Hyperstate Space Graphs for Automated Game Analysis
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The Craft of the Adventure
The Craft of the Adventure Five articles on the design of adventure games Second edition 1 Intro duction :: ::: :::: ::: :::: :::: ::: :::: ::: :::: :::: ::: :::: ::: :::: ::2 2 In The Beginning ::: :::: ::: :::: :::: ::: :::: ::: :::: :::: ::: :::: ::: ::: 3 3 Bill of Player's Rights : ::: :::: ::: :::: :::: ::: :::: ::: :::: :::: ::: :::: :7 4 A Narrative... ::: ::: :::: ::: :::: :::: ::: :::: ::: :::: :::: ::: :::: ::: :: 12 5 ...AtWar With a Crossword : : :::: ::: :::: :::: ::: :::: ::: :::: :::: :: 21 6 Varnish and Veneer : ::: :::: :::: ::: :::: ::: :::: :::: ::: :::: ::: :::: ::32 1 1 Intro duction 1 Intro duction Skill without imagination is craftsmanship and gives us many useful ob jects such as wickerwork picnic baskets. Imagination without skill gives us mo dern art. {Tom Stoppard, Artist Descending A Staircase Making b o oks is a skilled trade, like making clo cks. { Jean de la Bruy ere 1645-1696 If you're going to have a complicated story you must work to a map; otherwise you'll never make a map of it afterwards. {J.R.R.Tolkien 1892-1973 Designing an adventure game is b oth an art and a craft. Whereas art cannot be taught, only commented up on, craft at least can be handed down: but the tricks of the trade do not make an elegant narrative, only a catalogue. This small collection of essays is just such a string of grits of wisdom and half-baked critical opinions, whichmaywell leave the reader feeling unsatis ed. One can only say to such a reader that any book claiming to reveal the secret of how to paint, or to write novels, should be recycled at once into something more genuinely artistic, say a papier-mach e sculpture. If there is any theme here, it is that standards count: not just of comp etent co ding, but of writing. -
Folha De Rosto ICS.Cdr
“For when established identities become outworn or unfinished ones threaten to remain incomplete, special crises compel men to wage holy wars, by the cruellest means, against those who seem to question or threaten their unsafe ideological bases.” Erik Erikson (1956), “The Problem of Ego Identity”, p. 114 “In games it’s very difficult to portray complex human relationships. Likewise, in movies you often flit between action in various scenes. That’s very difficult to do in games, as you generally play a single character: if you switch, it breaks immersion. The fact that most games are first-person shooters today makes that clear. Stories in which the player doesn’t inhabit the main character are difficult for games to handle.” Hideo Kojima Simon Parkin (2014), “Hideo Kojima: ‘Metal Gear questions US dominance of the world”, The Guardian iii AGRADECIMENTOS Por começar quero desde já agradecer o constante e imprescindível apoio, compreensão, atenção e orientação dos Professores Jean Rabot e Clara Simães, sem os quais este trabalho não teria a fruição completa e correta. Um enorme obrigado pelos meses de trabalho, reuniões, telefonemas, emails, conversas e oportunidades. Quero agradecer o apoio de família e amigos, em especial, Tia Bela, João, Teté, Ângela, Verxka, Elma, Silvana, Noëmie, Kalashnikov, Madrinha, Gaivota, Chacal, Rita, Lina, Tri, Bia, Quelinha, Fi, TS, Cinco de Sete, Daniel, Catarina, Professor Albertino, Professora Marques e Professora Abranches, tanto pelas forças de apoio moral e psicológico, pelas recomendações e conselhos de vida, e principalmente pela amizade e memórias ao longo desta batalha. Por último, mas não menos importante, quero agradecer a incessante confiança, companhia e aceitação do bom e do mau pela minha Twin, Safira, que nunca me abandonou em todo o processo desta investigação, do meu caminho académico e da conquista da vida e sonhos. -
14. Riddle Machines: the History and Nature of Interactive Fiction
