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CONJECTURE GAMES PRESENTS: Conjectural Roleplaying Gamemaster
CONJECTURE GAMES PRESENTS: CRGE conjectural roleplaying gamemaster emulator By Zach Best Artwork by Matthew Vasey The Helldragon (order #6976544) “If everyone is thinking alike, then somebody isn’t thinking.” – George S. Patton Dedicated to Katie. Who shares every step with me. Written by Zach Best Artwork by Matthew Vasey Published by Conjecture Games (www.conjecturegames.com) Special Thanks to Alex Yari, Francis Flammang, David Dankel, Nicky Tsouklais, Matthew Mooney, Aaron Zeitler, Kenny Norris, Jimmy Williams, and Deathworks for playtesting, editing, and general commenting. Very Special Thanks to Chris Stieha for being the first and most thorough playtester an indie game designer could ever ask for. All text is © Zach Best (2014). All artwork is © Matthew Vasey (2014) and used with permission for this work. The mention of or reference to any company or product in these pages is not a challenge to the trademark or copyright concerned. 2 The Helldragon (order #6976544) Table of Contents What is CRGE? pg. 4 Loom of Fate – Binary GM Emulator, pg. 6 The Surge Count, pg. 8 Unexpectedly Explanations, pg. 10 Loom of Fate Examples, pg. 11 Loom of Fate Tutorial, pg. 13 Conjured Threads – Story Indexing Game Engine, pg. 14 Stage of the Scene, pg. 16 CRGE Scene Setup, pg. 18 Bookkeeping, pg. 18 Storyspinning – Frameworks for CRGE, pg. 20 Vignette Framework, pg. 21 Vignette Framework Tutorial, pg. 23 Tapestry –Multiplayer CRGE Module, pg. 24 Appendix I (Tables), pg. 27 Appendix II (Vignette Framework Tutorial Example), pg. 28 3 The Helldragon (order #6976544) What is CRGE? Conjecture The Conjectural Roleplaying Gamemaster “Is the door locked?” This is a very simple Emulator (“CRGE”) is a supplement for any pen question applicable to many RPG adventures. -
Gaming Insurrection Reflects on the Series That Introduced Samus Aran to the World ALL ABOUT METROID
Gaming Insurrection reflects on the series that introduced Samus Aran to the world ALL ABOUT METROID Who is Samus Aran? …......... 3 Series symbolism …............... 5 Editor’s take …......................... 6 Did you know? …..................... 6 Metroid resources …............ 6 BY LYNDSEY HICKS hen Metroid hit the exploration. With Metroid, I learned to ap- start and complete. Its present and future scene in 1986, there preciate the advances made in technology. rely on that fact, as well. With a long- W weren’t many like Metroid was the catalyst for exploring my hinted-at sequel to Metroid Fusion on hiatus, Samus Aran and the roots and learning where I came from as a now is the time to look at Samus, where eponymous jellyfish-like gamer. she’s been and where she can go and de- creatures. No game had Metroid as a series isn’t just some series. cide if she should go there. Now is the time a lead female protagonist Rather, it’s a look at space and what hap- to reflect on all that Samus has achieved as who could convey such pens when someone is forced to survive on a character and as a property and decide wonder and exploration as their own with virtually no help. Actually, her place in annals of gaming history. Now Samus did in the series’ opening it’s a lot like the move Alien. That being is the time to give Samus the credit she is game. With Samus’ introduction, the gam- said, the starkness of Metroid’s landscape due as a forerunner to the modern gaming ing world finally realized that women were provides an interesting case study in char- woman. -
A Sense of Presence: Mediating an American Apocalypse
religions Article A Sense of Presence: Mediating an American Apocalypse Rachel Wagner Department of Philosophy and Religion, Ithaca College, Ithaca, NY 14850, USA; [email protected] Abstract: Here I build upon Robert Orsi’s work by arguing that we can see presence—and the longing for it—at work beyond the obvious spaces of religious practice. Presence, I propose, is alive and well in mediated apocalypticism, in the intense imagination of the future that preoccupies those who consume its narratives in film, games, and role plays. Presence is a way of bringing worlds beyond into tangible form, of touching them and letting them touch you. It is, in this sense, that Michael Hoelzl and Graham Ward observe the “re-emergence” of religion with a “new visibility” that is much more than “simple re-emergence of something that has been in decline in the past but is now manifesting itself once more.” I propose that the “new awareness of religion” they posit includes the mediated worlds that enchant and empower us via deeply immersive fandoms. Whereas religious institutions today may be suspicious of presence, it lives on in the thick of media fandoms and their material manifestations, especially those forms that make ultimate promises about the world to come. Keywords: apocalypticism; Orsi; enchantment; fandom; video games; pervasive games; cowboy; larp; West 1. Introduction Michael Hoelzl and Graham Ward observe the “re-emergence” of religion today with a “new visibility” that is “far more complex and nuanced than simple re-emergence of something that has been in decline in the past but is now manifesting itself once more” (Hoelzl and Ward 2008, p. -
Platf Orm Game First Person Shooter Strategy Game Alternatereality Game
