Tooth and Tail Campaign Guide
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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. -
Universidad San Jorge Escuela De Arquitectura Y Tecnología Grado En
Universidad San Jorge Escuela de Arquitectura y Tecnología Grado en Ingeniería Informática Proyecto Final Design and implementation for discretization of user-generated patterns Autor del proyecto: Jorge Lacort Navarro Director del proyecto: Antonio Iglesias Soria Villanueva de Gállego, 11 de septiembre de 2020 Este trabajo constituye parte de mi candidatura para la obtención del título de Graduado en Ingeniería Informática por la Universidad San Jorge y no ha sido entregado previamente (o simultáneamente) para la obtención de cualquier otro título. Este documento es el resultado de mi propio trabajo, excepto donde de otra manera esté indicado y referido. Doy mi consentimiento para que se archive este trabajo en la biblioteca universitaria de Universidad San Jorge, donde se puede facilitar su consulta. Firma Fecha 11/09/2020 Agradecimientos Gracias a mi familia por el apoyo y especialmente a mi padre y a mi madre durante todos estos años, nada de esto hubiera sido posible sin ellos y me siento afortunado de ser su hijo y de que estuviesen a mi lado incluso a través de los múltiples baches que he pasado a lo largo de mi carrera universitaria, no creo que hubiese tenido la motivación para acabar este sueño si no fuese por ellos. Por supuesto también gracias a la universidad y a todas las personas que han hecho todo esto posible, con profesores metidos en la industria que me han ayudado a tener una mejor perspectiva sobre la situación actual y los desafíos que conlleva el desarrollo de un videojuego, y compañeros de clase con los que ha sido un placer trabajar y que no creo olvidar fácilmente. -
Designing Games for Emotional Health
CHAPTER 7 Emotional Health Designing Games for Emotional Health Ralph Vacca, New York University, New York, New York, U.S., [email protected] Meagan Bromley, New York University, New York, New York, U.S., [email protected] Jakob Leyrer, University of Vienna, Vienna, Austria, [email protected] Manuel Sprung, University of Vienna, Vienna, Austria, [email protected] Bruce Homer, City University of New York, New York, New York, U.S., [email protected] Key Summary Points There is a growing understanding of key skills that can help individuals better manage 1 emotions to improve well-being, such as emotional understanding, executive functioning, and emotion regulation skills. In promoting emotional health, games can operate at the low-order brain training level (e.g., 2 drill-and-skill), as well as the higher order meaning-making level. Emotional health is broad, and efficacious approaches to skills development in emotional 3 health are highly contextual, taking into account expected outcomes, environmental context, and individual psychometric conditions. Key Terms Emotions Emotional health Emotional regulation Emotional intelligence Emotional understanding Self-regulation Executive functioning Mental health 123 Introduction It is not often we think about emotional health. Physical health, yes. We have heard of mental health. But what do we mean by emotional health? Furthermore, what are we referring to when we talk about games for emotional health? In this chapter we ask: can games help us develop specific skills that can in turn improve our emotional health? If so, what are the best practices for designing and using games to develop such skills? Defining emotional health First off, we should define what we mean by emotional health. -
Game Developer
THE LEADING GAME INDUSTRY MAGAZINE vo L 1 8 N o 9 o c T o b er 2011 INSIDE: R ea c ti v E game ar c hite c tures w ith R x d e pa r T m e NTS 2 GAME PLAN By Brandon Sheffield [EDITORIAL] Interactive History CoNTeNTS.1011 volUme 18 NUmBer 09 4 HEADS UP DISPLAY [ ne w S ] New games for vintage consoles, Michael Jackson visits Sega, and ASCII Animator released. 27 TOOL BOX By David Hellman [REVIE w ] Corel Painter 12 p o ST m o r T e m 34 THE INNER PRODUCT By Peter Drescher [PROGRAMMING] 20 bulletstorm Programming FMOD for Android BulleTsTorm is a colorful skillshot-fest that took 3.5 years to make. It 40 DESIGN OF THE TIMES By Soren Johnson [DESIGN] didn't perform quite to expectations at retail, but the experiment was Taking Feedback by all other metrics a success. This straight-shooting design-focused postmortem discusses everything from emergent feature discoveries 42 PIXEL PUSHER By Steve Theodore [ART] to downloadable demo woes. By Adrian Chmielarz Get The Memo 44 the business By Kim Pallister [ business ] F e aTU r e S Efficiency...For Whom? 6 game changers 46 GDC jobs By Mathew Kumar [ career ] The game industry is a dynamic and fluidly-changing one. But who Recruitment at GDC Online (and what) are the companies and concepts that are shaping the 47 AURAL FIXATION By Jesse Harlin [SOUND] game industry today? Our answer to this question is 20 companies, Separation Anxiety processes, and concepts that are changing the game. -
