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Manny Diaz LEAD DESIGNER MANNYDIAZDESIGN.COM [email protected] LINKEDIN.COM
Manny Diaz LEAD DESIGNER MANNYDIAZDESIGN.COM [email protected] LINKEDIN.COM Award-Winning Lead Designer with international design development experience including: Design Direction, Design Management, Cross-Studio Collaboration, Mission Design, Scripting, Co-op and Multiplayer Ecosystems, Narrative and Combat Pacing, Chatter Writing, Cinematic Creation, Video Editing, Systems Tuning, Environmental Art, QuickTime Events, Spec Writing, Corporate & Industry Presentations, Film and Game Production Experience Ubisoft Reflections – Lead Level Designer Projects: Watch_Dogs, Tom Clancy’s The Division Time Line: June 2012 – Present Key Achievements: Lead team of 13 designers to deliver next-gen content on time and up to quality Developed implementation best practices for the design team Served as Interim Lead Game Designer Worked with Producers and Directors from co-development studios in Europe, Canada, and US Developed project schedule for design team Selected to represent Ubisoft in an international recruitment video Selected to represent Ubisoft Reflections at TIGA industry event Studio presentations in office and at external venues Video editing for studio presentation Volition Inc. – Design Director, Lead Mission Designer, and Designer 2 Projects: Saints Row: The Third, Saints Row: The Third DLC Packs, Unannounced Next-Gen Project Time Line: February 2010 – June 2012 Key Achievements: Directed three profitable projects to a delivery both on time and on budget Earned multiple awards and positive mentions in press for mission content Generated -
The Anime Galaxy Japanese Animation As New Media
i i i i i i i i i i i i i i i i i i i i Herlander Elias The Anime Galaxy Japanese Animation As New Media LabCom Books 2012 i i i i i i i i Livros LabCom www.livroslabcom.ubi.pt Série: Estudos em Comunicação Direcção: António Fidalgo Design da Capa: Herlander Elias Paginação: Filomena Matos Covilhã, UBI, LabCom, Livros LabCom 2012 ISBN: 978-989-654-090-6 Título: The Anime Galaxy Autor: Herlander Elias Ano: 2012 i i i i i i i i Índice ABSTRACT & KEYWORDS3 INTRODUCTION5 Objectives............................... 15 Research Methodologies....................... 17 Materials............................... 18 Most Relevant Artworks....................... 19 Research Hypothesis......................... 26 Expected Results........................... 26 Theoretical Background........................ 27 Authors and Concepts...................... 27 Topics.............................. 39 Common Approaches...................... 41 1 FROM LITERARY TO CINEMATIC 45 1.1 MANGA COMICS....................... 52 1.1.1 Origin.......................... 52 1.1.2 Visual Style....................... 57 1.1.3 The Manga Reader................... 61 1.2 ANIME FILM.......................... 65 1.2.1 The History of Anime................. 65 1.2.2 Technique and Aesthetic................ 69 1.2.3 Anime Viewers..................... 75 1.3 DIGITAL MANGA....................... 82 1.3.1 Participation, Subjectivity And Transport....... 82 i i i i i i i i i 1.3.2 Digital Graphic Novel: The Manga And Anime Con- vergence........................ 86 1.4 ANIME VIDEOGAMES.................... 90 1.4.1 Prolongament...................... 90 1.4.2 An Audience of Control................ 104 1.4.3 The Videogame-Film Symbiosis............ 106 1.5 COMMERCIALS AND VIDEOCLIPS............ 111 1.5.1 Advertisements Reconfigured............. 111 1.5.2 Anime Music Video And MTV Asia......... -
