Independent Game Development with Unity Game Engine
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Creating Accessibility in VR with Reused Motion Input
Replay to Play: Creating Accessibility in VR with Reused Motion Input A Technical Report presented to the faculty of the School of Engineering and Applied Science University of Virginia by Cody Robertson May 8, 2020 On my honor as a University student, I have neither given nor received unauthorized aid on this assignment as defined by the Honor Guidelines for Thesis-Related Assignments. Signed: ___________________________________________________ Approved: ______________________________________ Date _______________________ Seongkook Heo, Department of Computer Science Replay to Play: Creating Accessibility in VR with Reused Motion Input Abstract Existing virtual reality (VR) games and applications tend not to factor in accommodations for varied levels of user ability. To enable users to better engage with this technology, a tool was developed to record and replay captured user motion to reduce the strain of complicated gross motor motions to a simple button press. This tool allows VR users with any level of motor impairment to create custom recordings of the motions they need to play VR games that have not designed for such accessibility. Examples of similar projects as well as recommendations for improvements are given to help round out the design space of accessible VR design. Introduction In many instances, high-end in-home virtual reality is synonymous with a head-mounted display (HMD) on the user’s face and motion-tracked controllers, simulating the hand’s ability to grip and hold objects, in a user’s hands. This is the case with all forms of consumer available HMD that is driven by a traditional computer rather than an integrated computer, including the Oculus Rift, Valve Index, HTC Vive, the variously produced Windows Mixed Reality HMDs, and Playstation VR with the Move Controllers. -
Game Engines with Visual Scripting ● Specialized Game Engines ● Framework Like Game Engines ● Niche Game Engines
Game Engines Jaanus Jaggo 2020 This is not even half of all the engines! Game engines 3 2 6 4 5 1 7 8 9 12 10 11 14 13 15 2 This is not even half of all the engines! Game engines 3 2 6 4 5 7 8 9 12 10 11 14 13 15 3 This is not even half of all the engines! Game engines 3 6 4 5 7 8 9 12 10 11 14 13 15 4 This is not even half of all the engines! Game engines 6 4 5 7 8 9 12 10 11 14 13 15 5 This is not even half of all the engines! Game engines 6 5 7 8 9 12 10 11 14 13 15 6 This is not even half of all the engines! Game engines 6 7 8 9 12 10 11 14 13 15 7 This is not even half of all the engines! Game engines 7 8 9 12 10 11 14 13 15 8 This is not even half of all the engines! Game engines 8 9 12 10 11 14 13 15 9 This is not even half of all the engines! Game engines 9 12 10 11 14 13 15 10 This is not even half of all the engines! Game engines 12 10 11 14 13 15 11 This is not even half of all the engines! Game engines 12 11 14 13 15 12 This is not even half of all the engines! Game engines 12 14 13 15 13 This is not even half of all the engines! Game engines 14 13 15 14 This is not even half of all the engines! Game engines 14 15 15 This is not even half of all the engines! Game engines 15 16 This is not even half of all the engines! Game engines 17 Game engines 18 There is no “best” game engine As there is no “best” programming language But some people like to express their opinion loudly! I consider myself to be quite unbiased. -
Desarrollo Del Juego Sky Fighter Mediante XNA 3.1 Para PC
Departamento de Informática PROYECTO FIN DE CARRERA Desarrollo del juego Sky Fighter mediante XNA 3.1 para PC Autor: Íñigo Goicolea Martínez Tutor: Juan Peralta Donate Leganés, abril de 2011 Proyecto Fin de Carrera Alumno: Íñigo Goicolea Martínez Sky Fighter Tutor: Juan Peralta Donate Agradecimientos Este proyecto es la culminación de muchos meses de trabajo, y de una carrera a la que llevo dedicando más de cinco años. En estas líneas me gustaría recordar y agradecer a todas las personas que me han permitido llegar hasta aquí. En primer lugar a mis padres, Antonio y Lola, por el apoyo que me han dado siempre. Por creer en mí y confiar en que siempre voy a ser capaz de salir adelante y no dudar jamás de su hijo. Y lo mismo puedo decir de mis dos hermanos, Antonio y Manuel. A Juan Peralta, mi tutor, por darme la oportunidad de realizar este proyecto que me ha permitido acercarme más al mundo de los videojuegos, algo en lo que querría trabajar. Pese a que él también estaba ocupado con su tesis doctoral, siempre ha sacado tiempo para resolver dudas y aportar sugerencias. A Sergio, Antonio, Toño, Alberto, Dani, Jorge, Álvaro, Fernando, Marta, Carlos, otro Antonio y Javier. Todos los compañeros, y amigos, que he hecho y que he tenido a lo largo de la carrera y gracias a los cuales he podido llegar hasta aquí. Por último, y no menos importante, a los demás familiares y amigos con los que paso mucho tiempo de mi vida, porque siempre están ahí cuando hacen falta. -
