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Thiefds Pc Man Fre 18/5/04 3:18 Pm Page 2
ThiefDS_pc_man_fre 18/5/04 3:18 pm Page 2 2 ThiefDS_pc_man_fre 18/5/04 3:18 pm Page 3 Sommaire Démarrage........................................................................4 Lancer Dark Project : Deadly Shadows..............................5 Commandes .....................................................................6 L'histoire...........................................................................8 Ecrans de jeu ....................................................................9 Gérer vos parties ............................................................10 Jouer à Dark Project : Deadly Shadows ...........................11 Utiliser l'ATH...................................................................11 Se déplacer.....................................................................12 Regarder alentour ...........................................................13 Utiliser les armes et les objets ........................................13 Décocher des flèches et lancer des projectiles ................14 Se battre et mourir..........................................................15 Crocheter des serrures ....................................................16 Carte de la Ville ..............................................................17 Trouver et vendre du butin .............................................18 Se faire discret................................................................19 Afficher les objectifs de mission......................................20 Accomplir des missions ..................................................20 -
The Role of Audio for Immersion in Computer Games
CAPTIVATING SOUND THE ROLE OF AUDIO FOR IMMERSION IN COMPUTER GAMES by Sander Huiberts Thesis submitted in fulfilment of the requirements for the degree of PhD at the Utrecht School of the Arts (HKU) Utrecht, The Netherlands and the University of Portsmouth Portsmouth, United Kingdom November 2010 Captivating Sound The role of audio for immersion in computer games © 2002‐2010 S.C. Huiberts Supervisor: Jan IJzermans Director of Studies: Tony Kalus Examiners: Dick Rijken, Dan Pinchbeck 2 Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. 3 Contents Abstract__________________________________________________________________________________________ 6 Preface___________________________________________________________________________________________ 7 1. Introduction __________________________________________________________________________________ 8 1.1 Motivation and background_____________________________________________________________ 8 1.2 Definition of research area and methodology _______________________________________ 11 Approach_________________________________________________________________________________ 11 Survey methods _________________________________________________________________________ 12 2. Game audio: the IEZA model ______________________________________________________________ 14 2.1 Understanding the structure -
Uma Perspectiva Musicológica Sobre a Formação Da Categoria Ciberpunk Na Música Para Audiovisuais – Entre 1982 E 2017
Uma perspectiva musicológica sobre a formação da categoria ciberpunk na música para audiovisuais – entre 1982 e 2017 André Filipe Cecília Malhado Dissertação de Mestrado em Ciências Musicais Área de especialização em Musicologia Histórica Setembro de 2019 I Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências Musicais – Área de especialização em Musicologia Histórica, realizada sob a orientação científica da Professora Doutora Paula Gomes Ribeiro. II Às duas mulheres da minha vida que permanecem no ciberespaço do meu pensamento: Sara e Maria de Lourdes E aos dois homens da minha vida com quem conecto no meu quotidiano: Joaquim e Ricardo III Agradecimentos Mesmo tratando-se de um estudo de musicologia histórica, é preciso destacar que o meu objecto, problemática, e uma componente muito substancial do método foram direccionados para a sociologia. Por essa razão, o tema desta dissertação só foi possível porque o fenómeno social da música ciberpunk resulta do esforço colectivo dos participantes dentro da cultura, e é para eles que direciono o meu primeiro grande agradecimento. Sinto-me grato a todos os fãs do ciberpunk por manterem viva esta cultura, e por construírem à qual também pertenço, e espero, enquanto aca-fã, ter sido capaz de fazer jus à sua importância e aos discursos dos seus intervenientes. Um enorme “obrigado” à Professora Paula Gomes Ribeiro pela sua orientação, e por me ter fornecido perspectivas, ideias, conselhos, contrapontos teóricos, ajuda na resolução de contradições, e pelos seus olhos de revisora-falcão que não deixam escapar nada! Como é evidente, o seu contributo ultrapassa em muito os meandros desta investigação, pois não posso esquecer tudo aquilo que me ensinou desde o primeiro ano da Licenciatura. -
*Freedom Force Pcman
