Game Design Document

Total Page:16

File Type:pdf, Size:1020Kb

Game Design Document GAME DESIGN DOCUMENT Travis Watkins Game Design Documentation-ITGM-706-OL SCAD | Spring 2018 | Professor Gregory Johnson 1 TABLE OF CONTENTS Introduction 4 Player Characters 29 Game Treatment 5 Judd Bender 30 Presentation 6 Holly Dillon 31 Development 6 Layne Collins 32 General Goal 7 Sarah Lowe 33 General Gameplay 7 Chet Cruz 34 Core Features 8 Non Player Characters 35 Game Flow 9 Alien Scout 36 Play Mode 10 Alien Commander 36 Game Saves 10 Alien Drone 37 Introduction or Recap 10 Principle Vincent 37 Day Phase Character Select 11 Dan Hicks 37 Day Phase 12 Swayze 37 Night Phase Character and Location Select 13 Night Phase 14 Setting 38 The Town of Fairfield 39 Game Mechanics 15 Misc Places 41 Day and Night Phase Movement System 16 Night Phase Character Select Map System 17 Level Outline: Episode One 42 Time 17 Goals and Victory Conditions 43 Noise 18 Prologue 43 Interactions 19 Chapter One 44 Story Events 21 Chapter Two 47 Player Character Attributes 23 Chapter Three 50 Stat Modifiers 24 Chapter Four 53 Items for Consumption or Use 25 Chapter Five 56 Crafting 27 Combat 27 NPC Alien Tactics 28 2 TABLE OF CONTENTS (CONTINUED) Level Document Example 60 Appendix I: Marketplace Analysis 83 Setup 61 Target Audience 84 Objective 61 This War Of Mine 85 Reward 61 The Walking Dead: A Telltale Game Series 86 Quest Start 61 Thimbleweed Park 87 Chapter Three: Night Phase: Invade the 62 XCOM: Enemy Unknown 88 Farcry 3: Blood Dragon 89 Basic Interfaces 66 Southpark: The Fractured But Whole 90 Main Menu 67 Fallout Shelter 91 Introduction OR Recap 68 Day Phase Character Selection 69 Sources 92 Day Phase Interface 70 Character Interactions 71 Important Conversations Interface 72 Crafting Interface 73 Night Phase Character Select Map Interaface 74 Character Load Out Interface 75 Night Scavenge Interface 76 Night Combat Interface 77 Searched Interface 78 Night Recap Interface 79 Start Menu Button 80 Settings Interface 81 Controller Scheme 82 Illustration By: Michael LaRiccia 3 INTRODUCTION 4 INTRODUCTION In Night of the Saucers you do not play as a heroic one man army trying to save the day; instead you play as a group of teens trying to survive an alien invasion. They not only struggle with the hostile alien threat but also with their teenage angst. The game provides a new horror RPG survival experience built on love and war in the 80s. Night of the Saucers is an episodic survival-themed strategy game with adventure RPG elements. The player controls a group of high school students who were stuck in detention when aliens attacked and took over their city. Now the students are taking it upon themselves to take the city back. Game Treatment Night of the Saucers is a love letter to teen movies of the 1980s. Those stories about kids overcoming their insecurities to achieve something thought to be impossible. Whether that be the nerdy kid getting the most popular girl in school to fall in love with him, or the class criminal rising to the occasion to save his schoolmates from alien annihilation. It fits right in with the 80s pop culture trend that has exploded recently, thanks in part to Netflix’s Stranger Things. However, rather than simply watching how the relationships unfold, the player will have a say in the matter. They will choose how to navigate teen angst and testosterone. They will need to help their characters navigate love and loss, together with life and death, in this new world ruled by alien invaders. Fig 1: The Breakfast Club Fig 2: Red Dawn Fig 3: The Goonies 5 INTRODUCTION Presentation The visual presentation of Night of the Saucers will be cartoon comic book-like, similar to cartoons from the 70s and 80s, like Scooby Doo, G.I. Joe, and Jonny Quest. But, it will be updated to have the neon 80s retro design that is currently popular in style. Fig 4: Scooby Doo Fig 5: G.I. Joe A Real American Hero Fig 6: Jonny Quest The soundtrack and sound design will be heavily inspired by horror movie soundtracks of the 80s, leaning heavily on the synthwave revival currently happening thanks to Stranger Things, bringing back inspired sounds from composers such as John Carpenter, Tangerine Dream, and Goblin. Technology, items, and objects will be the cool trendy stuff of the 80s. For example, players will get power ups from wearing headbands, leg warmers, and weightlifting gloves. A character might find comfort from a walkman and cassette tape. To escape the aliens, the students might steal a ride in a Trans Am. The game will ooze with 80s nostalgia. Development Night of the Saucers will be designed for Xbox One