Toontoy: a Node-Based NPR Solution for Unrealengine4
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Blast Off Broken Sword
ALL FORMATS LIFTING THE LID ON VIDEO GAMES Broken Sword blast off Revolution’s fight Create a jetpack in for survival Unreal Engine 4 Issue 15 £3 wfmag.cc TEARAWAYS joyful nostalgia and comic adventure in knights and bikes UPGRADE TO LEGENDARY AG273QCX 2560x1440 A Call For Unionisation hat’s the first thing that comes to mind we’re going to get industry-wide change is collectively, when you think of the games industry by working together to make all companies improve. and its working conditions? So what does collective action look like? It’s workers W Is it something that benefits workers, getting together within their companies to figure out or is it something that benefits the companies? what they want their workplace to be like. It’s workers When I first started working in the games industry, AUSTIN within a region deciding what their slice of the games the way I was treated wasn’t often something I thought KELMORE industry should be like. And it’s game workers uniting about. I was making games and living the dream! Austin Kelmore is across the world to push for the games industry to But after twelve years in the industry and a lot of a programmer and become what we know it can be: an industry that horrible experiences, it’s now hard for me to stop the Chair of Game welcomes everyone, treats its workers well, and thinking about our industry’s working conditions. Workers Unite UK, allows us to make the games we all love. That’s what a a branch of the It’s not a surprise anymore when news comes out Independent Workers unionised games industry would look like. -
“Lessons Learned, from Games Preserved”
“Lessons Learned, from Games Preserved” James “Ender” Brown Former Project Lead – http://www.scummvm.org/ [email protected] WhoWho AmAm II ● Grew up gaming and learning to code with the BBC Micro/Archimedes, Commodore 16(!) and Amiga – learnt Unix & VMS by doing naughty things to the Tassie VAX cluster (any locals remember davros and typhoon? :) ● Retro-Gaming Enthusiast by night, Systems Admin for a Perth-based Data Centre and Hosting Company by day ● Became Project Lead of ScummVM in Feb 2002, retiring as co-lead (from a team of 3) in Dec 2008 ● 10th linux.conf.au, first talk submission :) WhatWhat isis ScummVM?ScummVM? ● ScummVM is a collection of interpreter implementations for classic adventure games ● Founded by Ludwig ‘ludde’ Strivegus (uTorrent, OpenTTD, now at Spotify) in 2001, along with Vincent ‘yaz0r’ Hamm (now at Oculus), with the goal of building an interpreter for SCUMM-based games by LucasArts/LucasFilm games. ● Designed to be highly portable ● … evolved to become something much much more PortabilityPortability ● ScummVM architecture evolved early on to maximise portability by abstracting backend and common functions (‘Osystem’), with each port supplying a Osystem backend class (with platform specific overrides and subclassing where necessary) Osystem Backend Osystem Common Engine (Platform Specific) ● Carefully developed coding standards to encompass ‘lowest-common- denominator’ C++ implementations. No STL, Exceptions, etc http://wiki.scummvm.org/index.php/Coding_Conventions ● Ssennaidne ● Endianness ● Segment size limits on various platforms ReimplementingReimplementing EnginesEngines ● Most game studios developed their own engines, often used across a family of games. Examples: SCUMM (LucasArts), AGI/SCI (Sierra), Virtual Theatre (Revolution), AGOS (Adventure Soft) ● Reverse engineer: – Container files – Graphics formats (background, actors, sprites) – Audio formats (voice, sfx, music) – Scripting engine (where scripted.. -
Bass-Alt3-Manual
CONTENTS CHAIRMANS FORWARD ....................... 2 REICH S. COMMANDER .... .. ... 3 BRIEFING NOTES ..... .. 4 OBSERVATION LIST . ... 6 t(; Mtiftwe,lft; fo«!" !.o«!"S' ~o I t'udilf a;laee, eaffe;/ tk (/a,o. /~e, t'u-ea' wt't/. a;e,aeefaf tl'-ile, of !f/lllraM fol" aS' folfj aS' I ea,, !'-l}!lre,11rlU<. Tori~ aS' ll«!" SUSPECTS tl'-ila.flearft!'- /NMiete.rl, S'Um'tf fo!'-eM f!'-llllr r;flfiolf (}!-c, CQ/lre to !JIU" LAMB. GILBERT ............................ .. .. 7 foea.tilll(. Tk? We!'-e Ill(~ i!fterMtedi!f fr",ir/t'trj /life 11ralf, 11re. U/!.? / rlolf C EINBECK. ANITA ............ 8 COLSTON , VIC .......................................... 9 tl(IJ«I, HOBBINS, HOWARD ... ........ 10 BONNEVIALLE , VINCENT ..... .. .. .... ............... 