TABLE OF CONTENTS Introduction . .3 Command Reference . .4 Getting STarted . .7 Main Menu . .7 Game Screen . .8 Character Portraits . .8 Status Bar . .9 Mission Text Window . .9 Dialogue Window . .10 Result Bubbles . .10 Pointers . .10 Interacting with the World . .11 Moving Around Patriot City . .11 The Command Menu . .12 Power Commands . .14 Interacting with Objects . .14 combat . .16 Attacking . .16 Hit Points . .17 Defenses . .17 Damage . .19 Heroic Deeds . .24 The Campaign . .25 The FF Base . .25 The Team . .25 Missions . .27 Creating a Custom Character . .29 Starting a New Character . .29 Choosing a Mesh . .29 Choosing Stats . .29 Choosing Attributes . .30 Choosing Materials . .35 Choosing Powers . .35 1 Powers . .36 Attack Powers . .36 Defense Powers . .39 Special Powers . .40 Power Animations and Effects . .41 Multiplayer . .43 Multiplayer Gameplay . .43 GameSpy . .44 Scoring . .45 Heroes . .46 Minuteman . .46 Liberty Lad . .47 Manbot . .48 Alche-Miss . .49 El Diablo . .50 The Ant . .51 Eve . .52 Bullet . .53 Mentor . .54 Man O’ War . .55 Sea Urchin . .56 CREDITS . .57 This product has been rated by the Entertainment Software Rating Board. For information about the ESRB rating, or to comment about the appropriateness of the rating, please contact the ESRB at 1-800-771-3772. 2 Introduction It’s 1962. Somewhere beyond the reach of man’s fledgling space capsules, an alien warlord sits on a throne. The ultimate conqueror of dimensions, Lord Dominion, views his latest intended conquest, the planet Earth. His plan is simple. By seeding Earth’s urban areas with canisters of Energy X, the most powerful material in existence, Lord Dominion seeks to transform society’s greediest and most corrupt members into a legion of villains. -
System Shock 2®
sysshock man -eng 02/05/2000 9:11 Page 1 SYSTEM SHOCK 2¨ WARNING: TO OWNERS OF PROJECTION TELEVISIONS STILL PICTURES OR IMAGES MAY CAUSE PERMANENT PICTURE-TUBE DAMAGE OR MARK THE PHOSPHOR OF THE CRT. AVOID REPEATED OR EXTENDED USE OF VIDEO GAMES ON LARGE- SCREEN PROJECTION TELEVISIONS. EPILEPSY WARNING PLEASE READ BEFORE USING THIS GAME OR ALLOWING YOUR CHILDREN TO USE IT. Some people are susceptible to epileptic seizures or loss of consciousness when exposed to certain flashing lights or light patterns in everyday life. Such people may have a seizure while watching television images or playing certain video games. This may happen even if the person has no medical history of epilepsy or has never had any epileptic seizures. If you or anyone in your family has ever had symptoms related to epilepsy (seizures or loss of consciousness) when exposed to flashing lights, consult your doctor prior to playing. We advise that parents should monitor the use of video games by their children. If you or your child experience any of the following symptoms: dizziness, blurred vision, eye or muscle twitches, loss of consciousness, disorientation, any involuntary movement or convulsion, while playing a video game, IMMEDIATELY discontinue use and consult your doctor. PRECAUTIONS TO TAKE DURING USE • Do not stand too close to the screen. Sit a good distance away from the screen, as far away as the length of the cable allows. • Preferably play the game on a small screen. • Avoid playing if you are tired or have not had much sleep. • Make sure that the room in which you are playing is well lit. -
Thief the Dark Project Manual.Pdf
EPILEPSY WARNING IMPORTANT - LIMITED WARRANTY Please read before using this video game system or allowing your Eidos Interactive Ltd reserves the right to make changes and improvements to this product at children to use it. any time and without notice. Eidos Interactive Ltd warrants to the original purchaser of this product that the physical medium on which the software program in this product is recorded will under normal use and conditions be free from material defects in materials and Some people are susceptible to epileptic seizures or loss of consciousness when exposed to workmanship for a period of ninety (90) days from the date of purchase. The entire liability of certain flashing lights or light patterns in everyday life. Such people may have a seizure while Eidos Interactive Ltd under the limited warranty set out above will be at its sole option either watching certain television images or playing certain video games. This may happen even if to repair or to replace free of charge the product provided you return it in its original condition the person has no medical history of epilepsy or has never had any epileptic seizures. If you to the point of purchase with a copy of your receipt. or anyone in your family has ever had symptoms related to epilepsy (seizures or loss of consciousness) when exposed to flashing lights, consult your doctor prior to playing. We THIS LIMITED WARRANTY DOES NOT AFFECT YOUR STATUTORY RIGHTS. SUBJECT TO advise that parents should monitor the use of video games by their children. If you or your THE LIMITED WARRANTY ABOVE, THIS PRODUCT IS PROVIDED “AS IS” AND WITHOUT WARRANTY OF ANY KIND. -
Thiefds Pc Man Eng 18/5/04 5:21 Pm Page 2