and PS4. It will be built using a multiplatform engine similar to the one created for This War of Mine. 6 INTRODUCTION General Goal The main goal of the game is to defeat the current alien threat while keeping as many of the teens alive as possible. General Gameplay Using the High School as their base of operation, the player will need to venture out with their teens into the city to find supplies, gather information, and execute plans. The pace of Night of the Saucers is imposed byDay and Night Phases. During the day, aliens patrol the city preventing the teens from venturing too far; this gives them time to devise plans, craft items, and care for each other. At night, one teen can go on a mission to find supplies and carry out plans at set unique places in the city. Once the Night is over, the game progresses to the next Day. 7 INTRODUCTION Core Features Choices Matter: What you say and do effects your future as well as those around you. • The player starts off with five students to control. The choices the player makes with the students will change how they act towards each other. This affects how the student will perform during events as well as how they perform with their group. • Players will need to make life-and death decisions driven by their hearts and brains. They will need to try to protect everyone in the group, but as relationships become more intertwined tough decisions will be forced upon the player. Episodic: Like a comic book or tv show story arc, the game’s narrative unfolds over multiple episodes. The choices you make will send you off through a branching story tree with different outcomes. • Each episode contains 5 parts where the player will have to make an important decision, choosing from limited options available. These decisions will affect each student as well as the narrative. Chance: Players will be placed in situations where they will have a to risk themselves in order to gain advantage over the aliens. The game play style puts the focus on relationship group decisions rather than the direct actions of an individual’s performance. This is in direct contrast to traditional first person shooter, and 3rd person action game narratives. Moods: A character’s mood changes throughout the game which effects their attributes and how they perform in the game. This can give them greater odds of success in tense situations or push them closer to a deathly result. • Playing as fickle emotional teens with raging hormones, the player will need to provide constant intervention in order to keep the students alive. It’s up to the player to maintain their characters’ health and mood levels while building towards the episode’s win condition. 8 GAME FLOW 9 GAME FLOW Play Mode Night of the Saucers is a Single Player Episodic Game. New Episodes will be released as downloadable content in the form of updates to the existing game. Game Saves The game will automatically save at the completion of each day and night. Introduction OR Recap From either starting a new game of continuing a game from the Main Menu, the player will first be treated by either a brief introduction cutscene that sets the story for the beginning of the game or if this is a continuation from a previously saved game it will play a brief recap of what happened in the last play session. This will resemble a clip segment of things that happened on a previous episode of a TV show. 10 GAME FLOW (CONTINUED) Day Phase Character Select Before the player begins the Day Phase, they will need to select their character that they will be playing as for this particular Day. This being an homage to 80s movies it would not be complete with out exploring the viewpoints of each character. The Night of the Saucers does this is by limiting the player to only using one character at a time, and then that character cannot be used again until all other characters have been used. This makes each member of the Brunch Bunch equally valuable and forces the story to be experienced from different emotional viewpoints. • Pink outline is the one the player is selecting. • White outline means they are available to play as, but the player has not selected them. • The PC that the Player played as before is colored in teal and is not available to be play as again until all of characters have been used. • Deceased player characters (PC) remain on the menu but are greyed out and not selectable. 11 GAME FLOW (CONTINUED) Day Phase When a place or building is visited, it is shown and interacted with through a 2D profile street view that resembles a cross-sectional cut dollhouse, with the player navigating the environment through the students.
