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Bruno Cicanci Rodrigues de Sousa Game Design Document V1.0 Bruno Cicanci Rodrigues de Sousa http://gamedeveloper.com.br http://gamedeveloper.com.br Bruno Cicanci Rodrigues de Sousa 1. Visão Geral a. Conceito Salvar o Mundo dos Sonhos de Morfeu do domínio de Pesadelos. b. Sinopse Jogo de aventura onde um garoto, Paulo, é escolhido pelo Deus Grego dos Sonhos Morfeu para ajudá-lo a recuperar as 12 relíquias quer permitem o acesso dos doze dos Deuses do Olímpio ao Mundo dos Sonhos. As relíquias foram roubadas pelos Pesadelos, seres sombrios que querem dominar o Mundo dos Sonhos, lar e reino de Morfeu e seus irmãos, local onde todas as criaturas que sonham vão ao cair no sono. Oniro significa Sonho em grego. Este nome foi escolhido por que o jogo será baseado na mitologia grega e será ambientado no Mundo dos Sonhos do deus grego Morfeu. 2. Produto a. Público O público-alvo do Oniro são jogadores casuais com idade entre 15 e 20 anos, porém este produto também deve atingir outras faixas etárias e jogadores hardcore . O jogo apresentará um nível de dificuldade crescente em seus desafios além de diversas conquistas que o jogador não precisará conseguir para finalizar o jogo, mas são objetivos secundários que podem chamar atenção do público hardcore . b. Plataforma A versão de demonstração do jogo será lançada para a plataforma PC com sistema operacional Windows. Posteriormente, a versão completa do jogo será lançada também para Xbox 360 através da Xbox Live Arcade (XBLA). Posteriormente, este projeto também poderá ganhar uma versão para smartphones com o Windows Phone 7, que permitirá rodar jogos desenvolvidos com XNA Game Studio (plataforma de desenvolvimento escolhida para este projeto), e com alguns ajustes o Oniro poderá ser portado para esta plataforma.
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Gaming Systems and Features of Discovery Centre Station 1
Gaming systems and features of Discovery Centre Station 1: XBox 1 with Remote The Book of Unwritten Tales 2 Wii U and Wii U Remote Braid Playstation 4 with Remote The Bridge Gaming PC with Gaming keyboard and The Cat and the Coup mouse Cave Story+ Downloaded games in station 1 include: Closure 7 Grand Steps, Step 1: What Ancients Begat Cogs 140 Coil AaAaAA!! – A Reckless Disregard for Colosse Gravity Colour Bind ABE VR Crawl Achron Cube & Star: An Arbitrary Love AltscpaceVR Dayz Amnesia: The Dark Descent Deep Under the Sky Analogue: A Hate Story Desktop Dungeons A Story About My Uncle Destinations B.U.T.T.O.N. Dinner Date Bad Hotel Dream Banished The Dream Machine Bastion The Dream Machine: Chapter 3 The Beginner’s Guide The Dream Machine: Chapter 4 Besiege The Dream Machine: Chapter 5 Between IGF Demo Dungeon of the Endless Bientôt l’été Dust: An Elysian Tail Bigscreen Beta Elegy for a Dead World BioShock Infinite Endless Legend The Binding of Isaac: Rebirth Ephemerid: A Musical Adventure BIT.TRIP RUNNER Estranged: Act 1 BlazeRush Carleton University Library and the Discovery Centre September 2019 Euro Truck Simulator 2 Interstellar Marines Evoland Intrusion 2 Evoland 2 Invisible, Inc. Fallout Jamestown Fallout 2 Joe Danger Fallout Tactics Keep Talking and Nobody Explodes Farming Simulator 17 Kentucky Route Zero Flotilla LA Cops FLY’N Legend of Dungeon The FOO show Life is Strange The Forest LIMBO Fotonica Lisa Frozen Synapse Little Inferno FTL: Faster than
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Beyond Good & Evil Fallout 3: Game of the Year Edition
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Super Fish Quest: a Video Game
Western Oregon University Digital Commons@WOU Honors Senior Theses/Projects Student Scholarship 6-2-2012 Super Fish Quest: A Video Game Melissa Wiener Western Oregon University Follow this and additional works at: https://digitalcommons.wou.edu/honors_theses Part of the Software Engineering Commons Recommended Citation Wiener, Melissa, "Super Fish Quest: A Video Game" (2012). Honors Senior Theses/Projects. 87. https://digitalcommons.wou.edu/honors_theses/87 This Undergraduate Honors Thesis/Project is brought to you for free and open access by the Student Scholarship at Digital Commons@WOU. It has been accepted for inclusion in Honors Senior Theses/Projects by an authorized administrator of Digital Commons@WOU. For more information, please contact [email protected], [email protected], [email protected]. Super Fish Quest: A Video Game By Melissa Ann Wiener An Honors Thesis Submitted in Partial Fulfillment of the Requirements for Graduation from the Western Oregon University Honors Program Dr. Scot Morse, Thesis Advisor Dr. Gavin Keulks, Honors Program Director Western Oregon University June 2012 Super Fish Quest 2 of 47 Abstract Video game design isn't just coding and random number generators. It is a complex process involving art, music, writing, programming, and caffeine, that should be approached holistically. The entire process can be intimidating to the uninitiated programmer, which is why I've written an all-inclusive guide to game design. With the creation of my own original video game, Super Fish Quest, as a model, I analyze each part of the design process, discuss the technical side of programming, and research how to raise money and publish a game as an independent game developer.
