Mathematical Balance Metrics in Competitive Multiplayer Games
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Flexible Games by Which I Mean Digital Game Systems That Can Accommodate Rule-Changing and Rule-Bending
Let’s Play Our Way: Designing Flexibility into Card Game Systems Gifford Cheung A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: David Hendry, Chair David McDonald Nicolas Ducheneaut Jennifer Turns Program Authorized to Offer Degree: Information School ©Copyright 2013 Gifford Cheung 2 University of Washington Abstract Let’s Play Our Way: Designing Flexibility into Card Game Systems Gifford Cheung Chair of the Supervisory Committee: Associate Professor David Hendry Information School In this dissertation, I explore the idea of designing “flexible game systems”. A flexible game system allows players (not software designers) to decide on what rules to enforce, who enforces them, and when. I explore this in the context of digital card games and introduce two design strategies for promoting flexibility. The first strategy is “robustness”. When players want to change the rules of a game, a robust system is able to resist extreme breakdowns that the new rule would provoke. The second is “versatility”. A versatile system can accommodate multiple use-scenarios and can support them very well. To investigate these concepts, first, I engage in reflective design inquiry through the design and implementation of Card Board, a highly flexible digital card game system. Second, via a user study of Card Board, I analyze how players negotiate the rules of play, take ownership of the game experience, and communicate in the course of play. Through a thematic and grounded qualitative analysis, I derive rich descriptions of negotiation, play, and communication. I offer contributions that include criteria for flexibility with sub-principles of robustness and versatility, design recommendations for flexible systems, 3 novel dimensions of design for gameplay and communications, and rich description of game play and rule-negotiation over flexible systems. -
Game Design 2 Game Balance
CE810 - Game Design 2 Game Balance Joseph Walton-Rivers & Piers Williams Friday, 18 May 2018 University of Essex 1 What is Balance? Game Balance Question What is balance? 2 Game Balance “All players have an equal chance of winning” – Richard Bartle Richard covered a combat example in the first part of the module. 3 On Strategies Game Balance • What about higher level strategies? • Zerg rush? • Dominant strategies • Metagaming 4 Metagaming - Rock Paper Scissors • A beats B, B beats C, C beats A • If there are lots of A players, people will play C • Then there are a lot of C players, so people play B • and so on... 5 Metagaming - Dominant Strategies • What if A is significantly stronger? • No one will use the other two strategies • We want to encourage variety in play 6 Can we detect this? • Can we detect strategies which are overpowered? • Try to punish strategies we don’t want to see • We did this earlier in the week with rotate and shoot! • Can we measure this? 7 Automated Game Tuning • Academics seem to think so... • Ryan Leigh et al (2008) - Co-evolution for game balancing • Alexander Jaffe et al (2012) - Restricted-Play balance framework • Mihail Morosan - GAs for tuning parameters 8 Game Curves First Move Advantage First Move Advantage • Typically affects turn based games • Going first in tac tac toe means either a win or adraw • White has > 50% win rate over all games • Worse effects if you have resources • We need a way of dealing with this 9 First Move Advantage Magic Second player gets an extra card Go Second player gets 7.5 bonus -
M.A.X Pc Game Download Frequently Asked Questions
m.a.x pc game download Frequently Asked Questions. Simple! To upload and share games from GOG.com. What is the easiest way to download or extract files? Please use JDownloader 2 to download game files and 7-Zip to extract them. How are download links prevented from expiring? All games are available to be voted on for a re-upload 30 days after they were last uploaded to guard against dead links. How can I support the site? Finding bugs is one way! If you run into any issues or notice anything out of place, please open an issue on GitHub. Can I donate? Donate. Do you love this site? Then donate to help keep it alive! So, how can YOU donate? What are donations used for exactly? Each donation is used to help cover operating expenses (storage server, two seedboxes, VPN tunnel and hosting). All games found on this site are archived on a high-speed storage server in a data center. We are currently using over 7 terabytes of storage. We DO NOT profit from any donations. What is the total cost to run the site? Total expenses are €91 (or $109) per month. How can I donate? You may donate via PayPal, credit/debit card, Bitcoin and other cryptocurrencies. See below for more information on each option. M.A.X.: Mechanized Assault and Exploration. Very much in the style of classic RTS games such as Dune 2, KKND and Command & Conquer, this is an enjoyable little game which doesn't score many points for being original, but does get a few for simply being well done. -