Nick Montfort Riddle Machines: The History and Nature of Interactive Fiction 14. Riddle Machines: The History and Nature of Interactive Fiction Nick Montfort Introduction The genre that has also been labeled "text adventure" and "text game" is stereotypically thought to offer dungeons, dragons, and the ability for readers to choose their own adventure. While there may be dragons here, interactive fiction (abbreviated "IF") also offers utopias, revenge plays, horrors, parables, intrigues, and codework, and pieces in this form resound with and rework Gilgamesh, Shakespeare, and Eliot as well as Tolkien. The reader types in phrases to participate in a dialogue with the system, commanding a character with writing. Beneath this surface conversation, and determining what the computer narrates, there is the machinery of a simulated world, capable of drawing the reader into imagining new perspectives and understanding strange systems. Interactive fiction works can be challenging for literary readers, even those interested in other sorts of electronic literature, because of the text-based interface and because of the way in which these works require detailed exploration, mapping, and solution. Works in this form are often less visually rewarding, and the rewards they do offer are only attained with time and effort. But text-based interactive fiction has provided some of the most the intricate and compelling literary simulations yet developed. Understanding how interactive fiction works, and how it has developed over the past three decades, is an essential part of the puzzle of literary computing. Characteristics of interactive fiction Formally, a work of interactive fiction (often called a "game," even if it does not exhibit the typical qualities of a game) is an interactive computer program. -
Download Twisty Little Passages: an Approach to Interactive Fiction
TWISTY LITTLE PASSAGES: AN APPROACH TO INTERACTIVE FICTION DOWNLOAD FREE BOOK Nick Montfort | 302 pages | 01 Apr 2005 | MIT Press Ltd | 9780262633185 | English | Cambridge, Mass., United States Slashdot Top Deals I got about a quarter of the way into this and had to stop. In Montfort's words, Infocomwhich was founded June 22, by Lebling, Blank, Anderson, and seven other MIT alumni, "began work on the foundation of IF while the plot of ground that it was to be built upon had not been completely surveyed. Slashdot Apparel is back! Genre fiction is a type of literature, and trying to actually seperate one from the other is a fool's errand. I think what you may be getting at is the fact that writing a compelling IF world is literally NP hard. Hitchhiker's Guide project, which began in February and was slated ambitiously to be completed by the following Christmas. Friend Reviews. Instead, what this book really is is a very comprehensive history of the form. There's really not that much meat there; Montfort goes into a detailed history and categorization of riddles that isn't all that relevant to IF. Played them, loved them, but goddam that transparent crystal 3D mze was a killer. Nick Montfort. Montfort then discusses Adventure Twisty Little Passages: An Approach to Interactive Fiction its precursors including the I Ching and Dungeons and Dragonsand follows this with an examination of mainframe text games developed in response, focusing on the most influential work of that era, Zork. The reviewer's memory of Monty Python's a little weak. -
Artificial General Intelligence in Games: Where Play Meets Design and User Experience
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The IT University of Copenhagen's Repository ISSN 2186-7437 NII Shonan Meeting Report No.130 Artificial General Intelligence in Games: Where Play Meets Design and User Experience Ruck Thawonmas Julian Togelius Georgios N. Yannakakis March 18{21, 2019 National Institute of Informatics 2-1-2 Hitotsubashi, Chiyoda-Ku, Tokyo, Japan Artificial General Intelligence in Games: Where Play Meets Design and User Experience Organizers: Ruck Thawonmas (Ritsumeikan University, Japan) Julian Togelius (New York University, USA) Georgios N. Yannakakis (University of Malta, Malta) March 18{21, 2019 Plain English summary (lay summary): Arguably the grand goal of artificial intelligence (AI) research is to pro- duce machines that can solve multiple problems, not just one. Until recently, almost all research projects in the game AI field, however, have been very specific in that they focus on one particular way in which intelligence can be applied to video games. Most published work describes a particu- lar method|or a comparison of two or more methods|for performing a single task in a single game. If an AI approach is only tested on a single task for a single game, how can we argue that such a practice advances the scientific study of AI? And how can we argue that it is a useful method for a game designer or developer, who is likely working on a completely different game than the method was tested on? This Shonan meeting aims to discuss three aspects on how to generalize AI in games: how to play any games, how to model any game players, and how to generate any games, plus their potential applications. -
