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Analyzing Stealth Games with Distractions
Proceedings, The Twelfth AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment (AIIDE-16) Analyzing Stealth Games with Distractions Alexander Borodovski and Clark Verbrugge School of Computer Science McGill University Montreal,´ Quebec,´ Canada [email protected], [email protected] Abstract and when and where the guard was at that point. This re- duces the combinatorial explosion in state space to a man- The ability to distract opponents is a key mechanic in many ageable branching of game states, even if the branch points stealth games. Existing search-based approaches to stealth must still be detected dynamically. To make search in this analysis, however, focus entirely on solving the non-detection space efficient we then extend the main Rapidly Exploring problem, for which they rely on static, ahead-of-time models of guard movements that do not depend on player interaction. Random Tree (RRT) search algorithm, applying multiple op- In this work we extend and optimize an approach based on timizations that improve performance without overly stress- heuristic search of stealth games to model variation in guard ing the resource requirements beyond that of a basic non- paths as dynamically triggered by player actions. Our design detection search. Implementation of this design in Unity3D is expressive, accommodating different distraction designs, shows feasibility, and we demonstrate that we can solve including remote activation and time delays. Using a Unity3D both relatively simple distraction puzzles typical of modern implementation, we show our enhanced search can solve dis- games, and much more complex designs involving compo- traction puzzles found in real games, as well as more com- sition of multiple distractions. -
A Third Age of Avatars Bruce Damer, [email protected] Damer.Com | Digitalspace.Com | Ccon.Org | Biota.Org | Digibarn.Com
A Third Age of Avatars Bruce Damer, [email protected] damer.com | digitalspace.com | ccon.org | biota.org | digibarn.com Ò Started life on a PDP-11 fresh out of high school (1980), programmed graphics, videotext systems, dreamed of self replicating robots on the moon, designed board games, built model space stations. Ò Worked at IBM Research in 1984 (Toronto, New York), introduced to Internet, optical computing. Ò At Elixir Technologies 1987-94, wrote some of first GUI/Windows-Icons Publishing software on the IBM PC platform used 100 countries. Ò Established Contact Consortium in 1995, held first conferences on avatars (Earth to Avatars, Oct 1996) Ò Wrote “Avatars!”in 1997. Hosted and supported 9 conferences until 2003 on various aspects of virtual worlds (AVATARS Conferences, VLearn3D, Digital Biota) Ò Founded DigitalSpace in 1995, produced 3D worlds for government, corporate, university, and industry. Evangelism for Adobe (Atmosphere), NASA (Digital Spaces, open source 3D worlds for design simulation of space exploration) and NIH (learning games for Autism) Ò Established DigibarnComputer Museum (2002) Ò Virtual Worlds Timeline project (2006-2008) to capture and represent the history of the medium Ò The Virtual World, its Origins in Deep Time Ò Text Worlds Ò Graphical Worlds Ò Internet-Connected Worlds Ò The Avatars Cyberconferences Ò Massive Multiplayer Online RPGs Ò Virtual World Platforms Ò Virtual Worlds Timeline Project and Other Research History of Virtual Worlds The Virtual World, its Origins in Deep Time So what is a Virtual World? A place described by words or projected through pictures which creates a space in the imagination real enough that you can feel you are inside of it. -
Informa PLC Interim Results for Six Months to 30 June 2016 Continued Operational and Financial Progress in Peak Year of GAP Investment
Press Release 28 July 2016 Informa PLC Interim Results for Six Months to 30 June 2016 Continued Operational and Financial Progress in Peak Year of GAP investment KEY FINANCIAL HIGHLIGHTS Accelerating organic revenue growth: +2.5% vs +0.2% in H1 2015 and +1.0% FY 2015 Higher reported revenue: +4.7% to £647.7m (H1 2015: £618.8m) Increased adjusted operating profit: +6.3% to £202.2m (H1 2015: £190.3m) Higher statutory operating profit: +8.6% to £141.6m (H1 2015: £130.4m*) Growth in adjusted diluted EPS: +3.1% to 23.1p (H1 2015: 22.4p*) Increased interim dividend: up 4% to 6.80p (H1 2015: 6.55p) Robust balance sheet with secure pension position: Gearing of 2.4x (H1 2015: 2.4x) Strong underlying free cash flow, full year on track; first-half phasing with £20m GAP investment: £67.7m (H1 2015: £116.4m) London: Informa (LSE: INF.L), the international Business Intelligence, Exhibitions, Events and Academic Publishing Group, today reported solid growth in Revenue, Operating Profit and Earnings Per Share for the six months to 30 June 2016 in the peak investment year of the 2014-2017 Growth Acceleration Plan (“GAP”). Operational and Financial Momentum in peak year of GAP Investment – robust trading and improving earnings visibility in all four Operating Divisions: o Global Exhibitions…Growing: Benefits of high quality Brand portfolio, scale and US expansion delivering continued double-digit growth; o Academic Publishing…Resilient: Simplified operating structure, focus on Upper Level Academic Market and further investment in specialist content -