Recommended publications
  • Reality Inspired Games: Expanding the Lens of Games’ Claims to Authenticity
    Reality Inspired Games: Expanding the Lens of Games’ Claims to Authenticity Robyn McMillan, Darshana Jayemanne, Iain Donald School of Design and Informatics, Division of Games and Arts University of Abertay Bell Street, Dundee DD1 1HG +44 1382 308000 [email protected] [email protected] [email protected] ABSTRACT This paper considers the potentials of contemporary games staking claims to realism through documentary and journalistic techniques as part of a wide-ranging cultural and technological phenomenon– ‘Reality Inspired Games’ or RIGs (Maurin, 2018). We argue that RIGs employ design techniques and strategies of legitimation that are valuable to the reactive development cycles in the indie sector, whilst also being beneficial for academic research and development. Through examining traditional documentary and the concept of Bruzzi’s performative documentary (2006) we highlight how this concept may allow developers to negotiate performativity and authenticity in their videogames. We discuss examples of such games in the realm of indie productions, such as That Dragon, Cancer (2016), This War of Mine (2014), and My Child Lebensborn (2018) and Bury Me, My Love (2017). All of which represent new ground for game design, documentary and journalistic techniques that have influenced our work on the MacMillan project. Keywords Reality Inspired Games, Documentary, Performativity, Indie “Much like photographs, paintings, literature and music are capable of transmitting the full range of the human experience from one human to another, so too can games. Due to their interactivity, games are capable of a higher form of communication, one which actively engages the participant and makes them a part of the experience rather than a passive observer” (Brathwaite & Sharp, 2010, p315).
    [Show full text]
  • The Development and Validation of the Game User Experience Satisfaction Scale (Guess)
    THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) A Dissertation by Mikki Hoang Phan Master of Arts, Wichita State University, 2012 Bachelor of Arts, Wichita State University, 2008 Submitted to the Department of Psychology and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2015 © Copyright 2015 by Mikki Phan All Rights Reserved THE DEVELOPMENT AND VALIDATION OF THE GAME USER EXPERIENCE SATISFACTION SCALE (GUESS) The following faculty members have examined the final copy of this dissertation for form and content, and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy with a major in Psychology. _____________________________________ Barbara S. Chaparro, Committee Chair _____________________________________ Joseph Keebler, Committee Member _____________________________________ Jibo He, Committee Member _____________________________________ Darwin Dorr, Committee Member _____________________________________ Jodie Hertzog, Committee Member Accepted for the College of Liberal Arts and Sciences _____________________________________ Ronald Matson, Dean Accepted for the Graduate School _____________________________________ Abu S. Masud, Interim Dean iii DEDICATION To my parents for their love and support, and all that they have sacrificed so that my siblings and I can have a better future iv Video games open worlds. — Jon-Paul Dyson v ACKNOWLEDGEMENTS Althea Gibson once said, “No matter what accomplishments you make, somebody helped you.” Thus, completing this long and winding Ph.D. journey would not have been possible without a village of support and help. While words could not adequately sum up how thankful I am, I would like to start off by thanking my dissertation chair and advisor, Dr.
    [Show full text]
  • Im Geschichtsunterricht & in Der Politischen Bildung
    DIGITALE SPIELE IM GESCHICHTSUNTERRICHT & IN DER POLITISCHEN BILDUNG Florian Aumayr Alexander Preisinger Stefan Ancuta 1 INHALT TEIL 1: EINLEITUNGSTEXTE von Florian Aumayr und Alexander Preisinger 4 Digitale Spiele als Unterrichtsmittel 6 Digitale Spiele in den Unterricht integrieren – Ideen für die Umsetzung 8 Allgemeine und historische Spieleanalyse In der Reihe „Digitales Lernen und Politische Bildung“ bereits erschienen: Politische Bildung und Klimawandel im digitalen digitales Lernen – Institu­ Spiel tionen, Tools und Spiele Andreas Endl, Alexander Alexander Preisinger, Christine Preisinger. Wien: Edition polis, Ottner. Wien: Edition polis, 2018. 12 Seiten. 2019. 28 Seiten. ISBN 978-3-902659-15-6. ISBN 978-3-902659-17-0. Das Heft für Lehrkräfte stellt Die Broschüre liefert Lehr- sechs Spiele zum Klimawan- kräften Ideen für den Einsatz del vor und prüft sie auf ihre digitaler Angebote und Basis- Einsetzbarkeit im Unterricht. informationen zu entsprechenden Einrichtungen. Der Dazu haben SchülerInnen der Schumpeter BHAK/ Aufbau des Hefts gliedert sich in Institutionen, exemp- BHAS (1130 Wien) mit Experten der Universität larische Tools und digitale Spiele. Bei der Auswahl Wien (Geschichtsdidaktik) und der Wirtschafts- wurde auf die rasche Einsetzbarkeit im Unterricht, die universität Wien (Nachhaltigkeitsmanagement) ein leichte Anwendbarkeit und den nach Möglichkeit kos- Analysesetting entwickelt und an Spielen in der Praxis tenlosen Zugang geachtet. Das elektronische Angebot erprobt. Die Texte der SchülerInnen dokumentieren soll dazu anregen, nicht einfach Altbewährtes zu ihre Spielerfahrung. Möglichst einfach wird so auch digitalisieren, sondern in neuen Bearbeitungsformen NichtspielerInnen vermittelt, dass es digitalen Spielen zu denken und handlungsorientiertes Unterrichten zu gelingen kann, ein anspruchsvolles Thema wie den Kli- gewährleisten. mawandel „erfahrbar“ zu machen. Zu jedem Spiel wird www.politik-lernen.at/pbunddigitaleslernen auch eine didaktische Umsetzung vorgeschlagen.