Implementation of A* Algorithm for Solving Sokoban Logic Games
Journal of Applied Intelligent System (e-ISSN : 2502-9401 | p-ISSN : 2503-0493) Vol. 4 No. 2, December 2019, pp. 104 – 111 Implementation of A* Algorithm for Solving Sokoban Logic Games Rosa Tri Setiani *1, Bonifacius Vicky Indriyono 2 School of Information and Computer Management Kadiri, Jl. Balowerti II No. 26-30 Kediri East Java,(0354-696770) E-mail : [email protected]*1, [email protected] Abstract - Sokoban is one of the puzzle category games that requires players to push boxes towards the top, bottom, left and right until the specified destination. Sometimes it takes a long time to complete a very difficult level so that a solution is needed. So that these difficulties can be overcome, we need an algorithm that can help find the right path. A * algorithm is an algorithm that minimizes the total cost of the track under the right conditions that will provide the best solution in optimal time. A * algorithm will find the distance of the fastest route to be taken by a starting point to the destination object by removing unnecessary steps. From the test results, this A * algorithm can help players in finding a solution to the road in the form of completion steps in the Sokoban game by determining the smallest F value. Keywords - Artificial Intelligence, Games, Sokoban, A * algorithm 1. INTRODUCTION The development of science and technology will never end and will grow faster along with the development of supporting technology. One of the many technologies that is growing is artificial intelligence. Artificial intelligence (AI) is the main focus in the world of research on how a computer program is able to learn and make decisions like humans. -
Guide 2020 Games from Spain
GUIDE GAMES 2020 FROM SPAIN Message from the CEO of ICEX Spain Trade and Investment Dear reader, We are proud to present the new edition of our “Guide to Games from Spain”, a publication which provides a complete picture of Spain’s videogame industry and highlights its values and its talent. This publication is your ultimate guide to the industry, with companies of various sizes and profiles, including developers, publishers and services providers with active projects in 2020. GAMES Games from Spain is the umbrella brand created and supported by ICEX Spain Trade and Investment to promote the Spanish videogame industry around the globe. You are cordially invited to visit us at our stands at leading global events, such us Game Con- nection America or Gamescom, to see how Spanish videogames are playing in the best global production league. Looking forward to seeing you soon, ICEX María Peña SPAIN TRADE AND INVESTMENT ICT AND DIGITAL CONTENT DEPARTMENT +34 913 491 871 [email protected] www.icex.es GOBIERNO MINISTERIO DE ESPAÑA DE INDUSTRIA, COMERCIO Y TURISMO EUROPEAN REGIONAL DEVELOPMENT FUND A WAY TO MAKE EUROPE GENERAL INDEX ICEX | DISCOVER GAMES FROM SPAIN 6 SPANISH VIDEOGAME INDUSTRY IN FIGURES 8 INDEX 10 DEVELOPERS 18 PUBLISHERS 262 SERVICES 288 DISCOVER www.gamesfromspain.com GAMES FROM SPAIN Silvia Barraclough Head of Videogames Animation and VR/AR ICEX, Spain Trade and Investment in collaboration with [email protected] DEV, the Spanish association for the development and +34 913 491 871 publication of games and entertainment software, is proud to present its Guide to Games from Spain 2020, the perfect way to discover Spanish games and com- panies at a glance. -
IF Theory Reader
