Adopting Generative Grammars to Create Levels for Action-Adventure Games
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Benefits of an Escape Room As a Novel Educational Activity For
Education Benefits of an Escape Room as a Novel Educational Activity for Radiology Residents Kedar Jambhekar, MD, Rachel P. Pahls, MD, Linda A. Deloney, EdD Rationale and Objectives: We created a radiology Escape Room, a competitive game where a team of players must discover clues and solve a mystery to escape a “locked” room. To succeed, players must collaborate and think critically and creatively. Our objectives were to provide a novel team-building activity, teach interesting content about radiology as a specialty, cultivate grit, and share the game with other programs. Materials and Methods: Escape Rooms were held during orientation (BOOT Camp) for incoming radiology residents and for upper level residents and faculty with advanced content (four teams totaling 20 residents and faculty). We repeated the Escape Room 27 times for 144 residents from more than 10 countries at Radiological Society of North America (RSNA) 2018. Results: Players were engaged and competitive. They were able to connect the activity to their future responsibilities À analyzing knowl- edge under pressure (being on call), communicating effectively (conveying results and recommendations), having the dexterity and motor skills required for physical puzzles (hand-on procedures), being able to multi-task and come up with differential diagnoses under extreme stress and time pressure (being on call). A post-RSNA survey confirmed satisfaction with the activity, with overall enjoyment receiving the highest rating. Conclusion: It is feasible to create a portable, inexpensive Escape Room as a novel educational platform for radiology residents. Combin- ing knowledge-based challenges and technical skills in a live-action game simulated a real-life situation in which vital patient information must be collected and reported concisely and accurately. -
In This Day of 3D Graphics, What Lets a Game Like ADOM Not Only Survive
Ross Hensley STS 145 Case Study 3-18-02 Ancient Domains of Mystery and Rougelike Games The epic quest begins in the city of Terinyo. A Quake 3 deathmatch might begin with a player materializing in a complex, graphically intense 3D environment, grabbing a few powerups and weapons, and fragging another player with a shotgun. Instantly blown up by a rocket launcher, he quickly respawns. Elapsed time: 30 seconds. By contrast, a player’s first foray into the ASCII-illustrated world of Ancient Domains of Mystery (ADOM) would last a bit longer—but probably not by very much. After a complex process of character creation, the intrepid adventurer hesitantly ventures into a dark cave—only to walk into a fireball trap, killing her. But a perished ADOM character, represented by an “@” symbol, does not fare as well as one in Quake: Once killed, past saved games are erased. Instead, she joins what is no doubt a rapidly growing graveyard of failed characters. In a day when most games feature high-quality 3D graphics, intricate storylines, or both, how do games like ADOM not only survive but thrive, supporting a large and active community of fans? How can a game design seemingly premised on frustrating players through continual failure prove so successful—and so addictive? 2 The Development of the Roguelike Sub-Genre ADOM is a recent—and especially popular—example of a sub-genre of Role Playing Games (RPGs). Games of this sort are typically called “Roguelike,” after the founding game of the sub-genre, Rogue. Inspired by text adventure games like Adventure, two students at UC Santa Cruz, Michael Toy and Glenn Whichman, decided to create a graphical dungeon-delving adventure, using ASCII characters to illustrate the dungeon environments. -
Ogre Battle Review