First person shooter Platform game Alternate reality game Strategy game Platform game Strategy game The platform game (or platformer) is a video game genre Strategy video games is a video game genre that emphasizes characterized by requiring the player to jump to and from sus- skillful thinking and planning to achieve victory. They empha- pended platforms or over obstacles (jumping puzzles). It must size strategic, tactical, and sometimes logistical challenges. be possible to control these jumps and to fall from platforms Many games also offer economic challenges and exploration. or miss jumps. The most common unifying element to these These games sometimes incorporate physical challenges, but games is a jump button; other jump mechanics include swing- such challenges can annoy strategically minded players. They ing from extendable arms, as in Ristar or Bionic Commando, are generally categorized into four sub-types, depending on or bouncing from springboards or trampolines, as in Alpha whether the game is turn-based or real-time, and whether Waves. These mechanics, even in the context of other genres, the game focuses on strategy or tactics. are commonly called platforming, a verbification of platform. Games where jumping is automated completely, such as The Legend of Zelda: Ocarina of Time, fall outside of the genre. The platform game (or platformer) is a video game genre characterized by requiring the player to jump to and from sus- pended platforms or over obstacles (jumping puzzles). It must be possible to control these jumps and to fall from platforms or miss jumps. The most common unifying element to these games is a jump button; other jump mechanics include swing- ing from extendable arms, as in Ristar or Bionic Commando, or bouncing from springboards or trampolines, as in Alpha Waves. -
Wii Metroid Other M.Pdf
NEED HELP WITH INSTALLATION, BESOIN D’AIDE POUR L’INSTALLATION, ¿NECESITAS AYUDA DE INSTALACIÓN, MAINTENANCE OR SERVICE? L’ENTRETIEN OU LA RÉPARATION? MANTENIMIENTO O SERVICIO? Nintendo Customer Service Service à la clientèle de Nintendo Servicio al Cliente de Nintendo SUPPORT.NINTENDO.COM SUPPORT.NINTENDO.COM SUPPORT.NINTENDO.COM or call 1-800-255-3700 ou composez le 1 800 255-3700 o llama al 1-800-255-3700 NEED HELP PLAYING A GAME? BESOIN D’AIDE DANS UN JEU? ¿NECESITAS AYUDA CON UN JUEGO? Recorded tips for many titles are available on Des astuces préenregistrées pour de nombreux Puedes escuchar consejos grabados para Nintendo’s Power Line at (425) 885-7529. titres sont disponibles sur la Power Line de muchos títulos a través del servicio Power Line This may be a long-distance call, so please ask Nintendo au (425) 885-7529 (en anglais de Nintendo, llamando al (425) 885-7529. Esta permission from whoever pays the phone bill. seulement). Puisque l’appel pourrait être puede ser una llamada de larga distancia, así If the information you need is not on the Power interurbain, demandez la permission à la que asegúrate de pedir permiso a la persona que Line, you may want to try using your favorite personne qui paie les factures de téléphone paga la factura del teléfono. Si el servicio Power Internet search engine to find tips for the game avant d’appeler. Vous pouvez aussi utiliser Line no tiene la información que necesitas, te you are playing. Some helpful words to include in votre moteur de recherche préféré pour recomendamos que uses el motor de búsqueda the search, along with the game’s title, are: “walk trouver des astuces sur Internet. -
The No-Prep Gamemaster Or How I Learned to Stop Worrying and Love Random Tables
The No-Prep Gamemaster Or How I Learned to Stop Worrying and Love Random Tables Sample file Matt Davids 1 Edited By Ryan Thompson Layout & Design By Matt Davids Patrons Scott Frega, Heath Baxter & Andrew Nagy Thanks Mik Calow, Jeff Gatlin & JE Melton Published by dicegeks. Contents copyright © 2019 dicegeeks and Matt Davids. All rights reserved. Some artwork © 2015 Dean Spencer, used with permission. All rights reserved. SampleCover image from iStock. Used under license. file www.dicegeeks.com 2 Get Free Dungeon Maps and More dicegeeks.com/free Sample file 3 Table of Contents Glossary........................................................................5 Introduction.................................................................6 ARCANA Gamemaster Evolution................................................8 True Role of the GM....................................................11 The No‐Prep Approach...............................................18 THREE KEYS Fill Yourself with Stories..............................................21 Don't Set Dungeons in Stone......................................31 Random Tables...........................................................35 ARROWS IN THE QUIVER Best Case/Worse Case.................................................45 Don't Create Everything.............................................48 List of Names..............................................................51 Listen to the Table......................................................54 Players Can Help Create..............................................57 -
Roleplaying,” June 2005