EXTENDED FICTION in GAME DESIGN Austin Anderson (Michael Young) Department of Computer Science
University of Utah UNDERGRADUATE RESEARCH JOURNAL UNMASKING THE PLAYER: EXTENDED FICTION IN GAME DESIGN Austin Anderson (Michael Young) Department of Computer Science INTRODUCTION In any story, an element being diegetic means that it is an element of the story that the characters of the fiction can sense. The simplest example is that of music in a movie; if there is a radio playing music in the scene, that music is diegetic. If a musical soundtrack plays over the scene but is something the characters cannot hear, it is non-diegetic(DIEGETIC). The border between the diegetic and non-diegetic is most commonly referred to as “the fourth wall” (Webster), in reference to the imaginary fourth wall of a play set, where the sides and back of the room that events are taking place in are fully represented on the theater stage, but the opening through which the audience observes the events of the play is an imaginary barrier. This barrier isn’t just literally a completion of the four walls in a traditional room of a building, but also metaphorically separates the reality from the fiction, quarantining both from each other as to not interfere. The problem with this boundary is that it can’t fully encompass the medium of video games. Video games, at their very essence, are an interactive medium. They require some breach of the fourth wall for them to function, as the game could not proceed to tell its story without a player’s input, which is an addressing of the audience due to the necessity of their action. -
Gaming Systems and Features of Discovery Centre Station 1
Gaming systems and features of Discovery Centre Station 1: XBox 1 with Remote The Book of Unwritten Tales 2 Wii U and Wii U Remote Braid Playstation 4 with Remote The Bridge Gaming PC with Gaming keyboard and The Cat and the Coup mouse Cave Story+ Downloaded games in station 1 include: Closure 7 Grand Steps, Step 1: What Ancients Begat Cogs 140 Coil AaAaAA!! – A Reckless Disregard for Colosse Gravity Colour Bind ABE VR Crawl Achron Cube & Star: An Arbitrary Love AltscpaceVR Dayz Amnesia: The Dark Descent Deep Under the Sky Analogue: A Hate Story Desktop Dungeons A Story About My Uncle Destinations B.U.T.T.O.N. Dinner Date Bad Hotel Dream Banished The Dream Machine Bastion The Dream Machine: Chapter 3 The Beginner’s Guide The Dream Machine: Chapter 4 Besiege The Dream Machine: Chapter 5 Between IGF Demo Dungeon of the Endless Bientôt l’été Dust: An Elysian Tail Bigscreen Beta Elegy for a Dead World BioShock Infinite Endless Legend The Binding of Isaac: Rebirth Ephemerid: A Musical Adventure BIT.TRIP RUNNER Estranged: Act 1 BlazeRush Carleton University Library and the Discovery Centre September 2019 Euro Truck Simulator 2 Interstellar Marines Evoland Intrusion 2 Evoland 2 Invisible, Inc. Fallout Jamestown Fallout 2 Joe Danger Fallout Tactics Keep Talking and Nobody Explodes Farming Simulator 17 Kentucky Route Zero Flotilla LA Cops FLY’N Legend of Dungeon The FOO show Life is Strange The Forest LIMBO Fotonica Lisa Frozen Synapse Little Inferno FTL: Faster than -
Video Game Developer Pdf, Epub, Ebook
VIDEO GAME DEVELOPER PDF, EPUB, EBOOK Chris Jozefowicz | 32 pages | 15 Aug 2009 | Gareth Stevens Publishing | 9781433919589 | English | none Video Game Developer PDF Book Photo Courtesy: InnerSloth. Upon its launch, Will of the Wisps made waves for frame-rate issues and bugs, but after those were quickly patched, it was easy to fall in love with every aspect of the game. Video game designers need to have analytical knowledge as well as strong creative skills. First, make sure you have a good computer with some processing power and the right software. It takes cues from choose-your-own-adventure novels as well as some of the earliest narrative-driven video games from the '70s and '80s, including the first-known work of interactive fiction, Colossal Cave Adventure. Check out the story of the whirlwind visit and hear about our first peek at the game. From its dances to its massive tournaments, Fortnite has won over gamers around the world. Are there video games designed for moms? This phase can take as many hours as the original creation of the game. In Animal Crossing , you play as a human character who moves to a new town — in the case of New Horizons , your character moves to a deserted island at the invitation of series regular Tom Nook, a raccoon "entrepreneur. One standout aspect of the game was its music. If you've ever gotten immersed in your game character's story and movements, you've probably wondered how these creations can move so fluidly. How MotionScan Technology Works Animation just keeps getting more and more realistic, as emerging technology MotionScan demonstrates quite nicely. -