Eric Liao STS 145 February 2 1,2001 Ogre Battle Review This review is of the cult Super Nintendo hit Ogre Battle. In my eyes, it achieved cult hit status because of its appeal to hard-core garners as well as its limited release (only 25,000 US copies!), despite being extraordinarily successful in Japan. Its innovative gameplay has not been emulated by any other games to date (besides sequels). As a monument to Ogre Battle’s amazing replayability, I still play the game today on an SNES emulator. General information: Full name: Ogre Battle Saga, Episode 5: The March of the Black Queen Publisher: Atlus Developer: Quest Copyright Date: 1993 Genre: real time strategy with RPG elements Platform: Originally released for SNES, ported to Sega Saturn and Sony Playstation, with sequels for SNES, N64, NeoGeo Pocket Color, Sony Playstation # Players: 1 player game Storyline: This game hasa tremendously deep storyline for a console game, rivaling most RPGs. When I say deep, it is not in the traditional interactive fiction sense. There are no cutscenes in the game, and characters do not talk to each other. Rather, what makes the game deep is not the plot, but the completely branching structure of the plot. The story itself is not extremely original: The gametakes place thousands of years after a huge battle, called “The Ogre Battle,” was fought. This war was between mankind and demonkind, with the winner to rule the world. Mankind won and sealed the demons in the underworld. However, an evil wizard created an artifact called “The Black Diamond” that could destroy this seal. -
Game Review | the Legend of Zelda file:///Users/Denadebry/Desktop/Hpsresearch/Papersfromgreen
Game Review | The Legend of Zelda file:///Users/denadebry/Desktop/HPSresearch/PapersFromGreen... Matt Waddell STS 145: Game Review Table of Contents: Da Game Story Line & Game-play Technical Stuff Game Design Success Endnotes In 1984 President Hiroshi Yamauchi asked apprentice game designer Sigeru Miyamoto to oversee R&D4, a new research and development team for Nintendo Co., Ltd. Miyamoto's group, Joho Kaihatsu, had one assignment: "to come up with the most imaginative video games ever." 1 On February 21, 1986, Nintendo Co., Ltd. published The Legend of Zelda (hereafter abbreviated LoZ) for the Famicom in Japan. It was Miyamoto's first autonomous attempt at game design. In July 1987, Nintendo of America published LoZ for the Nintendo Entertainment System in the United States, this time with a shiny gold cartridge. Origins: where did LoZ come from? Miyamoto admits that LoZ is partly based on Ridley Scott's movie Legend. Indeed, Miyamoto's video game shares more than just a title with Scott's 1985 production. But Miyamoto's fundamental inspiration for LoZ remains his childhood home, with its maze of rooms, sliding shoji screens, and "hallways, from which there seemed to be a medieval castle's supply of hidden rooms." 2 Story Line: a brief synopsis. In the land of Hyrule, the legend of the "Triforce" was being passed down from generation to generation; golden triangles possessing mystical powers. One day, an evil army attacked Hyrule and stole the Triforce of Power. This army was led by Gannon, the powerful Prince of Darkness. Fearing his wicked rule, Zelda, the princess of Hyrule, split the remaining Triforce of Wisdom into eight fragments and hid them throughout the land. -
Super Mario Brothers
Super Mario Brothers Complete* Transcription/Arrangements for the Piano By Philip Kim Original Music Composed by Kondo Koji 近藤 浩治 Game Produced by Nintendo * I did not include sound effects not playable by the piano. Forward I want to first of all, thank the people at Nintendo for creating this video game classic which I have fond memories of playing for many hours during my early teen years and way into my 20s. I want to especially thank the composer, Kondo Koji, for composing such memorable tunes which will remain within us to those who have played this wonderful game series. I first heard the piano arrangements of the Super Mario series on the internet played by The Blindfolded Pianist, a.k.a. Martin Leung, about 4‐5 years back and I was thrilled to hear these gems on the piano. As most of the people probably did, I looked for the sheet music but I couldn’t find the complete transcriptions/arrangements for the piano except the ones available done by Martin. It was recently that I watched Martin’s performance video again and it was then when I decided if I couldn’t purchase the scores I’ll do my own transcriptions and arrangements. So it is Mr. Martin Leung that I owe my inspiration to do my own transcriptions of these musical gems. Since I couldn’t find any “Officially” published music scores for these BMG (Background Music) for the Super Mario series, I did my searches on the net and got my hands on many midi files and nsf (Nintendo Sound Format) files to play and to listen in order to notate the music. -
Designing Gameplay Researching and Testing Nintendo’S Game Design