Graham D., “Roleplaying,” June 2005. Undergraduate Term Paper for “Ethnography of Massively Multiplayer Online Games” Trinity University, San Antonio, Texas Questions to Graham can be directed to Aaron Delwiche ([email protected]) Introduction When I began playing on the Silverhand server, I was aware that it was designed for roleplayers, yet I saw few visible signs of roleplay, and I certainly wasn’t roleplaying either. What did it mean to roleplay, exactly? I had a vague and probably inaccurate idea, but wanted to explore this idea further. It seemed kind of scary to me because I though maybe it was like giving up one’s true self. How in-depth did people go? I knew there were varying degrees, but wasn’t sure the extent. Were some people just acting, while some unconsciously became their alter-ego? I knew there was more to it than just putting on a phony Elizabethan accent in the chat channels, and I wanted to find out what this alien practice was. After a few misguided attempts, I finally arrived at a research question: “What do gamers identify as their motivations for roleplaying?” This question would help get to the “why” of it all by looking at internal factors that lead people to roleplay. So what is roleplaying anyway? Making an operant definition of this term is extremely difficult because there are literally hundreds of slightly different definitions out there. It seems better to look at a few different ideas in order to get a general picture. In As LARP Grows Up—Theory and Methods in LARP from Knudepunkt, a Nordic live-action roleplaying convention, various schools of roleplaying are represented, and each gives their definition of roleplaying. -
Mud Connector
Archive-name: mudlist.doc /_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ /_/_/_/_/ THE /_/_/_/_/ /_/_/ MUD CONNECTOR /_/_/ /_/_/_/_/ MUD LIST /_/_/_/_/ /_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ o=======================================================================o The Mud Connector is (c) copyright (1994 - 96) by Andrew Cowan, an associate of GlobalMedia Design Inc. This mudlist may be reprinted as long as 1) it appears in its entirety, you may not strip out bits and pieces 2) the entire header appears with the list intact. Many thanks go out to the mud administrators who helped to make this list possible, without them there is little chance this list would exist! o=======================================================================o This list is presented strictly in alphabetical order. Each mud listing contains: The mud name, The code base used, the telnet address of the mud (unless circumstances prevent this), the homepage url (if a homepage exists) and a description submitted by a member of the mud's administration or a person approved to make the submission. All listings derived from the Mud Connector WWW site http://www.mudconnect.com/ You can contact the Mud Connector staff at [email protected]. [NOTE: This list was computer-generated, Please report bugs/typos] o=======================================================================o Last Updated: June 8th, 1997 TOTAL MUDS LISTED: 808 o=======================================================================o o=======================================================================o Muds Beginning With: A o=======================================================================o Mud : Aacena: The Fatal Promise Code Base : Envy 2.0 Telnet : mud.usacomputers.com 6969 [204.215.32.27] WWW : None Description : Aacena: The Fatal Promise: Come here if you like: Clan Wars, PKilling, Role Playing, Friendly but Fair Imms, in depth quests, Colour, Multiclassing*, Original Areas*, Tweaked up code, and MORE! *On the way in The Fatal Promise is a small mud but is growing in size and player base. -
Mathematics and Role-Playing Games
St. John Fisher College Fisher Digital Publications Mathematical and Computing Sciences Faculty/Staff Publications Mathematical and Computing Sciences 2012 Coming Out of the Dungeon: Mathematics and Role-Playing Games Kris H. Green St. John Fisher College, [email protected] Follow this and additional works at: https://fisherpub.sjfc.edu/math_facpub Part of the Mathematics Commons How has open access to Fisher Digital Publications benefited ou?y Publication Information Green, Kris H. (2012). "Coming Out of the Dungeon: Mathematics and Role-Playing Games." Mathematics in Popular Culture: Essays on Appearances in Film, Fiction, Games, Television and Other Media , 99-113. Please note that the Publication Information provides general citation information and may not be appropriate for your discipline. To receive help in creating a citation based on your discipline, please visit http://libguides.sjfc.edu/citations. This document is posted at https://fisherpub.sjfc.edu/math_facpub/19 and is brought to you for free and open access by Fisher Digital Publications at St. John Fisher College. For more information, please contact [email protected]. Coming Out of the Dungeon: Mathematics and Role-Playing Games Abstract After hiding it for many years, I have a confession to make. Throughout middle school and high school my friends and I would gather almost every weekend, spending hours using numbers, probability, and optimization to build models that we could use to simulate almost anything. That’s right. My big secret is simple. I was a high school mathematical modeler. Of course, our weekend mathematical models didn’t bear any direct relationship to the models we explored in our mathematics and science classes. -
Reporting from a Video Game Industry in Transition, 2003 – 2011