11 lffte!'- lu'trj foNed at falf ;01",it 1",ito tk klet!'-alfJ'/lll"t, llrJP ;e,aeefafu-iff~ BURKE , SURGEON . ................. 12 GODDARD, KIT .................... ...................... 13 waS' rlut,.o,rted. It waS' tklf t!.at I u-owea'!'-Wt,lfjt.. I 11raJ't{t',irl w!.o waS' GILLATI, JEROME ..... .... ............... 14 l"M/'lll(S'1ble fol' lN'trji'trj 11re k!'-e alfrl !.alfl'trj S'll 11ra'W' 1',il(oeelft/'e°/'fe i;fferl. PIERMONT, DANIELLE ............................. .... 1 S ERHARD, BEVERLEY .. .. .... .. 16 LIFELY, PAMELA ...... ..................................... 17 WARD, HUTCH ............................... ........... 18 RATGIRL ..................................................... 19 8efo!'-e /flea' tk t!'-alfJ'/lll"t, / waS' a.lie to !'-Ulllfe!'- t/.e e!.a!'-aete!'- loa!'-rlf!'-011r DODDS, DINGO ........................................ 20 KEARNS, KIPPER ..................... ................... 21 ilrj' l'-lllotie eollr/'alfilll(, Joe?· / waS' af.s.o a.lie to /Nl(J t!.ue S'U«!"1'tf 11ral(aafs. WHIM, DOUGLAS ................ .. ..... 22 alfrl frlu a.loat t!.t:r e1-C, a!frlitJ' !'-Mldel(t.i'. -
Scummvm Documentation
ScummVM Documentation CadiH May 10, 2021 The basics 1 Understanding the interface4 1.1 The Launcher........................................4 1.2 The Global Main Menu..................................7 2 Handling game files 10 2.1 Multi-disc games...................................... 11 2.2 CD audio.......................................... 11 2.3 Macintosh games...................................... 11 3 Adding and playing a game 13 3.1 Where to get the games.................................. 13 3.2 Adding games to the Launcher.............................. 13 3.3 A note about copyright.................................. 21 4 Saving and loading a game 22 4.1 Saving a game....................................... 22 4.2 Location of saved game files............................... 27 4.3 Loading a game...................................... 27 5 Keyboard shortcuts 30 6 Changing settings 31 6.1 From the Launcher..................................... 31 6.2 In the configuration file.................................. 31 7 Connecting a cloud service 32 8 Using the local web server 37 9 AmigaOS 4 42 9.1 What you’ll need...................................... 42 9.2 Installing ScummVM.................................... 42 9.3 Transferring game files.................................. 42 9.4 Controls........................................... 44 9.5 Paths............................................ 44 9.6 Settings........................................... 44 9.7 Known issues........................................ 44 10 Android 45 i 10.1 What you’ll need..................................... -
Beneath a Steel Sky: a Musical Characterisation of Class Structure
The Computer Games Journal https://doi.org/10.1007/s40869-018-0067-6 Beneath a Steel Sky: A Musical Characterisation of Class Structure Andra Ivănescu1 Received: 28 September 2018 / Accepted: 3 October 2018 © The Author(s) 2018 Abstract This article proposes Revolution Software’s Beneath a Steel Sky (1994) as a start- ing point for the analysis of the relationship between music and social class in video games. While other issues of representation have been studied extensively within game studies (gender representation in particular), the representation of class remains an underexplored area. Furthermore, the relationship between video game music and socio-cultural aspects of video game studies is also rarely examined beyond issues of race, ethnicity, and cultural appropriation. This article draws con- nections between these two underexplored areas and analyses the musical charac- terisation of class in the 1994 cyberpunk adventure game, which takes places largely in a literally stratifed metropolis where the three levels of the city act as represen- tations of the three social classes. Here, music plays an important role in terms of environmental storytelling, both as semiotic shorthand, and as a refection of the afordances available to the inhabitants of the city. Keywords Class · Video games · Video game music · Ludomusicology 1 Introduction Issues of representation in video games have been important to video game studies for over two decades, largely focussing on gender (Cassell and Jenkins 1998; Dietz 1998; Kafai et al. 2016; Lynch et al. 2016), and, to a lesser degree, LGBTQ issues (Consalvo 2003; Ruberg and Shaw 2017), and race (Burgess et al. -