Designing Gameplay Researching and testing Nintendo’s game design Malin Ribäck Arcada Biblioteket och Språkenheten Helsingfors 2019 EXAMENSARBETE Arcada Utbildningsprogram: Mediekultur Identifikationsnummer: 6847 Författare: Malin Ribäck Arbetets namn: Gameplays design – Undersökning och test av Nintendos speldesign Handledare (Arcada): Mirko Ahonen Uppdragsgivare: Sammandrag: Studien gick ut på att utforska hur spelföretaget Nintendo designar gameplay. För att testa resultaten i praktiken skapades ett game design-dokument. Därför börjar arbetet med att diskutera vad game design-dokument är och vad de används för. Game design-dokumentet som gjordes i samband med studien är en kombination av det huvudsakliga game design- dokumentet och ett konceptdokument. Därför tar arbetet också upp skillnaderna mellan dessa dokument. För att utreda hur Nintendo designar gameplay utfördes en litteraturundersökning. Materialet som användes i litteraturundersökningen består av intervjuer. Majoriteten av intervjuerna härstammar från Nintendos egen hemsida. För att utforma en teori tar arbetet upp några befintliga teorier för hur Nintendo designar sina spel. För att kunna diskutera Nintendos gameplay definieras gameplays koncept genom att diskutera olika definitioner av olika författare som tar upp ämnet i fråga. Litteraturundersökningen inleds med en presentation av varifrån materialet för studien har kommit. Inledningsvis tar också arbetet upp två viktiga spelutvecklare från Nintendo, för att ge insikt i varför just de personerna är viktiga. För att presentera en helhet över hur Nintendo designar gameplay studeras, organiseras, presenteras och diskuteras innehållet från litteraturundersökningen. Resultatet från undersökningen visar bland annat att när Nintendo designar sina spel, fokuserar man på följande saker: Att göra spelen användarvänliga, att formge dem enligt deras funktion, att göra spelvärlden responsiv i förhållande till spelaren och att undvika störa eller avbryta spelarens inlevelse i spelet. -
USC School of Cinematic Arts
USC School of CTIN 464 Game Studies Seminar: Critical Approaches to Escape Rooms Cinematic Arts Units: 2.0 Spring 2016—Tuesdays, 14:00-16:50 Interactive Media & Games Division Location: SCA 110 Instructor: Kiki Benzon Office: SCI 101C Office Hours: by appointment Contact Info: [email protected] Student Assistant: TBA Course Description This course focuses on escape rooms, an increasingly popular genre of immersive, environmental play that situates players in a mysterious “locked” room; players “escape” by solving a system of puzzles in order to unravel a cryptic narrative that unlocks the mystery of the room. As this is a Games Studies Seminar, we will be considering the escape room phenomenon within historical, cultural, and economic contexts. We will also address the ways in which various game forms and genres—tabletop games, puzzle video games, role-playing games, mechanical puzzles, and others—have contributed to and still influence the formal, aesthetic, and structural elements of the contemporary escape room. Over the course of the term, students will experience and analyze a number of escape rooms in Los Angeles, and speak with practitioners in the field about tangible storytelling, experience design, and running an escape room in a competitive entertainment environment. Students will work in teams to develop an escape room proposal, which they will deliver in an industry pitch at the end of the term. Learning Objectives • devise a genealogy of escape rooms, a game form derived from myriad types of play • explore the cultural -
Soul of Zelda: a Memoir of an Ephemeral Being Mitchell Kopitch A
Soul of Zelda: A Memoir of an Ephemeral Being Mitchell Kopitch A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts University of Washington 2018 Committee: Ted Hiebert Sarah Dowling Program Authorized to Offer Degree: Interdisciplinary Arts and Sciences ©Copyright 2018 Mitchell Kopitch University of Washington Abstract Soul of Zelda: A Memoir of an Ephemeral Being Mitchell Kopitch Chair of the Supervisory Committee: Ted Hiebert School of Interdisciplinary Arts and Sciences Hybrid document of memoir and fiction concerning fantasy, video games, and the ways in which game design nuance can be found in every day life. Particular attention is put on The Legend of Zelda from 1986, the first 3D Zelda installment, Ocarina of Time in 1998, and Dark Souls from 2011. This is a fictional story heavily inspired by those games and many others, but the story and characters are original, including a queer/gender bending protagonist. The story-line is a creative work that emulates the underlining philosophy of fantasy video games such as Zelda and Dark Souls, re-imagining video game design and personal gaming experiences as prose. 