ThiefDS_pc_man_eng 18/5/04 5:21 pm Page 2 2 ThiefDS_pc_man_eng 18/5/04 5:21 pm Page 3 Contents Getting Started .................................................................4 Running Thief: Deadly Shadows ........................................5 Controls............................................................................6 The Story ..........................................................................8 Game Screens...................................................................9 Managing Your Games....................................................10 Playing Thief: Deadly Shadows........................................11 Using the HUD ...............................................................11 Moving Around ..............................................................12 Looking Around .............................................................13 Using Weapons and Items ..............................................13 Firing Arrows and Projectiles ..........................................14 Fighting and Dying .........................................................15 Picking Locks ..................................................................16 City Map.........................................................................17 Finding and Selling Loot .................................................18 Being Stealthy.................................................................19 Viewing Mission Objectives............................................20 Winning Missions ...........................................................20 -
Musikaliska Uttryck Och Funktioner I Interaktiva V Rldar
Musikaliska uttryck och funktioner i interaktiva vrldar En underskning av musikanalytiska problemstllningar i det interaktiva mediet datorspel Katarina Glantz Magisteruppsats 2008 Institutionen fr musikvetenskap Uppsala universi tet Musikaliska uttryck och funktioner i interaktiva vrldar En underskning av musikanalytiska problemstllningar i det interaktiva mediet datorspel Katarina Glantz Magisteruppsats 2008 Institutionen fr musikvetenskap Uppsala universitet Handledare: Erik Kjellberg Abstract Katarina Glantz: Musikaliska uttryck och funktioner i interaktiva världar . En undersökning av musikanalytiska problemställningar i det interaktiva mediet datorspel . Uppsala universitet: Institutionen för musikvetenskap, uppsats för 100 p. 2008 This paper takes on the field of computer game music for the home computers Commodore 64, Amiga and PC. One chapter is devoted to the early pioneers in computer game music, but the main focus of the study have been to uncover the important functions music, sound, and sound effects, have for the understanding and experience of playing computer games. The issues discussed are: interactivity and game music, recurring musical functions in games, the relation of music and sound to the fictional game world, how an experimental attitude to sound became part of the compositional process on the Commodore 64 and Amiga, and lastly, how music and sound relates to the game becoming part of an audiovisual interpretation. My aim have been to incorporate all the audio aspects of computer games, to see how these relate to each other, as well as the game, where the analysis of computer game music becomes not an analysis of music by itself, but where the music analysis shows the player’s involvement with the game. ISSN 1102-6963 ISBN UU-MSU-SER-60-E Frord Redan för sex år sedan såddes ett frö till denna uppsats i och med en oskyldig julklapp av min far: en CD innehållandes en kompilation av diverse musikstycken från Amiga- och Commodore 64 spel, spel vilka jag spenderat åtskilligt med tid med under min uppväxt. -
Postmortems from Game Developers.Pdf
POSTMORTEMS FROM Austin Grossman, editor San Francisco, CA • New York, NY • Lawrence, KS Published by CMP Books an imprint of CMP Media LLC Main office: 600 Harrison Street, San Francisco, CA 94107 USA Tel: 415-947-6615; fax: 415-947-6015 Editorial office: 1601 West 23rd Street, Suite 200, Lawrence, KS 66046 USA www.cmpbooks.com email: [email protected] Designations used by companies to distinguish their products are often claimed as trademarks. In all instances where CMP is aware of a trademark claim, the product name appears in initial capital letters, in all capital letters, or in accordance with the vendor’s capitalization preference. Readers should contact the appropriate companies for more complete information on trademarks and trademark registrations. All trademarks and registered trademarks in this book are the property of their respective holders. Copyright © 2003 by CMP Media LLC, except where noted otherwise. Published by CMP Books, CMP Media LLC. All rights reserved. Printed in the United States of America. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher; with the exception that the program listings may be entered, stored, and executed in a computer system, but they may not be reproduced for publication. The publisher does not offer any warranties and does not guarantee the accuracy, adequacy, or complete- ness of any information herein and is not responsible for any errors or omissions. The publisher assumes no liability for damages resulting from the use of the information in this book or for any infringement of the intellectual property rights of third parties that would result from the use of this information. -