Private Division Announces Kerbal Space Program Enhanced Edition Coming to Playstation®5 and Xbox Series X|S This Fall
Private Division Announces Kerbal Space Program Enhanced Edition Coming to PlayStation®5 and Xbox Series X|S this Fall June 24, 2021 Critically acclaimed rocket-building, space-flight sim will bring multiple enhancements for players on the latest consoles NEW YORK--(BUSINESS WIRE)--Jun. 24, 2021-- Private Division, Squad, and BlitWorks today announced that Kerbal Space Program Enhanced Edition is coming to PlayStation®5 and Xbox Series X|S this fall. Kerbal Space Program Enhanced Edition on these consoles will benefit from multiple hardware advancements and developments which allow for an upgraded resolution, improved framerate, advanced shaders, better textures, and additional performance improvements. Originally released for PlayStation®4 and Xbox One in January 2018, Kerbal Space Program Enhanced Edition on the latest consoles will also provide full support for a mouse and keyboard. In addition, existing owners of Kerbal Space Program Enhanced Edition on PlayStation 4 will receive a free upgrade to the PlayStation 5 version. Xbox One owners of Kerbal Space Program Enhanced Edition can upgrade to Xbox Series X|S version upon launch free of charge. Kerbal Space Program Enhanced Edition will be available digitally for purchase for $39.99. This press release features multimedia. View the full release here: https://www.businesswire.com/news/home/20210624005060/en/ “Today marks the celebration of the 10th anniversary of the original release of Kerbal Space Program, and over the last decade the team has continued to iterate and grow this incredible space sim into what it is today,” said Grant Gertz, Franchise Producer at Private Division. “Kerbal Space Program Enhanced Edition on the latest generation of consoles marks yet another great milestone for the game, introducing new players to the franchise, as well as providing existing console players with an upgraded experience for free.” In Kerbal Space Program, players take control of the development of the Kerbals’ space exploration program. -
Creating Games ART & CS 107 Spring 2013 Schedule Revised April 24, 2013; the Schedule Adapts to Your Interests and Ideas Throughout the Semester
Creating Games ART & CS 107 Spring 2013 Schedule Revised April 24, 2013; the schedule adapts to your interests and ideas throughout the semester. Morning: TR 8:30 – 9:45am Hyperlinks are underlined. Chapter Afternoon: Thu. 1 – 4 pm reading is in McGuire and Jenkins, Office hours: (TCL 308) By appointment Creating Games, A K Peters 2008 + (I’m generally accessible–let me know when is best for you) errata TA hours: See website “Homework” is independent work due at the beginning of the following class session. I encourage you to discuss ideas with other students but your work product should solely be your own. When a written response is appropriate, note that scholarly writing includes citations to primary sources, terse style, appropriate vocabulary and tone, and proper English style. The writing center and my office hours are great resources to improve your writing. “Read” and “Play” material has no specific deadline, but should be done close to that day so that we have a common base for discussion. For games, spend at least two hours in actual gameplay, and try to play with other students in the class. Having played a game (i.e., a social and intellectual activity) with someone will help you to know if you can work together effectively on a project. Unless explicitly noted, you are welcome to play a game on a different (equivalent) platform or with your own copy instead of using the library resource. If you make a reasonable attempt to play a game and it is not available, then you can substitute a different game listed on the course web page. -
Sciences Du Jeu, 7 | 2017, « Les Marges Du Jeu » [En Ligne], Mis En Ligne Le 19 Février 2017, Consulté Le 06 Avril 2021