1 ~ Soul of Zelda ~ A Memoir of an Ephemeral Muse by Mitchell Kopitch Turn Page1 1 Book Equivalent of “Press Start”. 2 WORLD SELECTION: Poetics Statement Introduction: By the Author World I I-I: Intro Cinematic Interlude #1 - On Psychiatry I-II: Opening Interlude #2 - A Connection I-III: Character Creator Interlude #3 - Consumption World II II-I: Tutorial Interlude #4 - The Universe as Game II-II: Fast Travel Interlude #5 - On Labors of Love II-III: Mod Interlude #6 - Deprived World III III-I: Open World Interlude #7 - Extremity III-II: Dungeon Crawl Interlude #8 - The Male in the Room III-III: Boss Battle Interlude #9 - Of Demons and Memories Additional Content Attunement Exam 3 Poetics Statement When I parted ways with one of my roommates in college, he gave me his copy of Dark Souls (2011) as a parting gift. -
Game Level Generation from Gameplay Videos
Game Level Generation from Gameplay Videos Matthew Guzdial, Mark Riedl Entertainment Intelligence Lab School of Interactive Computing Georgia Institute of Technology Atlanta, GA, USA [email protected], [email protected] Abstract training, and entertainment, as expert design knowledge is required to either guide novices or fully automate design. We present an unsupervised approach to synthesize full video In this paper we present a system that learns a generative, game levels from a set of gameplay videos. Our primary con- probabilistic model from gameplay video exemplars in an tribution is an unsupervised process to generate levels from a model trained on gameplay video. The model represents unsupervised fashion. At a high level the system parses raw probabilistic relationships between shapes properties, and re- gameplay video as input, categorizes level sections based on lates the relationships to stylistic variance within a domain. their contents and the player’s behavior, and learns a prob- We utilize the classic platformer game Super Mario Bros. due abilistic graphical model of spatial relationships of content. to its highly-regarded level design. We evaluate the output in This model captures the probabilistic structure of level com- comparison to other data-driven level generation techniques ponents, which can then be used in the generation of novel via a user study and demonstrate its ability to produce novel content that stylistically matches the original exemplars. output more stylistically similar to exemplar input. Our contributions include: (1) a method to automatically categorize level data; (2) and a probabilistic model for full Introduction level generation. We evaluate our approach by comparing generated levels to those of two other data-driven Super Procedural level generation is the problem of generating Mario Bros. -
Finding the 'QR' to Patient Safety
Open Access Technical Report DOI: 10.7759/cureus.4014 Finding the ‘QR’ to Patient Safety: Applying Gamification to Incorporate Patient Safety Priorities Through a Simulated ‘Escape Room’ Experience Xiao Chi Zhang 1 , Gretchen Diemer 2 , Hyunjoo Lee 3 , Rebecca Jaffe 2 , Dimitrios Papanagnou 1 1. Emergency Medicine, Thomas Jefferson University, Philadelphia, USA 2. Internal Medicine, Thomas Jefferson University, Philadelphia, USA 3. Emergency Medicine, Stony Brook University Hospital, Stony Brook, USA Corresponding author: Xiao Chi Zhang, [email protected] Abstract Medical errors are the eighth leading cause of mortality in the United States and contribute to over one million preventable injuries. In an effort to prevent medical errors, reporting systems serve as invaluable tools to detect patient safety events and quality problems longitudinally. Historically, trainees (i.e., students and residents) rarely submit incident reports for encountered patient safety threats. The authors propose an immersive learning experience utilizing gamification theory and leveraging the increasingly popular ‘escape room’ to help resident trainees identify reportable patient safety priorities. All 130 incoming intern physicians at the Thomas Jefferson University (Jefferson) were enrolled in the Patient Safety Escape Room study as part of their residency orientation (June 2018). The residents were randomly divided into 16 teams. Each team was immersed in a simulated escape room, tasked with identifying a predetermined set of serious patient safety hazards, and successfully manually entering them into the Jefferson Event Reporting System within the time allotted to successfully ‘win the game’ by ‘escaping the room’. Quick response (QR) codes were planted throughout the activity to provide in-game instructions; clues to solve the puzzle; and key information about patient safety priorities at Jefferson. -
