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UPC Platform Publisher Title Price Available 730865001347
UPC Platform Publisher Title Price Available 730865001347 PlayStation 3 Atlus 3D Dot Game Heroes PS3 $16.00 52 722674110402 PlayStation 3 Namco Bandai Ace Combat: Assault Horizon PS3 $21.00 2 Other 853490002678 PlayStation 3 Air Conflicts: Secret Wars PS3 $14.00 37 Publishers 014633098587 PlayStation 3 Electronic Arts Alice: Madness Returns PS3 $16.50 60 Aliens Colonial Marines 010086690682 PlayStation 3 Sega $47.50 100+ (Portuguese) PS3 Aliens Colonial Marines (Spanish) 010086690675 PlayStation 3 Sega $47.50 100+ PS3 Aliens Colonial Marines Collector's 010086690637 PlayStation 3 Sega $76.00 9 Edition PS3 010086690170 PlayStation 3 Sega Aliens Colonial Marines PS3 $50.00 92 010086690194 PlayStation 3 Sega Alpha Protocol PS3 $14.00 14 047875843479 PlayStation 3 Activision Amazing Spider-Man PS3 $39.00 100+ 010086690545 PlayStation 3 Sega Anarchy Reigns PS3 $24.00 100+ 722674110525 PlayStation 3 Namco Bandai Armored Core V PS3 $23.00 100+ 014633157147 PlayStation 3 Electronic Arts Army of Two: The 40th Day PS3 $16.00 61 008888345343 PlayStation 3 Ubisoft Assassin's Creed II PS3 $15.00 100+ Assassin's Creed III Limited Edition 008888397717 PlayStation 3 Ubisoft $116.00 4 PS3 008888347231 PlayStation 3 Ubisoft Assassin's Creed III PS3 $47.50 100+ 008888343394 PlayStation 3 Ubisoft Assassin's Creed PS3 $14.00 100+ 008888346258 PlayStation 3 Ubisoft Assassin's Creed: Brotherhood PS3 $16.00 100+ 008888356844 PlayStation 3 Ubisoft Assassin's Creed: Revelations PS3 $22.50 100+ 013388340446 PlayStation 3 Capcom Asura's Wrath PS3 $16.00 55 008888345435 -
Game Developers, Publishers, and Retailers Meaning
>> PRODUCT REVIEW VIRTOOLS 3.0: REAL-TIME GAME DESIGN NOVEMBER 2004 THE LEADING GAME INDUSTRY MAGAZINE >>HOTTEST NEWS: >>ROLE OF THE WRITER >>FINITE STATE MACHINES ACCLAIM SINKS, SHOULD YOU HIRE QUICK AND EASY VISUAL TOKYO GAME SHOW SOARS AN ON-STAFF AUTHOR? AI DESIGN USING XML POSTMORTEM: HOW TIMEGATE STUDIOS SHIPPED KOHAN II AND AXIS & ALLIES BACK TO BACK []CONTENTS NOVEMBER 2004 VOLUME 11, NUMBER 10 FEATURES 12 VISUAL FINITE STATE MACHINE AI SYSTEMS AI can be tough to write effectively, and most top end programmers can’t be expected to chart out the habits of dim-witted creatures. For simple enemies, like Goombas, Koopas, and Swoopers, finite state machines can provide a simple and quick way to create enemy attack patterns without all that nasty coding. Sunbir Gill lays out a method of designing AI systems in Microsoft Visio, outputting the charts to XML, and then translating the XML into your game as creature AI. By Sunbir Gill 6 18 WRITESIZING It wasn’t so long ago that most games featured plots and stories that could be summed up in two pages of the manual. But anyone who’s ever played METAL GEAR SOLID or 34 MORROWIND knows story has become much more than filler text. Today, many companies have on-staff writers who create the dialog, story elements, and history that flesh out the POSTMORTEM deep worlds of games. Stephen Jacobs interviews a number of top game writers to 34 TWO TIMING: TIMEGATE STUDIOS’ find out just what makes a good game KOHAN II AND AXIS & ALLIES wordsmith, and discovers that writing for After bursting onto the scene with KOHAN: IMMORTAL SOVEREIGNS, TimeGate games is nothing like writing books or movies. -
Playstation Games
The Video Game Guy, Booths Corner Farmers Market - Garnet Valley, PA 19060 (302) 897-8115 www.thevideogameguy.com System Game Genre Playstation Games Playstation 007 Racing Racing Playstation 101 Dalmatians II Patch's London Adventure Action & Adventure Playstation 102 Dalmatians Puppies to the Rescue Action & Adventure Playstation 1Xtreme Extreme Sports Playstation 2Xtreme Extreme Sports Playstation 3D Baseball Baseball Playstation 3Xtreme Extreme Sports Playstation 40 Winks Action & Adventure Playstation Ace Combat 2 Action & Adventure Playstation Ace Combat 3 Electrosphere Other Playstation Aces of the Air Other Playstation Action Bass Sports Playstation Action Man Operation EXtreme Action & Adventure Playstation Activision Classics Arcade Playstation Adidas Power Soccer Soccer Playstation Adidas Power Soccer 98 Soccer Playstation Advanced Dungeons and Dragons Iron and Blood RPG Playstation Adventures of Lomax Action & Adventure Playstation Agile Warrior F-111X Action & Adventure Playstation Air Combat Action & Adventure Playstation Air Hockey Sports Playstation Akuji the Heartless Action & Adventure Playstation Aladdin in Nasiras Revenge Action & Adventure Playstation Alexi Lalas International Soccer Soccer Playstation Alien Resurrection Action & Adventure Playstation Alien Trilogy Action & Adventure Playstation Allied General Action & Adventure Playstation All-Star Racing Racing Playstation All-Star Racing 2 Racing Playstation All-Star Slammin D-Ball Sports Playstation Alone In The Dark One Eyed Jack's Revenge Action & Adventure -