    [Show full text]
  • GAMING GLOBAL a Report for British Council Nick Webber and Paul Long with Assistance from Oliver Williams and Jerome Turner
    GAMING GLOBAL A report for British Council Nick Webber and Paul Long with assistance from Oliver Williams and Jerome Turner I Executive Summary The Gaming Global report explores the games environment in: five EU countries, • Finland • France • Germany • Poland • UK three non-EU countries, • Brazil • Russia • Republic of Korea and one non-European region. • East Asia It takes a culturally-focused approach, offers examples of innovative work, and makes the case for British Council’s engagement with the games sector, both as an entertainment and leisure sector, and as a culturally-productive contributor to the arts. What does the international landscape for gaming look like? In economic terms, the international video games market was worth approximately $75.5 billion in 2013, and will grow to almost $103 billion by 2017. In the UK video games are the most valuable purchased entertainment market, outstripping cinema, recorded music and DVDs. UK developers make a significant contribution in many formats and spaces, as do developers across the EU. Beyond the EU, there are established industries in a number of countries (notably Japan, Korea, Australia, New Zealand) who access international markets, with new entrants such as China and Brazil moving in that direction. Video games are almost always categorised as part of the creative economy, situating them within the scope of investment and promotion by a number of governments. Many countries draw on UK models of policy, although different countries take games either more or less seriously in terms of their cultural significance. The games industry tends to receive innovation funding, with money available through focused programmes.
    [Show full text]
  • 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.
    [Show full text]
  • A Teoria De Aki J¨Arvinen: O Estudo Do Jogo This War Is Mine
    SBC { Proceedings of SBGames 2018 | ISSN: 2179-2259 Culture Track { Full Papers Inclusao˜ do Elemento Cr´ıtica a` Teoria de Aki Jarvinen:¨ o estudo do jogo This War is Mine Lucas Mamede Barbalho∗ Georgia´ da Cruz Pereira† Glaudiney Moreira Mendonc¸a Junior‡ Universidade Federal do Ceara,´ Instituto UFC Virtual, Brasil Figura 1: Logo (esquerda) do Jogo This War of Mine. Fonte: Steam. RESUMO papel do jogo na formac¸ao˜ de seus usuarios,´ alguns alegando que Os jogos eletronicos,ˆ como m´ıdia interativa, temˆ se tornado um sao˜ alienantes e que geram comportamentos violentos em seus jo- meio utilizado por artistas e cr´ıticos para argumentos e reflexoes,˜ gadores, enquanto outros examinam sua capacidade social e cogni- com um historico´ de experimentac¸ao˜ na crescente industria.´ Estu- tiva [5]. Com esses estudos, percebe-se que os jogos deixaram de dos temˆ sido feitos para compreender como o jogo pode ser utili- ser considerados apenas como um passatempo ou entretenimento zado para outros propositos´ alem´ da simples diversao,˜ e como clas- e, atualmente, pesquisas temˆ sido feitas sobre como e o queˆ os jo- sifica-los.´ Para o proposito´ deste trabalho, serao˜ estudados os jogos gadores adquirem para seu acervo cultural com a pratica´ do jogar: cr´ıticos (aqueles que procuram incitar discussoes˜ a respeito de de- [4, 11, 13]. Os jogos digitais vemˆ proporcionando cr´ıticas e reflexoes˜ [4]. terminado assunto) a fim de descobrir como passam argumentos ou 1 reflexoes˜ atraves´ de seus elementos de design. Como objeto de es- Plataformas como o Games for Change temˆ como objetivo reu- tudo e analise,´ foi escolhido o premiado jogo This War of Mine (por nir e divulgar os chamados Critical Games (Jogos Cr´ıticos) que, seu sucesso de cr´ıtica e venda) para ilustrar os objetivos deste tra- como a propria´ plataforma afirma, engajam problemas sociais con- balho.