Military Guide to Terrorism in the Twenty-First Century
US Army TRADOC TRADOC G2 Handbook No. 1 AA MilitaryMilitary GuideGuide toto TerrorismTerrorism in the Twenty-First Century US Army Training and Doctrine Command TRADOC G2 TRADOC Intelligence Support Activity - Threats Fort Leavenworth, Kansas 15 August 2007 DISTRIBUTION RESTRICTION: Approved for Public Release; Distribution Unlimited. 1 Summary of Change U.S. Army TRADOC G2 Handbook No. 1 (Version 5.0) A Military Guide to Terrorism in the Twenty-First Century Specifically, this handbook dated 15 August 2007 • Provides an information update since the DCSINT Handbook No. 1, A Military Guide to Terrorism in the Twenty-First Century, publication dated 10 August 2006 (Version 4.0). • References the U.S. Department of State, Office of the Coordinator for Counterterrorism, Country Reports on Terrorism 2006 dated April 2007. • References the National Counterterrorism Center (NCTC), Reports on Terrorist Incidents - 2006, dated 30 April 2007. • Deletes Appendix A, Terrorist Threat to Combatant Commands. By country assessments are available in U.S. Department of State, Office of the Coordinator for Counterterrorism, Country Reports on Terrorism 2006 dated April 2007. • Deletes Appendix C, Terrorist Operations and Tactics. These topics are covered in chapter 4 of the 2007 handbook. Emerging patterns and trends are addressed in chapter 5 of the 2007 handbook. • Deletes Appendix F, Weapons of Mass Destruction. See TRADOC G2 Handbook No.1.04. • Refers to updated 2007 Supplemental TRADOC G2 Handbook No.1.01, Terror Operations: Case Studies in Terror, dated 25 July 2007. • Refers to Supplemental DCSINT Handbook No. 1.02, Critical Infrastructure Threats and Terrorism, dated 10 August 2006. • Refers to Supplemental DCSINT Handbook No. -
Metadefender Core V4.13.1
MetaDefender Core v4.13.1 © 2018 OPSWAT, Inc. All rights reserved. OPSWAT®, MetadefenderTM and the OPSWAT logo are trademarks of OPSWAT, Inc. All other trademarks, trade names, service marks, service names, and images mentioned and/or used herein belong to their respective owners. Table of Contents About This Guide 13 Key Features of Metadefender Core 14 1. Quick Start with Metadefender Core 15 1.1. Installation 15 Operating system invariant initial steps 15 Basic setup 16 1.1.1. Configuration wizard 16 1.2. License Activation 21 1.3. Scan Files with Metadefender Core 21 2. Installing or Upgrading Metadefender Core 22 2.1. Recommended System Requirements 22 System Requirements For Server 22 Browser Requirements for the Metadefender Core Management Console 24 2.2. Installing Metadefender 25 Installation 25 Installation notes 25 2.2.1. Installing Metadefender Core using command line 26 2.2.2. Installing Metadefender Core using the Install Wizard 27 2.3. Upgrading MetaDefender Core 27 Upgrading from MetaDefender Core 3.x 27 Upgrading from MetaDefender Core 4.x 28 2.4. Metadefender Core Licensing 28 2.4.1. Activating Metadefender Licenses 28 2.4.2. Checking Your Metadefender Core License 35 2.5. Performance and Load Estimation 36 What to know before reading the results: Some factors that affect performance 36 How test results are calculated 37 Test Reports 37 Performance Report - Multi-Scanning On Linux 37 Performance Report - Multi-Scanning On Windows 41 2.6. Special installation options 46 Use RAMDISK for the tempdirectory 46 3. Configuring Metadefender Core 50 3.1. Management Console 50 3.2. -