GOG-API Documentation Release 0.1
GOG-API Documentation Release 0.1 Gabriel Huber Jun 05, 2018 Contents 1 Contents 3 1.1 Authentication..............................................3 1.2 Account Management..........................................5 1.3 Listing.................................................. 21 1.4 Store................................................... 25 1.5 Reviews.................................................. 27 1.6 GOG Connect.............................................. 29 1.7 Galaxy APIs............................................... 30 1.8 Game ID List............................................... 45 2 Links 83 3 Contributors 85 HTTP Routing Table 87 i ii GOG-API Documentation, Release 0.1 Welcome to the unoffical documentation of the APIs used by the GOG website and Galaxy client. It’s a very young project, so don’t be surprised if something is missing. But now get ready for a wild ride into a world where GET and POST don’t mean anything and consistency is a lucky mistake. Contents 1 GOG-API Documentation, Release 0.1 2 Contents CHAPTER 1 Contents 1.1 Authentication 1.1.1 Introduction All GOG APIs support token authorization, similar to OAuth2. The web domains www.gog.com, embed.gog.com and some of the Galaxy domains support session cookies too. They both have to be obtained using the GOG login page, because a CAPTCHA may be required to complete the login process. 1.1.2 Auth-Flow 1. Use an embedded browser like WebKit, Gecko or CEF to send the user to https://auth.gog.com/auth. An add-on in your desktop browser should work as well. The exact details about the parameters of this request are described below. 2. Once the login process is completed, the user should be redirected to https://www.gog.com/on_login_success with a login “code” appended at the end. -
Naughty Dog Inc
ALLEGRO CL® @Work! A Franz Inc. Customer Success Story Naughty Dog Inc. Crash Bandicoot Game System On a small three-island chain off the southeast coast Gavin, the unique capabilities of Allegro CL’s of Australia, a maniacal scientist has set up his Common Lisp language enabled very fast headquarters. Bent on world domination, Dr. Neo development and execution of character and Cortex has determined that the only way he can object control. Crash is filled with all sorts of accomplish his goal is to create an army faithful creatures and devices constructed in full 3D and only to him. So, he decides to brainwash the local interacting with the player in real-time (30 frames animals and has selected Crash Bandicoot to be per second). their leader. With the help of Dr. Nitrus Brio, they “Lisp was just the best solution for this create two machines — the Evolvo-Ray gives the job,” comments Gavin, “With leading-edge game animals superior knowledge and the Cortex Vortex systems like ours, you have to deal with is supposed to make them allegiant only to Dr. Cortex complicated behaviors and real-time action. — but it doesn’t work right. Instead of being devoted geniuses, the animals become raving lunatics. What does this have to do with Allegro CL? It’s easy to construct a simple Crash Bandicoot is the latest game release dialect which is just as “efficient as C, but retains the from Naughty Dog Software™, Universal City, CA, dynamic and consistent running on the Sony Playstation™. Naughty Dog qualities that make Lisp a used Allegro CL for the character control portions much more effective of the game. -
Tekan Bagi Yang Ingin Order Via DVD Bisa Setelah Mengisi Form Lalu
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Game Design Workshop
Game Design Workshop USC School of Cinematic Arts, CTIN 488 Instructors: Chris Swain, Dan Arey, and Vincent Diamante Contact Info: Chris Swain Dan Arey Vincent Diamante (310) 403 0798 (310) 663 0949 (213) 840 0645 [email protected] [email protected] [email protected] Course Description: CTIN 488 is the foundation course for game design education at USC. It is a required course for all students majoring and minoring in interactive entertainment and games from the School of Cinematic Arts and Viterbi School of Engineering. The foundation mentioned is constructed from a codified language for games and set of design methodologies that collectively we call “playcentric design”. Think of playcentric design as a USC school of thought for games. It is intended to provide flexible skills and knowledge that will enable you to create playable systems more efficiently and collaborate with others more effectively. Playcentric design strives to enable the student to: 1) Understand Fundamental Theory – You will learn about the Formal, Dramatic, and Dynamic elements of games and how the three interrelate 2) Learn core development process – This process is independent of software tools (which change over time). It includes understanding iterative design, prototyping, playtesting, presentation, and collaboration 3) Practice, Practice, Practice – Everyone will design many games hands-on regardless of technical skills. Class assignments are designed to make good additions to a student’s demo reel. In addition everyone will get lots of experience critiquing and analyzing games as playable systems. CTIN 488 is designed to provide the foundation of knowledge for succeeding throughout the game program at USC and becoming a professional game designer. -