IF Theory Reader edited by Kevin Jackson-Mead J. Robinson Wheeler > Transcript On Press Boston, MA All authors of articles in this book retain their own copyrights. Neither the editors nor the publisher make any copyright claims. Version 1, March 2011. Version 2, April 2011. Please send corrections to [email protected]. Contents Preface Crimes Against Mimesis 1 Roger S. G. Sorolla Theory Toward a Theory of Interactive Fiction 25 Nick Montfort Characterizing, If Not Defining, Interactive Fiction 59 Andrew Plotkin not that you may remember time: Interactive Fiction, Stream-of-Consciousness Writing, and Free Will 67 Mark Silcox 2 Brief Dada Angels 89 Ryan Stevens, writing as Rybread Celsius Object Relations 91 Graham Nelson IF as Argument 101 Duncan Stevens The Success of Genre in Interactive Fiction 111 Neil Yorke-Smith Parser at the Threshold: Lovecraftian Horror in Interactive Fiction 129 Michael Gentry Distinguishing Between Game Design and Analysis: One View 135 Gareth Rees Natural Language, Semantic Analysis, and Interactive Fiction 141 Graham Nelson Afterword: Five Years Later 189 Graham Nelson Craft Challenges of a Broad Geography 203 Emily Short Thinking Into the Box: On the Use and Deployment of Puzzles 229 Jon Ingold PC Personality and Motivations 249 Duncan Stevens Landscape and Character in IF 261 Paul O’Brian Hint Development for IF 279 Lucian Smith Descriptions Constructed 291 Stephen Granade Mapping the Tale: Scene Description in IF 299 J. Robinson Wheeler Repetition of Text in Interactive Fiction 317 Jason Dyer NPC Dialogue Writing 325 Robb Sherwin NPC Conversation Systems 331 Emily Short History 10 Years of IF: 1994–2004 359 Duncan Stevens The Evolution of Short Works: From Sprawling Cave Crawls to Tiny Experiments 369 Stephen Granade History of Italian IF 379 Francesco Cordella Racontons une histoire ensemble: History and Characteristics of French IF 389 Hugo Labrande Preface This is a book for which people in the interactive fiction community have been waiting for quite some time. -
Wander Into Wonderland! ADVENTURE GAMES TAKE YOU on a VACATION to a PLACE AS VIVID AS YOUR IMAGINATION
Wander Into Wonderland! ADVENTURE GAMES TAKE YOU ON A VACATION TO A PLACE AS VIVID AS YOUR IMAGINATION BY SHAY ADDAMS -i ouOU won't need a passport to vacation in THE LIMESTONE. THE ROOM GLOWS WITH DIM LIGHT faraway lands this summer—the boulevards of PROVIDED BY PHOSPHORESCENT MOSS, AND WEIRD Paris and the pyramids of Egypt are onlyfar SHADOWS as MOVE ALL AROUND YOU. A NARROW PATH away as the nearest adventure game. Just WINDS AMONG THE STALAGMITES. But type in GO don't expect a tour guide to show you around, south and you may wind up at the local Club for your decisions determine what happens on Med. Graphic adventures show a game's differ this kind of trip. If you type go north in an all- ent locations, people, and objects with high- text adventure like Zork, the program will dis resolution pictures, and briefly sum up the sit play a paragraph of prose describing the new uation in a fewlines of text below. location you'vereached: just. .. carved out of In addition to sightseeing, you have a spe- IU.USTKAT!O,\ BY UARTONSTABLER JUNK 1985 37 three games from the lower skill levels. Ad ADVENTURE-GAME vanced games require more patience and time GLOSSARY (up to three months) to solve, and those de scribed as "Masters only" contain the thorniest problems of all. Command: The instructions you the words in the program's vocabu Though adventure games are designed to type in to tell the program what you lary. Well-programmed parsers enable be played by one person, two or more heads can want to do next. -
Analysis and Development of a Game of the Genre Roguelike
UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE INFORMÁTICA CURSO DE CIÊNCIA DA COMPUTAÇÃO CIRO GONÇALVES PLÁ DA SILVA Analysis and Development of a Game of the Roguelike Genre Final Report presented in partial fulfillment of the requirements for the degree of Bachelor of Computer Science. Advisor: Prof. Dr. Raul Fernando Weber Porto Alegre 2015 UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL Reitor: Prof. Carlos Alexandre Netto Vice-Reitor: Prof. Rui Vicente Oppermann Pró-Reitor de Graduação: Prof. Sérgio Roberto Kieling Franco Diretor do Instituto de Informática: Prof. Luís da Cunha Lamb Coordenador do Curso de Ciência da Computação: Prof. Raul Fernando Weber Bibliotecária-Chefe do Instituto de Informática: Beatriz Regina Bastos Haro ACKNOWLEDGEMENTS First, I would like to thank my advisor