Save Point Reporting from a video game industry in transition, 2003 – 2011 Kyle Orland Carnegie Mellon University: ETC Press Pittsburgh, PA Save Point: Reporting from a video game industry in transition, 2003— 2011 by Carnegie Mellon University: ETC Press is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License, except where otherwise noted. Copyright by ETC Press 2021 http://press.etc.cmu.edu/ ISBN: 9-781304-268426 (eBook) TEXT: The text of this work is licensed under a Creative Commons Attribution-NonCommercial-NonDerivative 2.5 License (http://creativecommons.org/licenses/by-nc-nd/2.5/) IMAGES: The images of this work is licensed under a Creative Commons Attribution-NonCommercial-NonDerivative 2.5 License (http://creativecommons.org/licenses/by-nc-nd/2.5/) Table of Contents Introduction COMMUNITY Infinite Princesses WebGame 2.0 @TopHatProfessor Layton and the Curious Twitter Accounts Madden in the Mist Pinball Wizards: A Visual Tour of the Pinball World Championships A Zombie of a Chance: LooKing BacK at the Left 4 Dead 2 Boycott The MaKing (and UnmaKing) of a Nintendo Fanboy Alone in the StreetPass Crowd CRAFT Steel Battalion and the Future of Direct-InVolVement Games A Horse of a Different Color Sympathy for the DeVil The Slow Death of the Game OVer The Game at the End of the Bar The World in a Chain Chomp Retro-Colored Glasses Do ArKham City’s Language Critics HaVe A Right To 'Bitch'? COMMERCE Hard DriVin’, Hard Bargainin’: InVestigating Midway’s ‘Ghost Racer’ Patent Indie Game Store Holiday Rush What If? MaKing a “Bundle” off of Indie Gaming Portal Goes Potato: How ValVe And Indie DeVs Built a Meta-Game Around Portal 2’s Launch Introduction As I write this introduction in 2021, we’re just about a year away from the 50th anniVersary of Pong, the first commercially successful video game and probably the simplest point to mark the start of what we now consider “the video game industry.” That makes video games one of the newest distinct artistic mediums out there, but not exactly new anymore. -
Mu's Unbelievably Long and Disjointed Ramblings About RPG Design
Mu's Unbelievably Long and Disjointed Ramblings About RPG Design Mu's Unbelievably Long and Disjointed Ramblings About RPG Design 1 / 101 Copyright 2001-Now by Howard Collins . Mu's Unbelievably Long and Disjointed Ramblings About RPG Design 1 Foreword .........................................................................................................................................6 2 General Topics ................................................................................................................................7 2.1 Holistic Game Design .............................................................................................................7 2.2 The Grandfather Clause of Stupidity ......................................................................................8 2.3 Paths Unlimited ......................................................................................................................9 2.4 Design from Tech or Tech from Design ...............................................................................10 2.5 Roleplaying = Fighting..........................................................................................................11 2.6 Limiting Player Power...........................................................................................................13 2.7 Segregating Player Power....................................................................................................15 2.8 The No Numbers Concept....................................................................................................16 -
Definitions of “Role-Playing Games”
This is an Accepted Manuscript of a book chapter published by Routledge in Role- Playing Game Studies: Transmedia Foundations on April 4, 2018, available online: https://www.routledge.com/Role-Playing-Game-Studies-Transmedia-Foundations/Deterding-Zagal/p/book/9781138638907 Please cite as: Zagal, José P. and Deterding, S. (2018). Definitions of “Role-Playing Games”. In Zagal, José P. and Deterding, S. (eds.), Role-Playing Game Studies: Transmedia Foundations. New York: Routledge, 19-51. 2 Definitions of “Role-Playing Games” José P. Zagal; Sebastian Deterding For some, defining “game” is a hopeless task (Parlett 1999). For others, the very idea that one could capture the meaning of a word in a list of defining features is flawed, because language and meaning-making do not work that way (Wittgenstein 1963). Still, we use the word “game” every day and, generally, understand each other when we do so. Among game scholars and professionals, we debate “game” definitions with fervor and sophistication. And yet, while we usually agree with some on some aspects, we never seem to agree with everyone on all. At most, we agree on what we disagree about – that is, what disagreements we consider important for understanding and defining “games” (Stenros 2014). What is true for “games” holds doubly for “role-playing games”. In fact, role- playing games (RPGs) are maybe the most contentious game phenomenon: the exception, the outlier, the not-quite-a-game game. In their foundational game studies text Rules of Play, Salen and Zimmerman (2004, 80) acknowledge that their definition of a game (“a system in which players engage in an artificial conflict, defined by rules, that results in a quantifiable outcome”) considers RPGs a borderline case.