Billy Harper Animation Director at Sucker Punch Productions [email protected]
Billy Harper Animation Director at Sucker Punch Productions [email protected] Summary My professional experience is best expressed by the recommendations on my resume. I will let those speak for me. I get emotional for a living. Experience Character/Cinematic Supervisor at Sucker Punch Productions September 2009 - Present (5 years 5 months) Responsible for working with Animation, Character, Design, Environment, and Engineering teams to develop characters, cinematics, animations, animation rigs and pipelines. Taking that information and applying it to schedules for the character, cinematic, and animation artists, and making sure everything is on track. Collaborating with the Art Director to make sure our style fits with the rest of the visuals. Then creating characters and animation that will help define that style and inspire the art team. Co-Founder/Character Director at Dreamhive, LLC October 2006 - August 2009 (2 years 11 months) Besides co-founding the studio, I was the Character Director and Director of Client Affairs. As Director of Client Affairs, I was responsible for landing and managing contracts with Morgan Rose, Ready at Dawn, EA Salt Lake, SCEA, BottleRocket, and Madonna. I was also the key person in setting up a very exciting partnership with Jason Rubin, Andy Gavin, and Jason Kay's entertainment group, Monkey Gods A Character Director for our studio, I performed various Character Modeling, Texturing, and Rigging tasks. I also grew into an Animation Direction role on teams ranging from 5 to 10 animators working remotely on several projects. I also pioneered new ground beta testing Autodesk's Mudbox software. My techniques for using the software caught the eye of Autodesk and they had me do multiple talks up and down the east coast. -
Independent Games What They Are and Are They Different
Jaakko Kemppainen Independent games What they are and are they different Master's thesis Digital Culture 20.2.2008 Jyväskylä University Department of Art and Culture Studies Jyväskylä JYVÄSKYLÄN YLIOPISTO Tiedekunta – Faculty Laitos – Department Faculty of Humanities Department of Art and Culture Studies Tekijä – Author Jaakko Kemppainen Työn nimi – Title Independent games What they are and are they different Oppiaine – Subject Työn laji – Level Digital Culture Master's thesis Aika – Month and year Sivumäärä – Number of pages February 2008 98 p. + Appendices 18 p. Tiivistelmä – Abstract This research figures out, how the concept of independent games and independent game production is understood in the field of game industry. Some comparisons are made to music and movie industry, using literature and different internet sources to find out commonly used definitions for independent concept on different areas of entertainment business. Three level definition for independent productions is formed, mainly from the commerce point of view - independent, semi-independent and non-independent games and producers. Second part of this research is a quantitative genre comparison between non-independent games and independent games. For the use of the genre research, a study of game genres is made and basen on that, a game genre systemi is produced. Main finding of the quantitative research is, that independent game genre distribution is different in the case of non-independent games, but there are a lot of similarities within both non-independent and -
Mark Cerny to Be Inducted Into Hall of Fame of the Academy of Interactive Arts & Sciences