Cgcopyright 2013 Alexander Jaffe
c Copyright 2013 Alexander Jaffe Understanding Game Balance with Quantitative Methods Alexander Jaffe A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: James R. Lee, Chair Zoran Popovi´c,Chair Anna Karlin Program Authorized to Offer Degree: UW Computer Science & Engineering University of Washington Abstract Understanding Game Balance with Quantitative Methods Alexander Jaffe Co-Chairs of the Supervisory Committee: Professor James R. Lee CSE Professor Zoran Popovi´c CSE Game balancing is the fine-tuning phase in which a functioning game is adjusted to be deep, fair, and interesting. Balancing is difficult and time-consuming, as designers must repeatedly tweak parameters and run lengthy playtests to evaluate the effects of these changes. Only recently has computer science played a role in balancing, through quantitative balance analysis. Such methods take two forms: analytics for repositories of real gameplay, and the study of simulated players. In this work I rectify a deficiency of prior work: largely ignoring the players themselves. I argue that variety among players is the main source of depth in many games, and that analysis should be contextualized by the behavioral properties of players. Concretely, I present a formalization of diverse forms of game balance. This formulation, called `restricted play', reveals the connection between balancing concerns, by effectively reducing them to the fairness of games with restricted players. Using restricted play as a foundation, I contribute four novel methods of quantitative balance analysis. I first show how game balance be estimated without players, using sim- ulated agents under algorithmic restrictions. -
Game Balancing
Game Balancing CS 2501 – Intro to Game Programming and Design Credit: Some slide material courtesy Walker White (Cornell) CS 2501 Dungeons and Dragons • D&D is a fantasy roll playing system • Dungeon Masters run (and someCmes create) campaigns for players to experience • These campaigns have several aspects – Roll playing – Skill challenges – Encounters • We will look at some simple balancing of these aspects 2 CS 2501 ProbabiliCes of D&D • Skill Challenge • Example: The player characters (PCs) have come upon a long wall that encompasses a compound they are trying to enter • The wall is 20 feet tall and 1 foot thick • What are some ways to overcome the wall? • How hard should it be for the PCs to overcome the wall? 3 CS 2501 ProbabiliCes of D&D • How hard should it be for the PCs to overcome the wall? • We approximate this in the game world using a Difficulty Class (DC) Level Easy Moderate Hard 7 11 16 23 8 12 16 23 9 12 17 25 10 13 18 26 11 13 19 27 4 CS 2501 ProbabiliCes of D&D • Easy – not trivial, but simple; reasonable challenge for untrained character • Medium – requires training, ability, or luck • Hard – designed to test characters focused on a skill Level Easy Moderate Hard 7 11 16 23 8 12 16 23 9 12 17 25 10 13 18 26 11 13 19 27 5 CS 2501 Balancing • Balancing a game is can be quite the black art • A typical player playing a game involves intuiCon, fantasy, and luck – it’s qualitave • A game designer playing a game… it’s quanCtave – They see the systems behind the game and this can actually “ruin” the game a bit 6 CS 2501 Building Balance • General advice – Build a game for creavity’s sake first – Build a game for parCcular mechanics – Build a game for parCcular aestheCcs • Then, aer all that… – Then balance – Complexity can be added and removed if needed – Other levers can be pulled • Complexity vs. -
The Making of a Conceptual Design for a Balancing Tool