How Players Decode Minecraft
Loading… The Journal of the Canadian Game Studies Association Vol 10(16): 75-86 http://loading.gamestudies.ca Procedural Elaboration: How Players Decode Minecraft Nic Watson Concordia University [email protected] Abstract Minecraft play practices reveal a type of analytic play in which significant work is invested in discovering esoteric details about the game, without necessarily providing practical prescriptions for optimizing play. This paper proposes the term “procedural elaboration” to describe such activities and the knowledge thereby produced. In contrast to the existing concept of theorycrafting, the products of procedural elaboration are primarily descriptive rather than prescriptive. However, this knowledge is far from trivial or banal. I argue that these knowledge- making activities can be explained through two functions of procedural elaboration. First, it provides players with a tool for dealing with the threatening inscrutability of some procedural game systems. Second, it acts as a ritual form of communication that helps to solidify a coherent Minecraft player community, while also establishing a social order within that community. Subsequently, I consider why players persist in using specifically experimental methods in procedural elaboration, even though the online availability of decompiled Minecraft source code means that the rules are not fully hidden as they are in most other games. I argue that the experimental method persists for these reasons: because it does not require specialized programming skills; because the gameplay already casts scientific experimentation as play; and because the iterative nature of Minecraft’s development has produced source code that is structured in a way that resists direct deciphering. Author Keywords Minecraft; procedural elaboration; procedural literacy; procedural hostility; experimental play; tactics; ritual communication; cultural capital; gamer capital Introduction: Procedural Elaboration and its Functions MrSideliner is a video game record-setter. -
Analysis and Development of a Game of the Genre Roguelike
UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE INFORMÁTICA CURSO DE CIÊNCIA DA COMPUTAÇÃO CIRO GONÇALVES PLÁ DA SILVA Analysis and Development of a Game of the Roguelike Genre Final Report presented in partial fulfillment of the requirements for the degree of Bachelor of Computer Science. Advisor: Prof. Dr. Raul Fernando Weber Porto Alegre 2015 UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL Reitor: Prof. Carlos Alexandre Netto Vice-Reitor: Prof. Rui Vicente Oppermann Pró-Reitor de Graduação: Prof. Sérgio Roberto Kieling Franco Diretor do Instituto de Informática: Prof. Luís da Cunha Lamb Coordenador do Curso de Ciência da Computação: Prof. Raul Fernando Weber Bibliotecária-Chefe do Instituto de Informática: Beatriz Regina Bastos Haro ACKNOWLEDGEMENTS First, I would like to thank my advisor Raul Fernando Weber for his support and crucial pieces of advisement. Also, I'm grateful for the words of encouragement by my friends, usually in the form of jokes about my seemingly endless graduation process. I'm also thankful for my brother Michel and my sister Ana, which, despite not being physically present all the time, were sources of inspiration and examples of hard work. Finally, and most importantly, I would like to thank my parents, Isabel and Roberto, for their unending support. Without their constant encouragement and guidance, this work wouldn't have been remotely possible. ABSTRACT Games are primarily a source of entertainment, but also a substrate for developing, testing and proving theories. When video games started to popularize, more ambitious projects demanded and pushed forward the development of sophisticated algorithmic techniques to handle real-time graphics, persistent large-scale virtual worlds and intelligent non-player characters.