Defining Technology
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World of Warcraft Online Manual
Game Experience May Change During Online Play WOWz 9/11/04 4:02 PM Page 2 Copyright ©2004 by Blizzard Entertainment. All rights reserved. The use of this software product is subject to the terms of the enclosed End User License Agreement. You must accept the End User License Agreement before you can use the product. Use of World of Warcraft, is subject to your acceptance of the World of Warcraft® Terms of Use Agreement. World of Warcraft, Warcraft and Blizzard Entertainment are trademarks or registered trademarks of Blizzard Entertainment in the U.S. and/or other countries.Windows and DirectX are trademarks or registered trademarks of Microsoft Corporation in the U.S. and/or other countries. Pentium is a registered trademark of Intel Corporation. Power Macintosh is a registered trademark of Apple Computer, Inc. Dolby and the double-D symbol are trademarks of Dolby Laboratory. Monotype is a trademark of Agfa Monotype Limited registered in the U.S. Patent and Trademark ® Office and certain other jurisdictions. Arial is a trademark of The Monotype Corporation registered in the U.S. Patent and Trademark Office and certain other jurisdictions. ITC Friz Quadrata is a trademark of The International Typeface Corporation which may be registered in certain jurisdictions. All other trademarks are the property of their respective owners. Uses high-quality DivX® Video. DivX® and the DivX® Video logo are trademarks of DivXNetworks, Inc. and are used under license. All rights reserved. AMD, the AMD logo, and combinations thereof are trademarks of Advanced Micro Devices, Inc All ATI product and product feature names and logos, including ATI, the ATI Logo, and RADEON are trademarks and / or registered trademarks of ATI Technologies Inc. -
Game Developer Power 50 the Binding November 2012 of Isaac
THE LEADING GAME INDUSTRY MAGAZINE VOL19 NO 11 NOVEMBER 2012 INSIDE: GAME DEVELOPER POWER 50 THE BINDING NOVEMBER 2012 OF ISAAC www.unrealengine.com real Matinee extensively for Lost Planet 3. many inspirations from visionary directors Spark Unlimited Explores Sophos said these tools empower level de- such as Ridley Scott and John Carpenter. Lost Planet 3 with signers, artist, animators and sound design- Using UE3’s volumetric lighting capabilities ers to quickly prototype, iterate and polish of the engine, Spark was able to more effec- Unreal Engine 3 gameplay scenarios and cinematics. With tively create the moody atmosphere and light- multiple departments being comfortable with ing schemes to help create a sci-fi world that Capcom has enlisted Los Angeles developer Kismet and Matinee, engineers and design- shows as nicely as the reference it draws upon. Spark Unlimited to continue the adventures ers are no longer the bottleneck when it “Even though it takes place in the future, in the world of E.D.N. III. Lost Planet 3 is a comes to implementing assets, which fa- we defi nitely took a lot of inspiration from the prequel to the original game, offering fans of cilitates rapid development and leads to a Old West frontier,” said Sophos. “We also the franchise a very different experience in higher level of polish across the entire game. wanted a lived-in, retro-vibe, so high-tech the harsh, icy conditions of the unforgiving Sophos said the communication between hardware took a backseat to improvised planet. The game combines on-foot third-per- Spark and Epic has been great in its ongoing weapons and real-world fi rearms. -
Online Gaming Market
MMORPGs: An Economic Perspective Joseph Donovan, Andrew Lee, Jonathan Malmaud, Hanwen Yan May 31, 2006 1 Introduction Massively Multiplayer Online Role Playing Games (MMORPGs)1 are video games in which many thousands of users experience a shared, persistent environment. The users can interact with each other and the game world continues to exist independently of which users are currently playing. Re- cently MMORPGs have become increasingly popular in America as more households receive high-speed Internet access and video games continue to penetrate mainstream culture. Most MMORPGs have similar gameplay. The player first creates a cus- tomized character and assumes the role of the character in an online envi- ronment. He develops his character by completing various tasks that usually involve combating computer-controlled characters cooperatively or competi- tively with other players. Character development includes finding equipment and making the character learn new skills. The game focuses increasingly on teamwork and immersing the player in the online community. The player is encouraged to officially join a long-term team known as a guild to complete more difficult tasks. The early stages of the MMORPG, in which the player develops the char- acter, often involve a large initial time expenditure. This causes the player to 1Note that the term MMORPG is interchangeable with MMO and MMOG. 1 want to continue playing after he or she has already invested time in develop- ing his character. In the later stages, the player is involved in the community and has made friends, encouraging the user to continue playing. This is im- portant because revenues are generated primarily from a subscription fee or periodically released expansions to the game rather than the up-front cost of the game. -