Södertörns högskola | Institutionen för Institutionen för naturvetenskap, miljö och teknik Kandidatuppsats 15 hp | Medieteknik | höstterminen 2014 The Making of a Conceptual Design for a Balancing Tool Av: Jonas Eriksson Handledare: Inger Ekman Abstract Balancing is usually done in the later phases of creating a game to make sure everything comes together to an enjoyable experience. Most of the time balancing is done with a series of playthroughs by the designers or by outsourced play testers and the imbalances found are corrected followed by more playthroughs. This method occupies a lot of time and might therefore not find everything. In this study I use information gathered from interviews with experienced designers and designer texts along with features from methods frequently used for aiding the designers to make a conceptual design of a tool that is aimed towards simplifying the process of balancing and reducing the amount of work hours having to be spent on this phase. Keywords Balancing, Interviews, Conceptual Design, Game Development, External Tool 2 Sammanfattning Balansering görs framförallt i de senare faserna när man skapar ett spel för att se till att alla delar tillsammans skapar en bra upplevelse. För det mesta utförs balanseringen i form av upprepade speltester genomförda av antingen utvecklaren eller inhyrda testpersoner. Obalanserade saker som upptäcks korrigeras och följs sedan av ytterligare tester. Denna metod tar väldigt lång tid att utföra och på grund av detta är det inte säkert att alla fel upptäcks innan spelet lanseras. I den här studien använder jag information som insamlats från intervjuer med erfarna designers och designtexter sida vid sida med funktioner från metoder som ofta används för att underlätta för utvecklarna. -
Metagame Balance
Metagame Balance Alex Jaffe @blinkity Data Scientist, Designer, Programmer Spry Fox 1 Today I’ll be doing a deep dive into one aspect of game balance. It’s the 25-minute lightning talk version of the 800-minute ring cycle talk. I’ll be developing one big idea, so hold on tight! Balance In the fall of 2012, I worked as a technical designer, using data to help balance PlayStation All-Stars Battle Royale, Superbot and Sony Santa Monica’s four- player brawler featuring PS characters from throughout the years. Btw, the game is great, and surprisingly unique, despite its well-known resemblance to that other four-player mascot brawler, Shrek Super Slam. My job was to make sense of the telemetry we gathered and use it to help the designers balance every aspect of the game. What were the impacts of skill, stage, move selection, etc. and what could that tell us about what the game feels like to play? Balance In the fall of 2012, I worked as a technical designer, using data to help balance PlayStation All-Stars Battle Royale, Superbot and Sony Santa Monica’s four- player brawler featuring PS characters from throughout the years. Btw, the game is great, and surprisingly unique, despite its well-known resemblance to that other four-player mascot brawler, Shrek Super Slam. My job was to make sense of the telemetry we gathered and use it to help the designers balance every aspect of the game. What were the impacts of skill, stage, move selection, etc. and what could that tell us about what the game feels like to play? Character Balance There were a lot of big questions about what it’s like to play the game, but at least one pretty quantitative question was paramount: are these characters balanced with respect to one another? I.e. -
Time Balancing of Computer Games Using Adaptive Time
TIME BALANCING OF COMPUTER GAMES USING ADAPTIVE TIME-VARIANT MINIGAMES A Thesis Submitted to the College of Graduate Studies and Research In Partial Fulfillment of the Requirements For the Degree of Master of Science In the Department of Computer Science University of Saskatchewan Saskatoon By AMIN TAVASSOLIAN © Copyright Amin Tavassolian, March 2014. All rights reserved. Permission to Use In presenting this thesis in partial fulfilment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other use of material in this thesis in whole or part should be addressed to: Head of the Department of Computer Science University of Saskatchewan 176 Thorvaldson Bldg., University of Saskatchewan 110 Science Place Saskatoon, Saskatchewan (S7N 5C9) Canada i ABSTRACT Game designers spend a great deal of time developing balanced game experiences. -
Whose Game Is This Anyway?”: Negotiating Corporate Ownership in a Virtual World