Sciences du jeu 7 | 2017 Les marges du jeu Michel Lavigne (dir.) Édition électronique URL : http://journals.openedition.org/sdj/755 DOI : 10.4000/sdj.755 ISSN : 2269-2657 Éditeur Laboratoire EXPERICE - Centre de Recherche Interuniversitaire Expérience Ressources Culturelles Education Référence électronique Michel Lavigne (dir.), Sciences du jeu, 7 | 2017, « Les marges du jeu » [En ligne], mis en ligne le 19 février 2017, consulté le 06 avril 2021. URL : http://journals.openedition.org/sdj/755 ; DOI : https://doi.org/ 10.4000/sdj.755 Ce document a été généré automatiquement le 6 avril 2021. La revue Sciences du jeu est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. 1 SOMMAIRE Jeux de marges Michel Lavigne Le passage du jeu à la création : le cas du jeu vidéo amateur Pierre-Yves Hurel A la marge de la lecture et du ludique : les livres-jeux Boris Solinski Les marges du jeu à réalité alternée (JRA) : mise en évidence de cas d’indétermination créatrice et destructrice à partir de l’expérience d’Alter Ego Stéphane Goria et Françoise Lejeune Entraves à l’attitude ludique avec un jeu sérieux intégré dans une formation managériale : un exercice plus qu’un jeu ? Lydia Martin Du jeu dans les marges (du jeu) : De quelques gradients de ludicité dans le BDSM Adrien Czuser Sciences du jeu, 7 | 2017 2 Jeux de marges Michel Lavigne 1 La notion de marge suppose l’existence d’une zone périphérique qui sépare un objet de ce qui lui est extérieur. -
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. -
NG18 Program (Screen)
PROGRAM 2018 PROGRAM#nordicgame 2017 #nordicgame Welcome to Nordic Game 2018 It’s a great pleasure to welcome you to this fifteenth edition of Nordic Game, the only conference in the world with a dedicated focus on the entire Nordic games industry. Over the years we’ve evolved from a humble regional conference into a truly global industry event, as our vision of a strong, united games community and the values so many of us share - openness, innovation and diversity - have resonated with games industry professionals around the world, and they have been welcomed into our extended family. Of course, we continue to proudly celebrate the sheer quality and variety of games developed in the Nordic countries, and this year’s Nordic Game Awards (Thursday, 24 May from 18:00 in the Unreal Theatre) once again reflects the imagination and vitality of developers from the region we call home. However, our rapidly changing, interconnected industry doesn’t allow us to rest on our laurels, and our opening keynote (Wednesday, 23 May at 11:00 in the Unreal Theatre) brings together a panel of leaders from some of our most prominent Nordic studios to explore key challenges and opportunities for game developers moving forward. True to the many values we share with our extended global family, we’re also introducing a string of talks - the Impact sessions - that delve beyond the albeit important business and technical aspects of game development, to encourage all of us to think more deeply about the real impact of the games we create - and how we create them - on our world. -
Serious About Games Report 2017
SERIOUS ABOUT GAMES Special kinds of video games can revolutionise teaching and learning – and the Western Cape game development industry can deliver them. Author Nicholas Hall, CEO, IESA Co-authors Mandy J Watson and Adoné Kitching Introduction Why should you care about video games? The report also provides an overview of the national and provincial game development Globally, games are a $100B dollar industry (bigger industry, in order to show that the skills and than film or music) with nearly 2 billion people infrastructure required to develop high-quality playing games on various devices. serious games already exist locally. We also consider the makeup of the local audience, and Consumers of digital video games in South Africa point out the implications of demographic trends are increasingly diverse. Across all demographics for the development of serious games. The report of race, gender and household income, more people closes with next steps to consider when setting are playing games on their PCs, consoles and out to develop a serious game. mobile phones than ever before. Likewise, the local game development industry has – over the last 20 years – become increasingly sustainable, productive and globally competitive. In short: South Africans like to play video games, and they know how to create them. But, crucially, games also offer the opportunity to move beyond entertainment into the realms of learning and social change. Enter: serious games. Contents The Serious About Games initiative – launched Introduction 1 in 2016 by the Cape Innovation and Technology Initiative (CiTi), supported by Interactive Part 1: An introduction to serious games 2 Entertainment South Africa (IESA), Cape Craft and Design Institute (CCDI), 67games and funded by the Part 2: The local game development Western Cape Provincial Government's Department industry and audience 8 of Economic Development and Tourism (DEDAT) – signals a commitment to supporting not only Part 3: Going forward with serious games 15 the South African game development industry, but also the serious games sector.