Video Games As Culture
There are only a few works that aim for a comprehensive mapping of what games as a culture are, and how their complex social and cultural realities should be stud- ied, as a whole. Daniel Muriel and Garry Crawford have done so, analyzing both games, players, associated practices, and the broad range of socio-cultural develop- ments that contribute to the ongoing ludification of society. Ambitious, lucid, and well-informed, this book is an excellent guide to the field, and will no doubt inspire future work. Frans Mäyrä, Professor of Information Studies and Interactive Media, University of Tampere This book provides an insightful and accessible contribution to our understand- ing of video games as culture. However, its most impressive achievement is that it cogently shows how the study of video games can be used to explore broader social and cultural processes, including identity, agency, community, and consumption in contemporary digital societies. Muriel and Crawford have written a book that transcends its topic, and deserves to be read widely. Aphra Kerr, Senior Lecturer in Sociology, Maynooth University This page intentionally left blank VIDEO GAMES AS CULTURE Video games are becoming culturally dominant. But what does their popularity say about our contemporary society? This book explores video game culture, but in doing so, utilizes video games as a lens through which to understand contemporary social life. Video games are becoming an increasingly central part of our cultural lives, impacting on various aspects of everyday life such -
Annual Copyright License for Corporations
Responsive Rights - Annual Copyright License for Corporations Publisher list Specific terms may apply to some publishers or works. Please refer to the Annual Copyright License search page at http://www.copyright.com/ to verify publisher participation and title coverage, as well as any applicable terms. Participating publishers include: Advance Central Services Advanstar Communications Inc. 1105 Media, Inc. Advantage Business Media 5m Publishing Advertising Educational Foundation A. M. Best Company AEGIS Publications LLC AACC International Aerospace Medical Associates AACE-Assn. for the Advancement of Computing in Education AFCHRON (African American Chronicles) AACECORP, Inc. African Studies Association AAIDD Agate Publishing Aavia Publishing, LLC Agence-France Presse ABC-CLIO Agricultural History Society ABDO Publishing Group AHC Media LLC Abingdon Press Ahmed Owolabi Adesanya Academy of General Dentistry Aidan Meehan Academy of Management (NY) Airforce Historical Foundation Academy Of Political Science Akademiai Kiado Access Intelligence Alan Guttmacher Institute ACM (Association for Computing Machinery) Albany Law Review of Albany Law School Acta Ecologica Sinica Alcohol Research Documentation, Inc. Acta Oceanologica Sinica Algora Publishing ACTA Publications Allerton Press Inc. Acta Scientiae Circumstantiae Allied Academies Inc. ACU Press Allied Media LLC Adenine Press Allured Business Media Adis Data Information Bv Allworth Press / Skyhorse Publishing Inc Administrative Science Quarterly AlphaMed Press 9/8/2015 AltaMira Press American -
Disruptive Innovation and Internationalization Strategies: the Case of the Videogame Industry Par Shoma Patnaik
HEC MONTRÉAL Disruptive Innovation and Internationalization Strategies: The Case of the Videogame Industry par Shoma Patnaik Sciences de la gestion (Option International Business) Mémoire présenté en vue de l’obtention du grade de maîtrise ès sciences en gestion (M. Sc.) Décembre 2017 © Shoma Patnaik, 2017 Résumé Ce mémoire a pour objectif une analyse des deux tendances très pertinentes dans le milieu du commerce d'aujourd'hui – l'innovation de rupture et l'internationalisation. L'innovation de rupture (en anglais, « disruptive innovation ») est particulièrement devenue un mot à la mode. Cependant, cela n'est pas assez étudié dans la recherche académique, surtout dans le contexte des affaires internationales. De plus, la théorie de l'innovation de rupture est fréquemment incomprise et mal-appliquée. Ce mémoire vise donc à combler ces lacunes, non seulement en examinant en détail la théorie de l'innovation de rupture, ses