Robert Megone
Robert Megone Hampshire, UK T: +44(0)7736902590 E: [email protected] I previously worked as a Gameplay Programmer on The Darkside Detective, Gameplay Programmer on Beyond a Steel Sky, QA Lead on Thimbleweed Park and Gameplay Programmer on the adventure game Broken Sword: The Serpent’s Curse with development, design and QA credits on over twenty games on Switch, Xbox, PS4, Vita, iOS, Android, PC, Mac & Linux. As a candidate with experience in both the game design and QA fields, I value the iterative development process and thrive in an environment where I can be responsible for making decisions that ensure quality always comes first. Professional Experience Spooky Doorway - Gameplay Programmer(Unity)(July 2020 – Present) Games: - Darkside Detective Season 1(Nintendo Switch, Windows/Mac, PS4/PS5, UWP) - Darkside Detective Season 2(Nintendo Switch, Windows/Mac, PS4/PS5, UWP) • Development of various minigames in C# for Season 2 to support the main gameplay. • Implementation of gameplay using Adventure Creator Action Lists in Unity. • Bug fixing and testing across two games in preparation for publishing to new platforms. Revolution Software - Gameplay Programmer(Unreal Engine 4)(November 2017 – July 2020) Games: - Beyond a Steel Sky(Apple Arcade, Console, Desktop) • Working in Unreal to develop and implement gameplay for a fully 3d adventure game. • Implementing gameplay using blueprint scripting language based upon level design documents. • Implementing NPC AI behaviors using behavior trees. • Implementing motion comic using UMG. • Responsible for the dialogue gesture system implementation on a blueprint code level. • Working with animation blueprints. • Setting up a range of animation montages. Spooky Doorway - QA Tester(November 2017 – July 2020) Games: - Darkside Detective S1(Nintendo Switch, Windows/Mac, PS4/PS5, UWP) - Darkside Detective S2(Nintendo Switch, Windows/Mac, PS4/PS5, UWP) - Sunken Spectre Vertical Slice(Windows) • Testing and reporting of bugs. -
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. -
Discworld 2 Cd Download
Discworld 2 cd download Download page for Discworld 2 (CD DOS). Discworld II is a point and click adventure game. Your task is to save the Discworld when Death decides to take a. Discworld II is a point and click adventure game. Your task is to save Screenshot Thumbnail / Media File 1 for Discworld 2 (CD DOS) Direct Download Links. Discworld II: Mortality Bytes! is adventure game, published in by We gave this game stunning rating of 90 and you can download it for free right here. Discworld 2 - Missing Presumed. Publication date Discworld 2 - Missing Presumed. Emulator dosbox. Emulator_ext zip. Emulator_start dw2/DW2/DW2. “Ook ook!” “Nah, it's not dangerous! It's the start of the game. They can't kill us off yet! Come on, trust me! All I'm gonna do is look ” Famous last words. Discworld CD - The Discworld adventure game, CD version. 5/2/ AM - Simon12 Downloaded file, can play through scummVM but with no. Download Discworld 2: Missing Presumed • Windows Games @ The Iso Zone • The Ultimate Retro Gaming Resource. (also known as Mundodisco II: ¿Presuntamente Desaparecido?, Discworld II: Vermutlich vermisst!?, Discworld II: It was published in , feel free to download and play it now! I can't get it to run because it tells me that I need the CD. Téléchargez Rom Discworld 2 (CD DOS) ScummVm. Jouez au jeux Discworld 2 (CD DOS) avec un émulateur compatible roms pc ou mac, et roms android et. (Discworld II: Mortality Bytes! in North America) is the second graphic adventure game The game, on two CD-ROMs (one for the console versions), features. -
Tekan Bagi Yang Ingin Order Via DVD Bisa Setelah Mengisi Form Lalu
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IFN Owes a Debt of Gratitude to the Following People (In Alphabetical Order)