Congressional Record United States Th of America PROCEEDINGS and DEBATES of the 112 CONGRESS, SECOND SESSION
E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 112 CONGRESS, SECOND SESSION Vol. 158 WASHINGTON, FRIDAY, JUNE 1, 2012 No. 81 Senate The Senate was not in session today. Its next meeting will be held on Monday, June 4, 2012, at 2 p.m. House of Representatives FRIDAY, JUNE 1, 2012 The House met at 9 a.m. and was PLEDGE OF ALLEGIANCE I understand that times are tough and people called to order by the Speaker. are looking everywhere, but this is just not The SPEAKER. Will the gentleman right. My grandfather was known as a gentle from Connecticut (Mr. COURTNEY) come f giant, but if he were alive today, I think he forward and lead the House in the would oppose this with force. Pledge of Allegiance. PRAYER Mr. Speaker, Bob Stafford knew that Mr. COURTNEY led the Pledge of Al- a higher education was the clearest The Chaplain, the Reverend Patrick legiance as follows: path to the middle class in this coun- J. Conroy, offered the following prayer: I pledge allegiance to the Flag of the try—and he was a good Republican. We Eternal God, we give You thanks for United States of America, and to the Repub- should not let the interest rates dou- giving us another day. lic for which it stands, one nation under God, indivisible, with liberty and justice for all. ble. There is no justification for having We pause now in Your presence, and these interest rates go from 3.4 to 6.8 f acknowledge our dependence on You. -
Guia De Desenvolvimento De Jogos Para Programadores Independentes
Guia de desenvolvimento de jogos para programadores independentes LUÍS MIGUEL DIAS FERNANDES Outubro de 2015 Guia de desenvolvimento de jogos para programadores independentes Luís Miguel Dias Fernandes Dissertação para obtenção do Grau de Mestre em Engenharia Informática, Área de Especialização em Sistemas Gráficos e Multimédia Orientador: Filipe de Faria Pacheco, PhD Júri: Presidente: [Nome do Presidente, Categoria, Escola] Vogais: [Nome do Vogal1, Categoria, Escola] [Nome do Vogal2, Categoria, Escola] (até 4 vogais) Porto, Outubro 2015 ii Resumo Os vídeo jogos ou jogos de computador têm vindo a crescer na sua relação com o público ganhando terreno e credibilidade nos benefícios que os jogadores obtêm quando usam este tipo de software, indo esses benefícios para além do divertimento associado à palavra jogo no seu sentido etimológico. Nos últimos anos cada vez mais o mercado e algumas das mais reputadas instituições de ensino têm dedicado especial atenção a este tipo de software, englobando nesses estudos diversas áreas desde a engenharia à saúde, incluindo ainda, estudos de cariz psicológico e sociológico reveladores de que estas experiências de entretenimento, cada vez mais disponíveis a todos, têm influência na sua envolvente de integração e relação com outros fenómenos de cariz social. Apreciado o estado da arte esta tese tem como principal objetivo servir de guia de iniciação a individuais ou pequenas equipas da área de desenvolvimento de software no caminho para o desenvolvimento de jogos de vídeo independentes, apresentando uma análise cuidada capaz de apoiar as equipas desde o momento zero, estando o mesmo estruturado de forma a refletir o entendimento das bases teóricas em que o desenvolvimento deste tipo de software assenta, o estado da arte sobre plataformas, análise de mercado e indústria, metodologias de desenvolvimento e equipas, e ainda analisadas algumas das mais relevantes ferramentas de desenvolvimento e criação de conteúdos. -
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. -
Paradigm Shift: How the Evolution of Two Generations of Home