    [Show full text]
  • Shamdani Sara 2020 Phd.Pdf (3.001Mb)
    AFFECT & PLAY: SOCIO-POLITICAL VIDEOGAMES AS A SITE OF FELT- KNOWLEDGE PRODUCTION SARA SHAMDANI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSPHY GRADUATE PROGRAM IN SOCIAL AND POLITICAL THOUGHT YORK UNIVERSITY TORONTO, ONTARIO NOVEMBER 2020 ©Sara Shamdani, 2020 ii Abstract Videogames are affective networks, made up of organic and in-organic matters that come to create a space, where the player learns through doing and watching herself do. For decades, videogames researchers and players have discussed the myriad of ways in which videogames carry enormous pedagogical potentials through their procedures and the creation of a space of play that immerses the player in those procedures and the story of the game. This dissertation builds on this body of knowledge by bringing together the different understandings of affect and affective capacities to further examine the pedagogical potentials of socio-political games through the creation of a felt-knowledge-producing assemblage. I argue this felt knowledge is achieved through the processes of acting in the space of play, watching that action while it takes place, and then engaging with the consequences of the said action. The socio-political videogames curated for the purposes of this research are primarily from the perspectives of civilians living in a warzone, engaging in revolutionary efforts, or civilians who are forced to cross borders as refugees and immigrants as a result of chaos and violence of their homelands. I examine the affective capacities of the space of play through the works of D.
    [Show full text]
  • Worldbuilding Voices in the Soundscapes of Role-Playing Video Games
    University of Huddersfield Repository Jennifer, Smith Worldbuilding Voices in the Soundscapes of Role Playing Video Games Original Citation Jennifer, Smith (2020) Worldbuilding Voices in the Soundscapes of Role Playing Video Games. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/35389/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Worldbuilding Voices in the Soundscapes of Role-Playing Video Games Jennifer Caron Smith A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield October 2020 1 Copyright Statement i. The author of this thesis (including any appendices and/ or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes.
    [Show full text]
  • Polish Game Industry
    THE GAME INDUSTRY REPORT 2020 OF POLAND W ASD Enter Shift Alt Ctrl W A S D The game industry of Poland — Report 2020 Authors: Eryk Rutkowski Polish Agency for Enterprise Development Jakub Marszałkowski Indie Games Poland, Poznan University of Technology Sławomir Biedermann Polish Agency for Enterprise Development Edited by Sławomir Biedermann, Jakub Marszałkowski Cooperation: Ministry of Development Ministry of Culture and National Heritage Expert support: Game Industry Conference Published by the Polish Agency for Enterprise Development Pańska 81/83, 00-834 Warsaw, Poland www.parp.gov.pl © Polish Agency for Enterprise Development 2020 ISBN 978-83-7633-434-9 The views expressed in this publication are those of the authors and do not necessarily coincide with activities of the Polish Agency for Enterprise Development. All product names, logos and brands mentioned in this publication are the property of their respective owners. Printing of this publication has been co-financed from the European Regional Development Fund in the framework of the Smart Growth Operational Programme. 4 Table of contents Overview of the gaming sector .............................................................................................................. 7 A game has to stir up emotions Success story of 11 bit studios ............................................................................................................... 11 Global game market growth estimates and drivers ................................................................... 13 To diversify
    [Show full text]
  • Reality Inspired Games: Expanding the Lens of Games' Claims To
    Reality Inspired Games: Expanding the Lens of Games’ Claims to Authenticity Robyn McMillan, Darshana Jayemanne, Iain Donald School of Design and Informatics, Division of Games and Arts University of Abertay Bell Street, Dundee DD1 1HG +44 1382 308000 [email protected] [email protected] [email protected] ABSTRACT This paper considers the potentials of contemporary games staking claims to realism through documentary and journalistic techniques as part of a wide-ranging cultural and technological phenomenon– ‘Reality Inspired Games’ or RIGs (Maurin, 2018). We argue that RIGs employ design techniques and strategies of legitimation that are valuable to the reactive development cycles in the indie sector, whilst also being beneficial for academic research and development. Through examining traditional documentary and the concept of Bruzzi’s performative documentary (2006) we highlight how this concept may allow developers to negotiate performativity and authenticity in their videogames. We discuss examples of such games in the realm of indie productions, such as That Dragon, Cancer (2016), This War of Mine (2014), and My Child Lebensborn (2018) and Bury Me, My Love (2017). All of which represent new ground for game design, documentary and journalistic techniques that have influenced our work on the MacMillan project. Keywords Reality Inspired Games, Documentary, Performativity, Indie “Much like photographs, paintings, literature and music are capable of transmitting the full range of the human experience from one human to another, so too can games. Due to their interactivity, games are capable of a higher form of communication, one which actively engages the participant and makes them a part of the experience rather than a passive observer” (Brathwaite & Sharp, 2010, p315).