antécédents théoriques et ses liens avec l'internationalisation, mais en outre, en situant l'étude dans l'industrie des jeux vidéo, il découvre de nouvelles tendances industrielles et pratiques en examinant le mouvement ascendant des jeux mobiles et jeux en lignes. Le mémoire commence par un dessein des liens entre l'innovation de rupture et l'internationalisation, sur le fondement que la recherche de nouveaux débouchés est un élément critique dans la théorie de l'innovation de rupture. En formulant des propositions tirées de la littérature académique, je postule que les entreprises « disruptives » auront une vitesse d'internationalisation plus élevée que celle des entreprises traditionnelles. De plus, elles auront plus de facilité à franchir l'obstacle de la distance entre des marchés et pénétreront dans des domaines inconnus et inexploités. -
Found in Translation
Monaco: What’s Yours is Mine Interpreting Feedback and Maintaining Your Vision “Design is a plan for arranging elements in such a way as best to accomplish a particular purpose” - Charles Eames Monaco: What’s Yours is Mine • Released: – April 24th, 2013 • Platforms – Windows – Mac – Linux – Xbox 360 Best Idea Ever!!! + Feedback “That’s the worst idea I’ve ever heard.” – Andy Schatz “You’re going to injure yourself.” – Andy Schatz “You’re the most retarded person I’ve ever met.” – Andy Schatz Part 1 INTERPRETING FEEDBACK Beta Questionnaire 1. What did you like? 2. What didn’t you like? 3. What confused you? 3 MOST COMMON FEEDBACK 1. Did not like LOS • Wanted to plan more • Traditional Stealth “Observe your enemies from afar, manipulate them with your tools, and execute your plan with precision” – Mark of the Ninja 2. Did not like Random AI • Wanted AI patterns • “Solve” the game 3. Did not like lack of failure • Wanted strict punishment • Mandatory stealth • Rewards “ghosting” Monaco’s Design Goals • Unpredictability • Improvisation • Emotional Range What did Pocketwatch do? 1. Kept the LOS 2. Kept Guard AI 3. Cannot Ghost Change the Narrative 3 INDUSTRY EXAMPLES 1. Journey • Journey friend invites – “I want to talk with my friend” What did thatgamecompany do? • “We want friend chat” • Removed friend invites 2. Borderlands • Feedback on Skag Gully – “This isn’t fun” – “Too many enemies” What did Gearbox do? • “Too many enemies” • 3x number of enemies • Became a “Combat Zone” 3. World of Warcraft • Fatigue XP • Player’s HATED it • Punished -
Game Developer Magazine
>> INSIDE: 2007 AUSTIN GDC SHOW PROGRAM SEPTEMBER 2007 THE LEADING GAME INDUSTRY MAGAZINE >>SAVE EARLY, SAVE OFTEN >>THE WILL TO FIGHT >>EXCLUSIVE INTERVIEW MAKING SAVE SYSTEMS FOR CHANGING GAME STATES HARVEY SMITH ON PLAYERS, NOT DESIGNERS IN PANDEMIC’S SABOTEUR POLITICS IN GAMES POSTMORTEM: PUZZLEINFINITE INTERACTIVE’S QUEST DISPLAY UNTIL OCTOBER 11, 2007 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 SEPTEMBER 2007 VOLUME 14, NUMBER 8 FEATURES 7 SAVING THE DAY: SAVE SYSTEMS IN GAMES Games are designed by designers, naturally, but they’re not designed for designers. Save systems that intentionally limit the pick up and drop enjoyment of a game unnecessarily mar the player’s experience. This case study of save systems sheds some light on what could be done better. By David Sirlin 13 SABOTEUR: THE WILL TO FIGHT 7 Pandemic’s upcoming title SABOTEUR uses dynamic color changes—from vibrant and full, to black and white film noir—to indicate the state of allied resistance in-game. -
“TED” BROWN 541-870-5080 / T[email protected] Linkedin.Com/In/Tedbrown1/ Portfolio at OReganik.Com
EDMUND G. “TED” BROWN 541-870-5080 / t[email protected] linkedin.com/in/tedbrown1/ Portfolio at oreganik.com LEAD UNITY PROGRAMMER ● Architect mindset combined with leadership and communication skills, backed by 15 years of game industry experience as a programmer (7 years) and designer (8 years). ● Roles include Lead Programmer on Project Create (Mixed Reality), Lead Level Designer on Tomb Raider: Underworld (Console), and Project Director on Math Monster Carnival (Mobile). ● Proven ability to solve complex challenges in scope and on schedule, while keeping business value and team needs in mind. ● Experience leading creative, multidisciplinary teams at all stages of development. ● Directed and managed contractors as the owner of a small game studio. ● Mentor to associate and mid-level programmers and designers. EMPLOYMENT MAGIC LEAP, Plantation, FL 2017-2020 Senior Software Engineer PIPEWORKS, Eugene, OR 2016-2017 Engineer II OREGANIK LLC, Eugene, OR 2013-2016 Owner & Contract Engineer ZYNGA, San Francisco, CA 2011-2013 Narrative Designer BUZZ MONKEY SOFTWARE, Eugene, OR 2007-2011 Lead Game Designer VISUAL CONCEPTS, Novato, CA 2006-2007 Game Designer NEVERSOFT, Woodland Hills, CA 2005-2006 Game Designer EDUCATION The Guildhall at Southern Methodist University 2003 - 2004 Certificate of Digital Game Development with a Specialization in Level Design University of Texas at Austin 1996 - 2001 Bachelor of Arts in English PROJECT HISTORY: PROGRAMMER PANCAKE PALS for Magic Leap One and iOS 2020 Senior Systems & Mobile Programmer (Unity) Magic Leap An MR / XR / AR multiplayer game featuring custom spatial localization technology. And pancakes. ● Architecture: Built an extensible finite state machine to control flow of the entire game. -