Hacker Monthly
Issue 35 April 2013 The Absolute Beginner’s Guide to Arduino Engineers rebuilding the infrastructure that powers finance. careers.addepar.com package DDG::Goodie::Unidecode;# ABSTRACT: return an ASCII version of the search query use DDG::Goodie; use Text::Unidecode; zci is_cached => 1; zci answer_type => "convert to ascii"; triggers startend => "unidecode"; handle remainder => sub { my $u = unidecode $_; # unidecode output some- times contains trailing spaces $u =~ s/\s+$//; return $u; }; 1; package DDG::Goodie::Rot13; # ABSTRACT: Rotate chars by 13 letters use DDG::Goodie; triggers start => 'rot13'; handle remainder => sub { if ($_) { $_ =~ tr[a-zA-Z][n-za-mN-ZA-M]; return "ROT13: $_"; }; return }; zci is_cached => 1; 1; package DDG::Goodie::Base64; use DDG::Goodie; use MIME::Base64; use Encode; triggers startend => "base64"; zci answer_type => "base64_conversion"; zci is_cached => 1; handle remainder => sub { return unless $_ =~ /^(encode|decode|)\s*(.*)$/i; my $command = $1 || ''; my $str = $2 || ''; if ($str) { if ( $command && $command eq 'decode' ) { $str = decode_base64($str); $str = decode( "UTF-8", $str ); return "Base64 decoded: $str"; } else { $str = encode_base64( encode( "UTF-8", $str ) ); return "Base64 encoded: $str"; } } return; }; 1; package DDG::Goodie::Chars; # ABSTRACT: Give the number of charac- ters (length) of the query. use DDG::Goodie; triggers start => 'chars'; zci is_cached => 1; zci answer_type => "chars"; handle remainder => sub { return "Chars: " .length $_ if $_; return; }; 1; pack- age DDG::Goodie::ABC; -
Wow-Classic-Manual-Zhtw.Pdf
www.wowtaiwan.com.tw (02)2654-6266 (02)2654-9111 [email protected] 6 http://www.wowtaiwan.com.tw/support ([email protected]) http://www.wowtaiwan.com.tw http://www.wowtaiwan.com.tw 10 [email protected] 12 http://www.wowtaiwan.com.tw 14 A 16 18 20 22 24 26 28 30 32 34 36 http://www.wowtaiwan.com.tw 38 40 42 http://www.wowtaiwan.com.tw 44 46 48 50 52 54 56 58 60 62 64 66 70 72 74 76 78 80 82 84 86 88 90 92 94 96 98 100 102 104 106 108 110 112 114 116 118 120 122 124 126 128 130 132 134 136 138 140 142 144 146 http://www.wowtaiwan.com.tw 148 154 158 160 162 164 166 168 170 172 174 176 178 180 182 184 186 188 190 [email protected] [email protected] 198 Game Design Monte Krol Designers Blizzard Entertainment Graham Madarasz Bo Bell Executive Producer Jay Patel James Chadwick Mike Morhaime Install/Patch/Distribu- Mark Downie Team Lead tion Alen Lapidis Mark Kern Programming Matt Sanders Art Director Brian Fitzgerald Additional Art William Petras John Mikros Dave Berggren Creative Director John Stiles Allen Dilling Chris Metzen Tony Tribelli Toph Gorham Lead Animator Stephen C. Wong Trevor Jacobs Kevin Beardslee Install/Patch/Distribu- Tom Jung Lead Artist tion Cameron Lamprecht Justin Thavirat Producer Rob McNaughton Lead Character Art- Derek Simmons Mickey Nielson ist Macintosh Matt Oursbourn Brandon Idol Programming Game Designers Lead Designers John Mikros Tom Chilton Rob Pardo, Allen Adham Addiitonal Eric Dodds Lead Programmer Macintosh Michael Heiberg John Cash Programming Kevin Jordan Lead Technical Art- Rob Barris, John Stiles Jeffrey Kaplan ist Animators John Yoo Kyle Harrison Adam Byrne Quest Designers Producers Jay Hathaway Alex Afrasiabi Shane Dabiri Eric Henze Michael Backus Carlos Guerrero Solomon Lee Suzanne Brownell Additional Produc- Dungeon/City Artists Shawn Carnes tion Jose Aello, Jr. -
Blackthorne-Manual.Pdf
beneath the central keep of the great castle. Although the The larger of the MP's — a sandy-haired, freckle-faced Ka'dra'suul grew in strength and numbers, they suffered sergeant — offered some advice to the newly-arrived MP cor- physical as well as psychological mutations. The Darkstone poral. had been neglected by its people and responded by molding the Ka'dra'suul into a cruel race of beings. Fortunately, the "The prisoner must be kept under restraint at all times," the two peoples, separated by the great desert, had little contact sergeant cautioned him. "Captain Blackthorne is an extremely with one another. Eventually, the Ka'dra'suul's supply of dangerous man, trained in all forms of armed and unarmed Xandralite— the energy-radiating soft metal used by both combat. Maximum caution must be exercised at all times." races for heat and light—was nearly exhausted. The vampiric The warning really wasn't necessary. The corporal already Darkstone was effectively draining them of their life-giving knew all about Blackthorne, despite the fact he'd been in the fuel. region only a couple days. Blackthorne was a well-known A young warrior then arose among the people. Sarlac was figure, a legend in military circles. A former U.S. Marine offi- his name and he preached against the Androthi to the north, cer, Captain Blackthorne had turned mercenary early in his claiming that they enjoyed an unfair share of Tuul's blessed military career after receiving a medical discharge from the resources and that it was the duty of the Ka'dra'suul to set Corps. -