Shalebridge Cradle
JOURNEY INTO BY KIERON GILLEN BY KIERON THE CRADLE THE CRADLE DOESN’T HAVE A HISTORY. THIEF: DEADLY SHADOWS ■ Publisher Eidos IT HAS A SCREAM, STRETCHED OUT ■ Developer Ion Storm ■ Review PCG 137 THROUGH TIME. ■ Released 2004 WARNING READ ME FIRST The following pages form a journey into one of the most brilliant and disturbing levels ever committed to PC. If you’ve played The Cradle – Thief: Deadly Shadows’ – centrepiece level, then don’t hang back. The secrets and hidden stories of this house of hell are explored, analysed and constructed into something that will hopefully enhance and illuminate the experience you’ve had. If you’ve never played The Cradle, and have no plans to ever do so, then rush right in, and more fool you. If you’ve never played The Cradle, but plan to… be careful. This opening spread contain spoilers. The middle pages should be viewed in the same way as a walkthrough for a game you haven’t played. The last two pages, an interview with Jordan ‘Null’ Thomas, The Cradle’s designer, should be safe. You have been warned. 132 PCGAMER March 2005 PPCG146.feat_cradleCG146.feat_cradle 113232 22/2/05/2/05 112:18:102:18:10 ppmm FROM CRADLE TO GRAVE t’s too late to run. Running from The Cradle is It’s a horrific idea. A few years ago, one of my friends like running from the air around you. People was sectioned, believing he was either the Anti-Christ, bandy the word ‘immersive’ around when the Son of God or Muad’Dib from the Dune books. -
“Dungeon Duel” Is a Trademark of Irrational Games You’Ve Got a Bad Feeling About This…
“Dungeon Duel” is a Trademark of Irrational Games You’ve got a bad feeling about this… The band of harpies outnumbers your sickly wizard your big mouthed dwarf and his pet trog. You managed to lure the enemy into the swinging blade traps, but it didn’t hurt them as badly as you hoped it would. And, foolishly, you’re all earth aligned, easy pickings for the airborne she-beasts. Your opponent immediately orders the harpies to attack your units. Your group fends the flying beasts with mighty axes, sharp teeth and a spell or two, but one falls to their claws and another is badly wounded. With nothing to lose, you look to your spells. Seeing the third card, you smile… you have him now! You cast a “Flaming Blade” and magical flame springs along the dwarf’s axe. As weak as your dwarves are against fliers, the harpies fall to pieces when somebody lights a match. Your opponent shrieks as one by one, the harpies are incinerated. You put you sandwich down, drop the Dual Shock on to the couch and release a victory shout right in your buddy’s face. It’s Miller time. Dungeon Duel combines fast-paced RTS strategy with the addictiveness of card-game trading in a unique fantasy setting. A true RTS game built specifically with consoles and their controllers in mind, it's a step away from the clunky PC conversions and slow turn-based games that have made up the majority of console strategy game market. Dungeon Duel offers the following amazing features: An Exciting New Approach to RTS: Built for consoles and their controllers, Dungeon Duel brings real time strategy to the console the way it was meant to be. -
December 1999
DECEMBER 1999 GAME DEVELOPER MAGAZINE ON THE FRONT LINE OF GAME INNOVATION GAME PLAN DEVELOPER 600 Harrison Street, San Francisco, CA 94107 t: 415.905.2200 f: 415.905.2228 w: www.gdmag.com Publisher Down With Global Cynthia A. Blair cblair@mfi.com EDITORIAL Editorial Director Alex Dunne [email protected] Homogenization! Managing Editor Kimberley Van Hooser [email protected] think most of us in this industry As an American, however, I must Departments Editor are pretty happy about the fact admit to having reservations about an Jennifer Olsen [email protected] Art Director that interactive electronic enter- influx of foreign talent. It’s not that I Laura Pool lpool@mfi.com tainment has rapidly become a think American jobs will be stolen by Editor-At-Large I Chris Hecker [email protected] widespread form of entertainment immigrants, nor that I adhere to isola- Contributing Editors around the world. And in case you tionist beliefs. On the contrary, I say Jeff Lander [email protected] didn’t notice, game development itself the more the merrier here in the U.S. Paul Steed [email protected] has spread around the globe with simi- What I fear is the result of a slow, Omid Rahmat [email protected] Advisory Board lar speed. This fact was made abundant- steady exodus of game developers from Hal Barwood LucasArts ly clear to me last year when entries for countries whose game industries are Noah Falstein The Inspiracy the GDC’s Independent Games Festival just beginning to form. I don’t think Brian Hook Verant Interactive Susan Lee-Merrow Lucas Learning poured in from far-flung countries like that’s good for the countries in ques- Mark Miller Harmonix 4 Poland and Pakistan.