Dual-Forward-Focus
Scroll Back The Theory and Practice of Cameras in Side-Scrollers Itay Keren Untame [email protected] @itayke Scrolling Big World, Small Screen Scrolling: Neural Background Fovea centralis High cone density Sharp, hi-res central vision Parafovea Lower cone density Perifovea Lowest density, Compressed patterns. Optimized for quick pattern changes: shape, acceleration, direction Fovea centralis High cone density Sharp, hi-res central vision Parafovea Lower cone density Perifovea Lowest density, Compressed patterns. Optimized for quick pattern changes: shape, acceleration, direction Thalamus Relay sensory signals to the cerebral cortex (e.g. vision, motor) Amygdala Emotional reactions of fear and anxiety, memory regulation and conditioning "fight-or-flight" regulation Familiar visual patterns as well as pattern changes may cause anxiety unless regulated Vestibular System Balance, Spatial Orientation Vestibulo-Ocular Reflex Natural image stabilizer Conflicting sensory signals (Visual vs. Vestibular) may lead to discomfort and nausea* * much worse in 3D (especially VR), but still effective in 2D Scrolling with Attention, Interaction and Comfort Attention: Use the camera to provide sufficient game info and feedback Interaction: Make background changes predictable, tightly bound to controls Comfort: Ease and contextualize background changes Attention The Elements of Scrolling Interaction Comfort Scrolling Nostalgia Rally-X © 1980 Namco Scramble © 1981 Jump Bug © 1981 Defender © 1981 Konami Hoei/Coreland (Alpha Denshi) Williams Electronics Vanguard -
Unreal Engine* 4.19 の最適化にインテルの ソフトウェア・エンジニアが協力
Unreal Engine* 4.19 の最適化にインテルの ソフトウェア・エンジニアが協力 Garret Romaine、Jeff Rous (Intel) この記事は、2018 年 6 月 8 日時点の、インテル® デベロッパー・ゾーンに公開されている 「Intel Software Engineers Assist with Unreal Engine* 4.19 Optimizations」の日本語訳で す。 Epic* の Unreal Engine* 4.19 のリリースは、 インテル® テクノロジー向けの最適化、特にマルチコ ア・プロセッサーの最適化の歴史に新しいページを刻 みました。これまで、ゲームエンジンは、グラフィック ス機能およびパフォーマンスの点から、伝統的にコン ソールの設計よりも後回しにされていました。一般に、 ほとんどのゲームは最新のプロセッサー向けに最適 化されず、PC のパフォーマンスの多くはアイドル状 態のまま活用されていませんでした。インテルは、開 発者が Unreal Engine* 4 でワークを実行する際に、 PC プラットフォームが提供するプロセッサーの計算 能力をすべて利用し、ただちにゲームの性能を引き出 せるように取り組みました。 Unreal Engine* バージョン 4.19 では、インテルの 協力により、次の拡張が行われました。 • ユーザーが利用しているプロセッサーと一致するようにワーカースレッドの数を増加。 • クロス (布) フィジックス・システムのスループットを向上。 • インテル® VTune™ Amplifier の統合をサポート。 Unreal Engine* ユーザーは、これらの拡張により、インテル® アーキテクチャーを活用して、マ ルチコアシステムの能力を引き出すことができます。クロス・フィジックス、動的破壊、プロセッ サー・パーティクルなどのシステム、およびインテル® VTune™ Amplifier やインテル® C++ コ ンパイラーなどのインテル® ソフトウェア開発ツールとの操作性の強化はすべて利点です。この 記事では、重要な向上点について詳細に説明した後、開発者が次の PC タイトルで Unreal Engine* を考慮すべき理由を述べます。 Unreal Engine* の歴史 1991 年に、Tim Sweeney 氏はメリーランド大学在籍中に Epic MegaGames (現在の Epic Games*) を設立しました。同じ年に、最初の製品としてシェアウェアのパズルゲーム ZZT (英 語) を発売しました。ゲームはオブジェクト指向モデルを使用して Turbo Pascal で記述されて おり、ユーザーはゲームのコードを実際に変更することができました。レベルエディターはすでに 一般的でしたが、これは大きな進歩でした。 その後、Epic* は Epic* Pinball、Jill of the Jungle、Jazz Jackrabbit* などのゲームを発売し ました。1995 年に、Sweeney 氏は DOOM*、Wolfenstein*、Quake*、Duke Nukem* などの ゲームに代表されるファーストパーソン・シューター (本人視点シューティング・ゲーム) の研究 を始めました。1998 年に、Epic* は Unreal* を発売しました。このゲームは、発売時点で最高 のファーストパーソン・シューターの 1 つであり、詳細なグラフィックスは業界の注目を集めま した。その後まもなく、ほかの開発者から Unreal Engine* を自分たちのゲームで利用したいと -