Patient Safety for Ellen Patient Safety
Patient Safety For Ellen Patient Safety Perspectives on Evidence, Information and Knowledge Transfer Edited by Lorri ZiPPerer © Lorri Zipperer 2014 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Lorri Zipperer has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as the editor of this work. Published by Gower Publishing Limited Ashgate Publishing Company Wey Court East 110 Cherry Street Union Road Suite 3-1 Farnham Burlington, VT 05401-3818 Surrey, GU9 7PT USA England www.gowerpublishing.com British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Zipperer, Lorri A., 1959- Patient safety : perspectives on evidence, information and knowledge transfer / by Lorri Zipperer. pages cm Includes bibliographical references and index. ISBN 978-1-4094-3857-1 (hbk) -- ISBN 978-1-4094-3858-8 (ebk) -- ISBN 978-1-4724-0243-1 (epub) 1. Hospital patients--Safety measures. 2. Medical errors--Prevention. I. Title. RA965.6.Z57 2014 610.28’9--dc23 2013028766 ISBN 978 1 4094 3857 1 (hbk) ISBN 978 1 4094 3858 8 (ebk – PDF) ISBN 978 1 4724 0243 1 (ebk – ePUB) III Contents List of Figures ix List of Tables xi About the Editor xiii About the Contributors xv Foreword xxix Preface xxxv List of Abbreviations xliii Acknowledgements xlv PART 1 CONTEXT FOR INNOVATION AND IMPROVEMENT Chapter 1 Patient Safety: A Brief but Spirited History 3 Robert L. -
Cole, Tom. 2021. ”Moments to Talk About”: Designing for the Eudaimonic Gameplay Experience
Cole, Tom. 2021. ”Moments to Talk About”: Designing for the Eudaimonic Gameplay Experience. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/29689/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] “Moments to Talk About”: Designing for the Eudaimonic Gameplay Experience Thomas Cole Department of Computing Goldsmiths, University of London April 2020 (corrections December 2020) Thesis submitted in requirements for the degree of Doctor of Philosophy Abstract This thesis investigates the mixed-affect emotional experience of playing videogames. Its contribution is by way of a set of grounded theories that help us understand the game players’ mixed-affect emotional experience, and that support ana- lysts and designers in seeking to broaden and deepen emotional engagement in videogames. This was the product of three studies: First — An analysis of magazine reviews for a selection of videogames sug- gested there were two kinds of challenge being presented. Functional challenge — the commonly accepted notion of challenge, where dexterity and skill with the controls or strategy is used to overcome challenges, and emotional chal- lenge — where resolution of tension within the narrative, emotional exploration of ambiguities within the diegesis, or identification with characters is overcome with cognitive and affective effort. -
The Daedalus Project
The Daedalus Project Vol. 2-4 (10/12/2004) by Nicholas Yee (http://www.nickyee.com/daedalus) The Prince and The Pauper: The Transaction of Virtual Capital for Real-Life Currency Very interesting arguments arose from player responses as to their views on the sale and purchase of virtual items, currency and accounts for RL currency. One common argument for the acceptability of these transactions rests on the inherent nature of capitalism. More importantly, some argue that the real underlying transaction is a transaction of time rather than a transaction of virtual items. I have had friends purchase items from EBay and they have been very happy with the result. I have never been involved myself. I find it much more fun to earn the item rather than purchase it. Though, I do think the idea of making a business by selling virtual goods is intriguing and should not be the 'big deal' many game companies have made of it. These goods have value to many and many simply don't have the time to invest to get the items they want. Just like in life, if you have money, why shouldn’t you be able to buy it? [CoH, F, 44] There are some people that are vehemently against the sale of virtual goods for real life money. However, these 'virtual goods' are things that you could get in any case. Merely paying real life money for them indicates to you that your relaxing time after work is worth real life money to you. I have a friend who makes $50,000 annually.