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Klassiker Der Spielegeschichte 5
Klassiker der Spielegeschichte 6 1 IndependentSpiele 18 Oktober 2012 Dr. Stefan Werning | Universität Bayreuth | Digitale Medien | [email protected] Independentspiele • technologische Entwicklung/Standardisierung begünstigen Independentproduktion in den unterschiedlichsten Bereichen – independent film (günstige Tools, crowdsourcing) – independent music (günstige Tools, Web-Radios) – independent comics (Self-publishing, Web-Comics) – DIY-Elektronik (Arduino etc.) – DIY-Design (Plattformen wie Etsy, 3D-Druck) 2 Independentspiele • mehrere Dimensionen der Unabhängigkeit – Themen – Organisations- und Produktionsformen – Distributionsformen • begriffliche Abgrenzung immer vorläufig: – Browser-/Flashspiele, Episoden-Spiele, Homebrew- Spiele, art games, Casual-Spiele, Doujin, Shareware- Spiele 3 Independentspiele: Ursprünge • Shareware-Spiele – z.T. Grundlage für spätere/heutige AAA-Studios • Apogee Software 3D Realms • Epic Megagames Epic Games • id Software • digitale Distribution und Online- Kommunikation als technologische Grundlage 4 Independentspiele: Themen • Möglichkeit zur Auslotung des ästhetischen Potentials des Mediums – Remixing als Gamedesign-Heuristik • BEISPIEL RomCheckFail oder Flee Buster • Form der Analyse spielästhetischer Kategorien – BEISPIEL Sophie Houlden, The Linear RPG – Überschneidungen mit anderen Mediengattungen wie dem Musikvideo • BEISPIEL Stalwart oder Inside a Dead Skyscraper 5 Independentspiele: Themen • Grundlage für Herausbildung von Subgenres – Runner (Canabalt, Bit Trip: Runner, Stalwart)
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Popularity of Indie Games
Beteckning:________________ Akademin för teknik och miljö Popularity of Indie Games Robin Keijser juni 2012 Examensarbete, 15 högskolepoäng, C Datavetenskap Creative Computer Graphics Examinator: Peter Jenke Handledare: Goran Milutinovic Popularity of Indie Games av Robin Keijser Akademin för teknik och miljö Högskolan i Gävle 801 76 Gävle, Sverige Email: [email protected] Abstract The rising popularity of indie games is researched to answer the research aim: why have indie games gained their popularity? A study of relevant literature is performed to determine if there is a definition for good game design and to find out what technological developments have helped indie games rise in fame. Relevant articles to the research aim are also discussed. To explore what developers think of indie games interviews are attempted and a survey is distributed on various online forums to find out what people like about indie games. A conclusion is reached that show people like the creative nature of indie games and that they tend to have a emphasis on gameplay over high technological graphics. Keywords: indie games, game design, gameplay Table of Contents 1 Introduction.............................................................................................................1 1.1 Background........................................................................................................................1 1.2 Research Focus and Overall Research Objectives.............................................................2 1.2.1 Research Focus........................................................................................................2
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Learn Unity for 2D Game Development
Learn Unity for 2D Game Development Alan Thorn Learn Unity For 2D Game Development Copyright © 2013 by Alan Thorn This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. Permissions for use may be obtained through RightsLink at the Copyright Clearance Center. Violations are liable to prosecution under the respective Copyright Law. ISBN-13 (pbk): 978-1-4302-6229-9 ISBN-13 (electronic): 978-1-4302-6230-5 Trademarked names, logos, and images may appear in this book. Rather than use a trademark symbol with every occurrence of a trademarked name, logo, or image we use the names, logos, and images only in an editorial fashion and to the benefit of the trademark owner, with no intention of infringement of the trademark. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights.