2015 WCS Player Handbook
2015 WCS Player Handbook Version 1.1.0 Last Updated: February 6, 2015 1 Table of Contents General Information .......................................................................................................................... 4 World Championship Series Format .................................................................................................... 6 WCS League Structure and Format – America and Europe ...................................................................... 6 Residency Requirements ...................................................................................................................... 6 Qualifiers ............................................................................................................................................... 8 Challenger ............................................................................................................................................. 9 Premier League ..................................................................................................................................... 9 Advancement and Fill Policy ............................................................................................................... 10 WCS Global Finals Structure and Format ................................................................................................ 11 Online Tournament Regulations ....................................................................................................... 12 Online Event Equipment and Settings ................................................................................................... -
STS 145 Case History
Harrison Osaki STS 145 Case History From Diablo to Gate: Differences in Computer RPG Theory In the face of the increasing popularity of massively multiplayer online role-playing games (MMORPGs) and the growing relegation of popular single-player role-playing games (RPGs) to consoles, it is interesting to note the incredible successes of the computer RPGs Diablo II and Baldur’s Gate II, both of which feature single-player and multiplayer support. Studying these two games, rather than their original incarnations, is advantageous as the game designers had the chance to improve upon their mistakes and refine their game concept. It is also interesting to note that these two RPGs are only superficially similar; although they share the genre of RPG, the two games are significantly differently designed. These differences are the result of two different branches of design theory stemming from the game Zork, and how an RPG should be adapted to preserve the role-playing aspect in a computer-generated environment. The Zork series was in and of itself inspired by the prototypic adventure game, Adventure, which is itself based on the tabletop role-playing game Dungeons and Dragons (D&D). D&D is one of the earliest tabletop role-playing games, in which human players would act out fictional ‘player-characters’, solving puzzles and killing monsters that the Dungeon Master (the referee of the game, abbreviated DM) pitted against the characters. The purpose of these adventures varied, but most early RPGs focused merely on the combat aspect of role- playing. Indeed, the company that created D&D was called TSR for “Tactical Studies Rules”, and originally released a set of ‘role-playing’ materials called Chainmail, that was merely a set of combat instructions. -
Hacking for Fun…And Profit
A Devil in Disarray How Hacking for Profit Has Crippled the Online Economy of Diablo II Sean Montgomery STS 145: History of Computer Game Design Professor Henry Lowood 23 March 2003 From its inauspicious beginnings as a term to describe computer programmers who were exceptionally skilled at their chosen line of work, the label “hacker” has taken on almost mythical proportions. The simplest evolution experienced thus far is that the connotation of the word has shifted towards those who use their abilities for malicious ends, forcing their way into seemingly secure systems with little regard for anything besides their own amusement, but this is hardly the extent of the transformation. Entire communities have sprung up beneath the banner of hacking, swapping their discovered loopholes and security flaws in open forums, a collaborative effort to gain access to forbidden areas of cyberspace. Online gamers bandy around with alacrity the numero-symbolic subtleties of “1337 5|>34|<”, or “leet speak”, a language popularized by the “hacker culture” portrayed in such 80’s movies as Hackers. Friends may be teasingly called “1337 h4x0|2s”, literally “elite hackers”, after displays of particular competence, while true hackers or the indigenous “script kiddies”, those who merely implement exploits developed by real programmers, perhaps will receive the epithet of “n00b |-|4x0r”, where “n00b” is the technical abbreviation of “newcomer” that has become a rather derogatory slur among the ranks of the truly l33t, and “|-|4x0r” is, once again, none other than another variation of the ubiquitous “hacker”. If you have at all been touched by the growing grasp of the Internet, then you will likely find yourself at one point using hacks, or being targeted by hacks. -