“Interactive Fiction Now” Published for the World Wide Web by Frotz Publications Copyright 1997, Frotz Publications, London. All rights reserved. http://www.if-now.demon.co.uk/ Editor: Matt Newsome, <[email protected]>. All Trademarks acknowledged. Tomb Raider © and TM 1996 Core Design Ltd. © and Publishing 1996 Eidos Interative Limited. All rights reserved This issue of IFN owes a debt of gratitude to the following people (in alphabetical order): Marc Blank and Mike Berlyn at Eidetic Inc. Simon Byron at Bastion Jamey Gottlieb and Laird Malamed at Activision David Lebling at Avid Technology Rebecca Lester at Broderbund Europe Susie Hamilton at Core Design This first issue of IFN is dedicated to my son, Joshua Peter Hal Newsome, born on Friday 21st November 1997 at 18:49hrs and weighing 7lbs 15½ oz Issue One Page 2 E WELCOME to Interactive Fiction Now! D In this occasional web-based magazine, you’ll find a wealth of information about Interactive Fiction gaming today. Covering a wide variety of Adventure gaming styles, from Zork to Riven, from Tomb Raider to Starship I Titanic, we’ll be looking at anything involving and immersive. T In this first issue we look at the brand spanking new piece of imminent release of Zork: Grand text-based interactive fiction Inquisitor, the first foray into the using the Inform engine. We world of Zork since Zork: Nemesis speak to the imps to find out last year. In an exclusive how Zork: The Undiscovered O interview, we talk to Laird Underground came to be Malamed, director of ZGI and talk written. -
Beneath a Steel Sky: a Musical Characterisation of Class Structure
The Computer Games Journal (2018) 7:231–242 https://doi.org/10.1007/s40869-018-0067-6 Beneath a Steel Sky: A Musical Characterisation of Class Structure Andra Ivănescu1 Received: 28 September 2018 / Accepted: 3 October 2018 / Published online: 25 October 2018 © The Author(s) 2018 Abstract This article proposes Revolution Software’s Beneath a Steel Sky (1994) as a start- ing point for the analysis of the relationship between music and social class in video games. While other issues of representation have been studied extensively within game studies (gender representation in particular), the representation of class remains an underexplored area. Furthermore, the relationship between video game music and socio-cultural aspects of video game studies is also rarely examined beyond issues of race, ethnicity, and cultural appropriation. This article draws con- nections between these two underexplored areas and analyses the musical charac- terisation of class in the 1994 cyberpunk adventure game, which takes places largely in a literally stratifed metropolis where the three levels of the city act as represen- tations of the three social classes. Here, music plays an important role in terms of environmental storytelling, both as semiotic shorthand, and as a refection of the afordances available to the inhabitants of the city. Keywords Class · Video games · Video game music · Ludomusicology 1 Introduction Issues of representation in video games have been important to video game studies for over two decades, largely focussing on gender (Cassell and Jenkins 1998; Dietz 1998; Kafai et al. 2016; Lynch et al. 2016), and, to a lesser degree, LGBTQ issues (Consalvo 2003; Ruberg and Shaw 2017), and race (Burgess et al. -
Adventures at the Interplay of Poetry and Computer Games
DUAL WIELD: ADVENTURES AT THE INTERPLAY OF POETRY AND COMPUTER GAMES JONATHAN STONE A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education, University of the West of England, Bristol August 2019 1 Abstract In recent years, poets and digital game developers alike have begun to experiment with the possibilities of poem-game interplay and hybrid poetry games. The results of such experiments are intimately connected to poetry’s expansion into digital-interactive space, a process described by Loss Pequeño Glazier as extending “the physicality of reading”. This experiential augmentation runs both ways: the technologies associated with game development permit the reader’s cybernetic incorporation into the world of the poem, while poetry may be used to lend shape and meaning to the bodily sensations experienced by the player of computer games. Additionally, computer game culture, long underprivileged in arts discourse, represents a new frontier of emergent assimilable dialect for the poet. The components of the computer game – its rules, content, interface, hardware – may all be absorbed into the textuality of the poem, recruited as units of poetic meaning, not just verbally but ideogrammically, imagistically or calligrammically. This is, in short, an abundant new playground for poets, while on the other side of the equation, the organisational strategies of poetry make for an equally rich resource for game developers. This project takes the form of a hybrid of more conventional theoretical analysis and practice-based research, analysing the existing state of poem-game hybridity and testing ways that it might be advanced through the creation of various example artefacts.