PARADIGM SHIFT: HOW THE EVOLUTION OF TWO GENERATIONS OF HOME CONSOLES, ARCADES, AND COMPUTERS INFLUENCED AMERICAN CULTURE, 1985-1995 By Jason Terence Wiley A thesis submitted to the Graduate Faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS IN HISTORY University of Central Oklahoma Spring, 2016 iii Abstract Author: Jason Terence Wiley Thesis Chair: Dr. Patricia Loughlin Title of Thesis: Paradigm Shift: How the Evolution of Two Generations of Home Consoles, Arcades, and Computers Influenced American Culture, 1985-1995 Abstract: As of 2016, unlike many popular media forms found here in the United States, video games possess a unique influence, one that gained its own a large widespread appeal, but also its own distinct cultural identity created by millions of fans both here stateside and across the planet. Yet, despite its significant contributions, outside of the gaming’s arcade golden age of the early 1980s, the history of gaming post Atari shock goes rather unrepresented as many historians simply refuse to discuss the topic for trivial reasons thus leaving a rather noticeable gap within the overall history. One such important aspect not covered by the majority of the scholarship and the primary focus of thesis argues that the history of early modern video games in the North American market did not originate during the age of Atari in the 1970s and early 1980s. Instead, the real genesis of today’s market and popular gaming culture began with the creation and establishment of the third and fourth generation of video games, which firmly solidified gaming as both a multi-billion dollar industry and as an accepted form of entertainment in the United States. -
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. -
KARELIA-AMMATTIKORKEAKOULU Monogame – Yleiskatsaus Ohjelmistokehyksen Toimintaan
KARELIA-AMMATTIKORKEAKOULU Tietojenkäsittelyn koulutusohjelma Joonas Niinistö Monogame – Yleiskatsaus ohjelmistokehyksen toimintaan Opinnäytetyö Joulukuu 2019 OPINNÄYTETYÖ Joulukuu 2019 Tietojenkäsittelyn koulutus Alempi korkeakoulututkinto Tikkarinne 9 80200 JOENSUU +358 13 260 600 (vaihde) Tekijä Joonas Niinistö Nimeke Monogame – Yleiskatsaus ohjelmistokehyksen toimintaan Toimeksiantaja - Tiivistelmä Opinnäytetyössä tutustutaan pelikehitykseen tarkoitetun ohjelmistokehyksen, Monogamen, toimintaan. Työn tavoitteena ei ollut luoda Monogame-sovellus vaan tutustua tämän ympärillä vaikuttaviin teknisiin tekijöihin ja kokonaisuuteen. Työ jakautuu kolmeen osaan: Ensimmäisenä on teoria osio, johon sisältyy Monogamen yleinen sekä historiallinen määrittely. Osiossa esitellään myös Monogamen toiminnallisia tekijöitä, kuten erilaisia grafiikka rajapintoja sekä ”välikerroksia”. Käytännönosuudessa tutustutaan kirjoittajan kehittämään pelisovellukseen ja sen toimintaan Monogamea hyödyntäen. Osion tavoitteena on tutustua ja seurata sovelluksen suorittamista eri alustoilla, kuten Debian Linux- ja Android(mobiili)-ympäristöissä. Pelisovelluksen lähdekoodi on luettavissa työn liiteosiossa. Viimeisessä osiossa tutustutaan hieman uudenlaisiin grafiikkarajapintoihin, joiden voidaan olettaa yleistyvän lähivuosien aikana. Lähteinä ovat pääasiallisesti erilaiset dokumentaatiot sekä hieman kirjallisuutta. Historiaan liittyvän tiedon hankinnassa on hyödynnetty myös aikansa verkkouutisia. Käytännönosuus sisältää myös hieman kirjoittajan omia tulkintoja esimerkkisovelluksen -
Addiction and Expression
Hastings Constitutional Law Quarterly Volume 47 Number 2 Winter 2020 Article 3 Winter 2020 Addiction and Expression Luke Morgan Follow this and additional works at: https://repository.uchastings.edu/ hastings_constitutional_law_quaterly Part of the Constitutional Law Commons Recommended Citation Luke Morgan, Addiction and Expression, 47 HASTINGS CONST. L.Q. 197 (2020). Available at: https://repository.uchastings.edu/hastings_constitutional_law_quaterly/vol47/iss2/3 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Constitutional Law Quarterly by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. 1 - MORGAN FINAL 11-14-19.DOCX (DO NOT DELETE) 12/12/2019 2:20 PM Addiction and Expression * by LUKE MORGAN Introduction On September 9, 2014, video game developer Bungie, Inc. released its much-anticipated game, Destiny.1 Bungie was the creator of the massively popular and critically acclaimed Halo series, and Destiny’s release across four consoles was expected to be the studio’s return to the pinnacle of the gaming world.2 The game mixed Tolkeinesque high fantasy with futuristic science fiction, and combined elements of two of the most popular genres of video games—Massive Multiplayer Online Role Playing Games (“MMORPGs”) and First-Person Shooters (“FPS”).3 The studio even hired Peter Dinklage, a star of HBO’s Game of Thrones, to voice a main character.4 The game’s overall budget was more than $500 million.5 Then, something strange happened. It rapidly became apparent that, despite strong sales numbers,6 Destiny was not much fun to play.