Raul Fernando Weber for his support and crucial pieces of advisement. Also, I'm grateful for the words of encouragement by my friends, usually in the form of jokes about my seemingly endless graduation process. I'm also thankful for my brother Michel and my sister Ana, which, despite not being physically present all the time, were sources of inspiration and examples of hard work. Finally, and most importantly, I would like to thank my parents, Isabel and Roberto, for their unending support. Without their constant encouragement and guidance, this work wouldn't have been remotely possible. ABSTRACT Games are primarily a source of entertainment, but also a substrate for developing, testing and proving theories. When video games started to popularize, more ambitious projects demanded and pushed forward the development of sophisticated algorithmic techniques to handle real-time graphics, persistent large-scale virtual worlds and intelligent non-player characters. -
Interactive Fiction Communities from Preservation Through Promotion and Beyond
www.dichtung-digital.org/2012/41/montfort-short.htm Interactive Fiction Communities From Preservation through Promotion and Beyond by Nick Montfort and Emily Short The interactive fiction (IF) community has for decades been involved with the authorship, sharing, reading, and discussion of one type of electronic literature and computer game. Creating interactive fiction is a game-making and world-building activity, one that involves programming as well as writing. Playing interactive fiction typically involves typing input and receiving a textual response explaining the current situation. From the first canonical interactive fiction, the minicomputer game Adventure, the form has lived through a very successful commercial phase and is now being actively developed by individuals, worldwide, who usually share their work for free online. Although it is typical to speak of "the IF community", there have actually been several communities representing different interests, different types of authoring systems, and various natural languages. Until around 2005, online archives, discussions, newsletters, and competitions focused the energies of IF community members. But since the middle of the 21st century's first decade, interest in IF has broadened beyond its earlier boundaries and academics, students, and players of indie games who are not IF community members have become active as IF players. Groups have met in person in different cities to play games and discuss work in progress. We consider the IF community's early formation and the way it, -
Two Canine Heads Are Better Than One in PHOGS!
ALL FORMATS LIFTING THE LID ON VIDEO GAMES Issue 36 £3 wfmag.cc HoundedHounded OutOut Two canine heads are better than one in PHOGS! CARDS AND DICE YOUR STORY LOSS AND FOUND The growing influence Code an FMV Making personal games on video game design adventure game that deal with grief get in the 4K Ultra HD UltraWideColor Adaptive Sync Overwatch and the return of the trolls e often talk about ways to punish stalwarts who remain have resorted to trolling out of “ players who are behaving poorly, sheer boredom. and it’s not very exciting to a lot of Blizzard has long emphasised the motto “play W us. I think, more often than not, nice, play fair” among its core values, and Overwatch’s players are behaving in awesome ways in Overwatch, endorsement system seemed to embrace this ethos. and we just don’t recognise them enough.” JESS Why has it failed to rein in a community increasingly Designer Jeff Kaplan offered this rosy take on the MORRISSETTE intent on acting out? I argue that Overwatch’s Overwatch community in 2018 as he introduced the Jess Morrissette is a endorsements created a form of performative game’s new endorsement system, intended to reward professor of Political sportsmanship. It’s the promise of extrinsic rewards players for sportsmanship, teamwork, and leadership Science at Marshall – rather than an intrinsic sense of fair play – that on the virtual battlefields of Blizzard’s popular shooter. University, where motivates players to mimic behaviours associated with he studies games After matches, players could now vote to endorse one and the politics of good sportsmanship.