FOR IMMEDIATE RELEASE Contact: Wendy Zaas/Debby Chen Geri Gordon Miller Rogers & Cowan Academy of Interactive Arts and Sciences 310-854-8148 / 310-854-8168 818-876-0826 x202 [email protected] [email protected] [email protected] A DIFFERENT PATH; MARK CERNY TO BE INDUCTED INTO HALL OF FAME OF THE ACADEMY OF INTERACTIVE ARTS & SCIENCES CALABASAS, Calif. – January 13, 2010 – The Academy of Interactive Arts & Sciences (AIAS) has announced that Mark Cerny will be the 13th inductee into the Academy’s Hall of Fame, which is bestowed upon individuals who’ve contributed a significant advancement within the industry while demonstrating proven success and leadership. “Mark Cerny is the closest we have come to a modern-day Da Vinci,” said Joseph Olin, president of the AIAS. “What he does isn’t restricted to a single aspect of game creation, he really is a Renaissance man. He is a diversely accomplished game designer, producer, programmer and technologist, fluent in Japanese and one of the foremost Western experts on the Japanese game market. He’s also one of the only top-level independents in a business dominated by institutions. The projects that he has contributed to have been phenomenally successful, with sales of almost two billion dollars and over a dozen titles each exceeding two million units in sales.” Cerny’s legacy is more than just an impressive list of games; through his work at Universal Studios in the 1990s he was also instrumental in fostering the development of some of the video game industry’s top stars. Ted Price of Insomniac Games, and Jason Rubin and Andy Gavin of Naughty Dog can all trace their initial breakout to projects created with Cerny. -
Nine Steps Towards Creating Better Videogames
BEYOND GAME DESIGN: NINE STEPS TOWARD CREATING BETTER VIDEOGAMES RICHARD BARTLE, CHRIS BATEMAN, NOAH FALSTEIN, MICHELLE HINN, KATHERINE ISBISTER, NICOLE LAZZARO, SHERI GRAINER RAY, AND JOSEPH SAULTER EDITED BY CHRIS BATEMAN Charles River Media A part of Course Technology, Cengage Learning Australia, Brazil, Japan, Korea, Mexico, Singapore, Spain, United Kingdom, United States Beyond Game Design: Nine Steps Toward © 2009 Course Technology, a part of Cengage Learning. Creating Better Videogames ALL RIGHTS RESERVED. No part of this work covered by the copyright herein may be reproduced, transmitted, stored, or used in any form or by Richard Bartle, Chris Bateman, any means graphic, electronic, or mechanical, including but not limited to Noah Falstein, Michelle Hinn, photocopying, recording, scanning, digitizing, taping, Web distribution, Katherine Isbister, Nicole Lazzaro, information networks, or information storage and retrieval systems, except Sheri Grainer Ray, and Joseph Saulter as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the publisher. Edited by Chris Bateman For product information and technology assistance, contact us at Cengage Learning Customer & Sales Support, 1-800-354-9706 Publisher and General Manager, For permission to use material from this text or product, Course Technology PTR: submit all requests online at cengage.com/permissions Further permissions questions can be emailed to Stacy L. Hiquet [email protected] Associate Director of Marketing: Sarah Panella Velcro brand hook-and-loop fasteners are a registered trademark of Velcro USA Inc. Barbie is a registered trademark of Mattel Inc. All references to the Myers-Briggs Content Project Manager: Type Indicator test or MBTI should be understood as references to trademarks of Jessica McNavich the Myers-Briggs Type Indicator Trust, owned by Consulting Psychologists Press. -
Zur Theorie Der Computerspiel-Genres: Versuch Einer Klassifikation“
DIPLOMARBEIT Titel der Diplomarbeit „Zur Theorie der Computerspiel-Genres: Versuch einer Klassifikation“ Verfasser Benjamin Sterbenz angestrebter akademischer Grad Magister der Philosophie (Mag. phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 9700020 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft (A317) Betreuer: ao. Univ.-Prof. Dr. Rainer Maria Köppl 2 INHALTSVERZEICHNIS 1 EINLEITUNG ..............................................................................................................................................5 2 KLARSTELLUNGEN ZUR TERMINOLOGIE ......................................................................................7 2.1 DEFINITION SPIEL ................................................................................................................................. 7 2.2 DEFINITION GAMEPLAY........................................................................................................................ 9 2.3 DEFINITION COMPUTER- UND VIDEOSPIEL ......................................................................................... 10 2.4 FILM-GENRES VS. SPIEL-GENRES ....................................................................................................... 11 3 GENEALOGIE DER SPIEL-GENRES ...................................................................................................13 3.1 TECHNOLOGIE ALS DOMINANTER FAKTOR.......................................................................................... 14 3.2 ACTIONSPIELE ...................................................................................................................................