    [Show full text]
  • Cloud Gaming
    Cloud Gaming Cristobal Barreto[0000-0002-0005-4880] [email protected] Universidad Cat´olicaNuestra Se~norade la Asunci´on Facultad de Ciencias y Tecnolog´ıa Asunci´on,Paraguay Resumen La nube es un fen´omeno que permite cambiar el modelo de negocios para ofrecer software a los clientes, permitiendo pasar de un modelo en el que se utiliza una licencia para instalar una versi´on"standalone"de alg´un programa o sistema a un modelo que permite ofrecer los mismos como un servicio basado en suscripci´on,a trav´esde alg´uncliente o simplemente el navegador web. A este modelo se le conoce como SaaS (siglas en ingles de Sofware as a Service que significa Software como un Servicio), muchas empresas optan por esta forma de ofrecer software y el mundo del gaming no se queda atr´as.De esta manera surge el GaaS (Gaming as a Servi- ce o Games as a Service que significa Juegos como Servicio), t´erminoque engloba tanto suscripciones o pases para adquirir acceso a librer´ıasde jue- gos, micro-transacciones, juegos en la nube (Cloud Gaming). Este trabajo de investigaci´onse trata de un estado del arte de los juegos en la nube, pasando por los principales modelos que se utilizan para su implementa- ci´ona los problemas que normalmente se presentan al implementarlos y soluciones que se utilizan para estos problemas. Palabras Clave: Cloud Gaming. GaaS. SaaS. Juegos en la nube 1 ´Indice 1. Introducci´on 4 2. Arquitectura 4 2.1. Juegos online . 5 2.2. RR-GaaS . 6 2.2.1.
    [Show full text]
  • Militarism and Opposition in the Living Room: the Case of Military Videogames
    Critical Studies on Security ISSN: 2162-4887 (Print) 2162-4909 (Online) Journal homepage: http://www.tandfonline.com/loi/rcss20 Militarism and opposition in the living room: the case of military videogames Nick Robinson To cite this article: Nick Robinson (2016) Militarism and opposition in the living room: the case of military videogames, Critical Studies on Security, 4:3, 255-275, DOI: 10.1080/21624887.2015.1130491 To link to this article: http://dx.doi.org/10.1080/21624887.2015.1130491 © 2016 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 18 May 2016. Submit your article to this journal Article views: 550 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rcss20 Download by: [University of Leeds] Date: 27 January 2017, At: 04:06 Critical Studies on Security, 2016 Vol. 4, No. 3, 255–275, http://dx.doi.org/10.1080/21624887.2015.1130491 Militarism and opposition in the living room: the case of military videogames Nick Robinson * School of Politics and International Studies, University of Leeds, Leeds LS2 9JT, UK (Received 23 March 2015; final version received 8 December 2015) This article explores the importance of videogames and their associated promotional media for both militarism and the resulting opposition. It focuses on the games Medal of Honor and Medal of Honor Warfighter – two mainstream, commercially successful military combat games which purport to offer an ‘authentic’ experience of post 9/11 military action to the player – to develop a framework to explore the role of videogames in this area.
    [Show full text]