © 2013 Edward Dawson-Taylor, EDJFX. 6. Realtime Facial Animation with On-the-fly Correctives © 2013 Hao Li, University of Southern California, Industrial Light & Magic. Table of Contents s2014.siggraph.org Conference at a Glance 3 Conference Registration Categories Schedule subject to change. F Full Conference Access S Select Conference Access E+ Exhibits Plus Ex Exhibitors 10 August 11 August 12 August 13 August -
The Case for Game Design Patterns
Gamasutra - Features - "A Case For Game Design Patterns" [03.13.02] 10/13/02 10:51 AM Gama Network Presents: The Case For Game Design Patterns By Bernd Kreimeier Gamasutra March 13, 2002 URL: http://www.gamasutra.com/features/20020313/kreimeier_01.htm Game design, like any other profession, requires a formal means to document, discuss, and plan. Over the past decades, the designer community could refer to a steadily growing body of past computer games for ideas and inspiration. Knowledge was also extracted from the analysis of board games and other classical games, and from the rigorous formal analysis found in mathematical game theory. However, while knowledge about computer games has grown rapidly, little progress has made to document our individual experiences and knowledge - documentation that is mandatory if the game design profession is to advance. Game design needs a shared vocabulary to name the objects and structures we are creating and shaping, and a set of rules to express how these building blocks fit together. This article proposes to adopt a pattern formalism for game design, based on the work of Christopher Alexander. Alexandrian patterns are simple collections of reusable solutions to solve recurring problems. Doug Church's "Formal Abstract Design Tools" [11] or Hal Barwood's "400 Design Rules" [6,7,18] have the same objective: to establish a formal means of describing, sharing and expanding knowledge about game design. From the very first interactive computer games, game designers have worked around this deficiency by relying on techniques and tools borrowed from other, older media -- predominantly tools for describing narrative media like cinematography, scriptwriting and storytelling. -
Remaster Edition Features
Deceived by the forces of evil into prematurely bringing about the end of the world, War – the first Horseman of the Apocalypse – stands accused of breaking the sacred law by inciting a war between Heaven and Hell. In the slaughter that ensued, the demonic forces defeated the heavenly hosts and laid claim to the Earth. Brought before the sacred Charred Council, War is indicted for his crimes and stripped of his powers. Dishonored and facing his own death, War is given the opportunity to return to Earth to search for the truth and punish those responsible. Hunted by a vengeful group of Angels, War must take on the forces of Hell, forge uneasy alliances with the very demons he hunts, and journey across the ravaged remains of the Earth on his quest for vengeance and vindication. Remaster Edition Features • PS4, Xbox One and Wii U versions of Darksiders (Wrath of War) • Native 1080p rendering resolution • Doubled all the texture resolutions • Rendering improvements and rework • Better shadow rendering quality • Post processing effects Apocalyptic Power – Unleash the wrath of War, combining brutal attacks and supernatural abilities to decimate all who stand in your way • 60 FPS in moment to moment gameplay (PS4, Xbox One, PC, 30 for WiiU) Extreme Arsenal – Wield a devastating arsenal of angelic, demonic and Earthly weapons; and blaze a trail of destruction atop Ruin, War’s fiery phantom steed Epic Quest – Battle across the wastelands and demon-infested dungeons of the decimated Earth in your quest for vengeance and redemption Character Progression – Uncover powerful ancient relics, upgrade your weapons, unlock new abilities, and customize your gameplay style Battle Heaven and Hell – Battle against all who stand in your way - from war-weary angelic forces to Hell’s hideous demon hordes © 2016 by Nordic Games Licensing AB, Sweden. -
Información Sobre La Garantía
INFORMACIÓN SOBRE LA GARANTÍA GARANTÍA LIMITADA Bethesda Softworks LLC, empresa perteneciente a ZeniMax Media (“Bethesda Softworks”) le garantiza a usted, el comprador original de este disco y del videojuego en él incluido (“Juego”) que, en circunstancias de utilización normal del Juego, este funcionará fundamentalmente como se describe en el manual que lo acompaña durante un periodo de 90 días desde la fecha de compra (“Periodo de garantía”). Esta Garantía limitada: (a) no se aplica si el Juego se utiliza con fines empresariales o comerciales; y (b) queda anulada si el Juego falla debido a un accidente, a maltrato, al ataque de un virus o a un uso inadecuado. RECURSO EXCLUSIVO Y LIMITACIÓN DE RESPONSABILIDAD Toda reclamación relacionada con la garantía debe dirigirse al vendedor al que usted compró el Juego. Debe devolver el Juego al vendedor dentro del periodo de garantía junto con una copia del recibo de compra original y una descripción del problema que afecta al Juego. El vendedor, a su discreción, podrá reparar o reemplazar el Juego por otro. Todo Juego reemplazado estará sujeto a garantía durante el tiempo restante del Periodo de garantía original o durante 30 días; de los dos, el periodo de mayor duración. El recurso exclusivo del comprador y toda la responsabilidad de Bethesda Softworks, sus licenciantes y distribuidores consistirán, a discreción del vendedor, en la reparación o reemplazo del Juego que no cumpla con lo especificado en esta Garantía limitada y sea debidamente devuelto al vendedor. Fuera de Estados Unidos, no se aplicará ninguno de estos recursos ni ningún servicio de asistencia relacionado con el producto si no es con un comprobante de compra efectuada en una entidad internacional autorizada.