“Whose Game Is This Anyway?”: Negotiating Corporate Ownership in a Virtual World T.L. Taylor Department of Communication North Carolina State University POB 8104, 201 Winston Raleigh, NC 27605 USA +1 919 515 9738 [email protected] Abstract This paper explores the ways the commercialization of multiuser environments is posing particular challenges to user autonomy and authorship. With ever broadening defi nitions of intellectual property rights the status of cultural and symbolic artifacts as products of collaborative efforts becomes increasingly problematized. In the case of virtual environments – such as massive multiplayer online role-play games – where users develop identities, bodies (avatars) and communities the stakes are quite high. This analysis draws on several case studies to raise questions about the status of culture and authorship in these games. Keywords Avatars, Internet, virtual environments, games INTRODUCTION While the history of virtual environments has so far been primarily written with an eye toward either the text-based worlds of MUDs or social graphical spaces like Active Worlds and VZones/WorldsAway, massive multiplayer online 227 Proceedings of Computer Games and Digital Cultures Conference,ed. Frans Mäyrä. Tampere: Tampere University Press, 2002. Copyright: authors and Tampere University Press. role playing games (MMORPG) have dramatically popularized virtual worlds [1]. The MMORPG genre now boasts hundreds of thousands of users and accounts for millions of dollars in revenue each year [2]. While multiplayer games are at their most basic level simply that, a game, they should be more richly seen as spaces in which users come together online and invest enormous amounts of time inhabiting a virtual space, creating characters, cultures, and communities, gaming together, making dynamic economies, and exploring elaborate geographical terrain. -
Supreme Commander Forged Alliance Strategy Guide
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Video Game Topic
Beyond WarCraft in Space by Bert Shen Science, Technology, and Society 145 March 15, 2003 The Firebat prodded the bones with his flamethrower. “It ain’t one of us. Don’t look like no Zerg scum either. Protoss don’t have giant nostrils like this thing. What the heck is it, Jim?” Raynor took a closer look. “I’ve read about this ancient species. It’s an Orc.” “Don’t look like no pork to me, Lieutenant.” Raynor continued, “They’re extinct now, but they were eerily similar to us, almost like our forefathers. Long time ago, this place was called Azeroth and it was filled with elves, dwarves, trolls, and ogres. The Orcs tried to exterminate the humans, just like the Zerg are trying to do to us now.” “So they’re just like the Zerg? Just as ugly I bet.” “Their melees were similar,” continued Raynor, “but on a much smaller scale compared to ours. I’ve studied some of their battles, and the victor was always the one who could amass the most units and storm the other side’s base. Time after time, the side with the strongest ground forces won. It was formulaic, no strategy.” “Not like our battles,” interrupted a Marine. “We’ve got to balance our attacks and send in the right types of units. They didn’t have to deal with cloaking, burrowing, or the air combat we’ve got to deal with either.” “That’s right,” said the Lieutenant, “We’ve got to deal with a greater number of units at a time and we’re faster, smoother, and more coordinated than they once were.” “Still sounds all the same to me,” said the Firebat. -
A Review of Real-Time Strategy Game AI
Articles A Review of Real-Time Strategy Game AI Glen Robertson, Ian Watson n This literature review covers AI techniques ames are an ideal domain for exploring the capabili- used for real-time strategy video games, focus- ties of artificial intelligence (AI) within a constrained ing specifically on StarCraft. It finds that the environment and a fixed set of rules, where problem- main areas of current academic research are G solving techniques can be developed and evaluated before in tactical and strategic decision making, plan recognition, and learning, and it outlines the being applied to more complex real-world problems (Scha- research contributions in each of these areas. effer 2001). AI has notably been applied to board games, The paper then contrasts the use of game AI such as chess, Scrabble, and backgammon, creating compe- in academe and industry, finding the aca- tition that has sped the development of many heuristic- demic research heavily focused on creating based search techniques (Schaeffer 2001). Over the past game-winning agents, while the industry decade, there has been increasing interest in research based aims to maximize player enjoyment. It finds on video game AI, which was initiated by Laird and van Lent that industry adoption of academic research (2001) in their call for the use of video games as a test bed is low because it is either inapplicable or too time-consuming and risky to implement in a for AI research. They saw video games as a potential area for new game, which highlights an area for iterative advancement in increasingly sophisticated scenar- potential investigation: bridging the gap ios, eventually leading to the development of human-level between academe and industry.