Diablo (4PDF) Manual
Blizzard Entertainment P. O. Box 18979 Irvine, CA 92623 Copyright © 1996 by Blizzard Entertainment The software and the manual are copyrighted. All rights reserved. They may not, in whole or in part, be copied, photocopied, reproduced, translated or reduced to any electronic medium or machine-readable form without prior consent, in writing, from Blizzard Entertainment. The user of this product shall be entitled to use the product for his or her own use, but shall not be entitled to sell or transfer reproductions of the software or manual to other parties in any way, nor to rent or lease the product to others without permission from Blizzard Entertainment. Diablo and Battle.net are trademarks and Blizzard Entertainment is a registered trademark of Davidson and Associates, Inc. Uses Smacker Video Technology, Copyright © 1994 by Invisible Inc. d.b.a. RAD Software Blizzard Entertainment P.O. Box 18979 Irvine, CA 92623 (800) 953-SNOW Direct Sales (949) 955-0283 International Direct Sales (949) 955-0157 Technical Support Fax (949) 955-1382 Technical Support (900) 370-SNOW Blizzard Hint Line http://www.blizzard.com World Wide Web [email protected] Online Technical Support The Initiate Which way is the right path, as I stand upon this chaotic crossroad of hate… How many ways are there to roam on this dark and damned road of Fate… “There are many ways, my son, to find where the souls of Demons remain… But it takes only one second of despair and of doubt until at last, your soul, they will gain… Inherit these lands, these things, these dreams that are yours, forever, to adore… For there is no life, in the depths of chaos, my son, for you to explore…” C. -
Diablo II Is Not Controlling Your Character 17 Designed to Work with Game Pads Or Joysticks
D2-115*180 FE 23/04/02 12:54 Page 1 TM D2-115*180 FE 23/04/02 12:54 Page 2 Copyright © 2000 by Blizzard Entertainment. All rights reserved. The use of this software product is subject to the terms of the enclosed End User License Agreement. You must accept the End User License Agreement before you can use the product. Use of Blizzard’s online gaming network, Battle.net, is subject to your acceptance of the Battle.net Terms of Use Agreement. StarCraft and Brood War are trademarks and Diablo, Battle.net, Blizzard Entertainment and Warcraft are trademarks or registered trademarks of Havas Interactive, Inc. and/or its wholly owned subsidiaries in the U.S. and/or other countries. Windows is a registered trademark of Microsoft Corporation. Pentium is registered trademark of Intel THE ADEPT (INITIATE, PART II) Corporation. Dolby and the double-D symbol are trademarks of Dolby Laboratory. All other trademarks are the property of their respective owners. “I have walked the paths; the shadowed roads that led to terror’s breast. I have plumbed the depths of Hatred’s womb and scaled Destruction’s crest. Uses Bink Video. Copyright © 1997-2000 by RAD Game Tools, Inc. For every secret left unveiled, for every power learned, I’d sell the remnants of my soul, regardless how it burned. And still I sought a higher wisdom few could have attained. ‘Though I found it, it would leave me - broken, damned and drained. For now I find this power gained is more unto a curse. My spirit burns with every spell and each irreverent verse. -
Gamification. Critical Approaches
This is a chapter of Gamication. Critical Approaches The full e-book can be downloaded for free at: gamication.al.uw.edu.pl Title: GAMIFIED GAMEPLAY: GAMIFICATION IN GAME DESIGN Author: Mateusz Kominiarczuk In: Gamication. Critical Approaches. Edited by: Jarosław Kopeć, Krzysztof Pacewicz, pp. 99-112. Published by: The Faculty of “Artes Liberales”, UniVersity of Warsaw. Warsaw, 2015. ISBN: 978-83-63636-44-9. Bio: Mateusz Kominiarczuk receiVed his Master of Arts degree in Literary Studies from the Uni- Versity of Wrocław in 2013. He is presently pursuing a doctoral degree in Cultural Studies at the Faculty of “Artes Liberales”, UniVersity of Warsaw. His research focuses on game criticism and tabletop gaming. GAMIFIED GAMEPLAY: GAMIFICATION IN GAME DESIGN Mateusz Kominiarczuk Commonly accepted definitions of gamification explicitly prohibit the “gamification of games”, stating that even if it occurs, it is either impossible to distinguish from regular “game design”, or else limited to achievements. However, careful examina - tion of design trends observed in games published after 2010 indicates otherwise. A case study of two game series by Blizzard Entertainment was performed: Diablo and StarCraft. The recent releases in each of these series were compared with their pre - decessors. In light of each series’ design history and ongoing development through patches and expansions, we arrive at the conclusion that the “gamification of games” trend is quite real, and not limited to achievements. Problems with “gami=cation” Like other papers collected in this volume, this chapter, too, deals with gami'cation, and the question of “gami'ed games” in particular – as we will see, a hardly uncontroversial concept.