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“Digital Game”
15 Anàlisi 54, 2016 15-30 Special section, 1st part: “Digital game” Indie or Mainstream? Tensions and Nuances between the Alternative and the Mainstream in Indie Games Óliver Pérez Latorre Department of Communication Universitat Pompeu Fabra [email protected] Recommended citation: PÉREZ LATORRE, Ó. (2016). “Indie or Mainstream? Tensions and Nuances between the Alternative and the Mainstream in Indie Games”. In: J. SÁNCHEZ- NAVARRO, A. PLANELLS, V. NAVARRO and D. ARANDA (coord). “Digital game”. Anàlisi. Quaderns de Comunicació i Cultura, 54, p. 15-30. DOI: http://dx.doi.org/10.7238/a. v0i54.2818 Submission date: November 2015 Accepted date: May 2016 Published in: June 2016 Abstract The commercial emergence of “indie games” since 2008 represents a fundamental challenge for contemporary game studies. As we still do not have a clear definition of the indie game, its popularity and commercial success have made the conceptualization of this type of game even more complex. Far from being a pure videogame model, completely separated from the mainstream sphere, indie games often involve hybridizations and ambiguities between the alternative and the mainstream. Thus this article aims to problematize the neat conceptualizations of indie games as an opposing “genre” to mainstream games by exploring the many tensions and nuances between the alternative and mainstream dimensions that can be identified within indie game production, culture and design. The first part of the article focuses on the production and distribution issues, as well as on the cultural construction and artistic legitimation of indie games. The article then posits a design-centered analytical approach to indie games inspired by Kellner (1995) and based on “procedural rhetorics” (Bogost, 2006; Flanagan and Nissenbaum, 2014).
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Generating Levels That Teach Mechanics
Generating Levels That Teach Mechanics Michael Cerny Green Ahmed Khalifa Gabriella A. B. Barros [email protected] [email protected] [email protected] Tandon School of Engineering, Tandon School of Engineering, Tandon School of Engineering, New York University New York University New York University New York City, NY New York City, NY New York City, NY Andy Nealen Julian Togelius [email protected] [email protected] Tandon School of Engineering, Tandon School of Engineering, New York University New York University New York City, USA New York City, NY ABSTRACT most important parts of a game, often being the player’s first game- The automatic generation of game tutorials is a challenging AI play experience. It can come in the form of text, demonstrations or problem. While it is possible to generate annotations and instruc- even gameplay itself. Commercial games often build the tutorial tions that explain to the player how the game is played, this paper into a level or a series of levels, as exemplified by Super Mario Bros focuses on generating a gameplay experience that introduces the (Nintendo, 1985) (SMB) and Super Meat Boy (Team Meat, 2010). player to a game mechanic. It evolves small levels for the Mario AI As important as tutorials are, they are also frequently relegated Framework that can only be beaten by an agent that knows how to to the end of the development process and overlooked in favor perform specific actions in the game. It uses variations of aperfect of keeping the product’s release date or decreasing expenses [27]. A* agent that are limited in various ways, such as not being able to More often than not, this is due to avoid constantly changing the jump high or see enemies, to test how failing to do certain actions tutorial as game mechanics and features evolve throughout devel- can stop the player from beating the level.
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Games ENG 1131 Section 1788 Spring 2014, MWF 5 (11:45 Am -12:35 Pm) and W E1-E3 (7:20 Pm -10:10 Pm) in WEIL 0408A
Writing Through Media: Games ENG 1131 Section 1788 Spring 2014, MWF 5 (11:45 am -12:35 pm) and W E1-E3 (7:20 pm -10:10 pm) in WEIL 0408A Melissa Bianchi [email protected] Office: Turlington 4411 Office Hours: MW 4 (10:40 am -11:30 am) and by appointment Course Description This course offers students several methodologies for studying video games as well as an introduction to English composition. The semester is divided into four units, the first of which will review the history of games and how they are employed as rhetorical and pedagogical tools. The following three thematic units—culture, technology, ecology—will each offer a unique theoretical lens through which we may interpret and write about a wide variety of video games across different genres, platforms, and modes of production. Course screening times will give students an opportunity to play the video games discussed in class, though occasionally we will watch game-related documentaries to better understand the appeal and production of the objects we engage with. Students will also participate in course discussion assignments and must complete three essays during the semester—a definition argument, a rhetorical analysis, and a game design proposal. Student Learning Outcomes On completion of the course, students will have learned and demonstrated their ability to: • Understand, apply, and critique theoretical concepts. • Identify, describe, and discuss the major themes and arguments of a video game. • Write a well-organized and developed rhetorical essay. • Synthesize academic research and provide appropriately formatted citations. Required Texts • Frans Mäyrä. An Introduction to Game Studies: Games in Culture.
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DEPICTIONS of GENDER in INDIE VIDEO GAMES by Jon Beaubien
SAVE THE PRINCESS: DEPICTIONS OF GENDER IN INDIE VIDEO GAMES by Jon Beaubien, B.A. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in Sociology August 2017 Committee Members: David Dietrich, Chair Patti Giuffre Audrey McKinney COPYRIGHT by Jon Beaubien 2017 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Jon Beaubien, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS I want to first thank my thesis committee: Dr. Dietrich, Dr. Giuffre, and Dr. McKinney. This research would not have been possible without your insight and help along the way. I also must thank Abby, Matt, and my family for all their support. Your encouragement and love was invaluable. iv TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ....................................................................................... iv LIST OF TABLES .................................................................................................... vi LIST OF FIGURES ................................................................................................
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The Design of Indie Games, a Different Paradigm
THE DESIGN OF INDIE GAMES, A DIFFERENT PARADIGM by Enrique Alejandro Pérez Domínguez, “KIX” A dissertation presented to Bayreuth University in fulfillment of the requirements for the degree of PhD First Supervisor Prof. Dr. Jochen Koubek Second Supervisor Prof. Dr. Jens Junge 1 Diese Dissertation von der Friedrich-Naumann-Stiftung für die Freiheit mit Mitteln des Bundesministeriums für Bildung und Forschung gefördert wurde. 2 Dedicated to Koala and Koali 3 SUMMARY This dissertation explores thoroughly the design of the so-called indie games. It portrays in detail the design activities undertaken by indie designers and the design context in which indie games are devised. With this knowledge, a comparison with game design as it has been formulated by academics and game industry veterans is undertaken. This with the purpose of finding out if the design of indie games represents a different paradigm in regard to game design. This work takes the reader through a series of chapters providing the epistemological context to analyze comparatively the design of indie games and game design. The indie games movement is defined and contextualized within indie cultures and put in perspective in relation with mainstream games. The historical and theoretical foundations of game design are also covered. And to get an understanding around what designing implies, theories from the disciplines of design, engineering, architecture and product design are explained. Thirty award-winning designers of indie games at Indiecade and the Independent Games Festivals of the Game Developers Conference participated in this research providing accounts on their repertoire of design activities. These accounts were analyzed using design theoretical standpoints and then composed as a case of study to be compared with game design.
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