INSTRUCTION MANUAL 2.0 FSW PC Mnl UK.Qxd:2.0 FSW PC Mnl UK.Qxd 23.05.2007 14:45 Uhr Seite B
2.0_FSW_PC_Mnl_UK.qxd:2.0_FSW_PC_Mnl_UK.qxd 23.05.2007 14:45 Uhr Seite a INSTRUCTION MANUAL 2.0_FSW_PC_Mnl_UK.qxd:2.0_FSW_PC_Mnl_UK.qxd 23.05.2007 14:45 Uhr Seite b Table of Contents 2 MOUT: Military Operations in Urban Terrain 3 Your Soldiers 7 The Conflict 9 Reign of Terror 9 Geopolitical Intelligence Report: Zekistan 10 The HUD 12 Assessing the Environment 13 Commands Overview 15 Moving Your Soldiers 17 Fire Orders 19 Effects of Fire 20 Using Cover Against Threats 21 Grenades 23 Individual Fire Orders 23 Team Leader Tools 23 · Reporting with the Radio 24 · The Global Positioning System 25 · Saving your Progress 25 · Replays 25 · CASEVAC 26 · Profiles 26 · Mission Failure 27 Options 28 Co-operative Play 29 Online Menu 29 Online Options 31 Glossary 33 License Agreement 35 Register your Game! 35 Hints and Tips 35 Technical Support 36 Quickstart suomeksi 41 Quickstart på svenska 46 Credits 1 2.0_FSW_PC_Mnl_UK.qxd:2.0_FSW_PC_Mnl_UK.qxd 23.05.2007 14:45 Uhr Seite 2 MOUT: Military Operations in Urban Terrain MOUT: Military Operations in Urban Terrain You command a dismounted light infantry squad, a highly trained group Rifleman (R) of soldiers who understand how to operate in a hostile, highly populated The Rifleman has the least experience of soldiers on the fireteam, but don’t environment. Everything about your squad – from its soldiers to its underestimate him – he’s had extensive training. The Rifleman fires rounds equipment to its tactics – is the result of careful planning and years of from his M class rifle where you direct him, and he also gives aid to experience on the battlefield. -
Copyright Undertaking
Copyright Undertaking This thesis is protected by copyright, with all rights reserved. By reading and using the thesis, the reader understands and agrees to the following terms: 1. The reader will abide by the rules and legal ordinances governing copyright regarding the use of the thesis. 2. The reader will use the thesis for the purpose of research or private study only and not for distribution or further reproduction or any other purpose. 3. The reader agrees to indemnify and hold the University harmless from and against any loss, damage, cost, liability or expenses arising from copyright infringement or unauthorized usage. IMPORTANT If you have reasons to believe that any materials in this thesis are deemed not suitable to be distributed in this form, or a copyright owner having difficulty with the material being included in our database, please contact [email protected] providing details. The Library will look into your claim and consider taking remedial action upon receipt of the written requests. Pao Yue-kong Library, The Hong Kong Polytechnic University, Hung Hom, Kowloon, Hong Kong http://www.lib.polyu.edu.hk WAR AND WILL: A MULTISEMIOTIC ANALYSIS OF METAL GEAR SOLID 4 CARMAN NG Ph.D The Hong Kong Polytechnic University 2017 The Hong Kong Polytechnic University Department of English War and Will: A Multisemiotic Analysis of Metal Gear Solid 4 Carman Ng A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy September 2016 For Iris and Benjamin, my parents and mentors, who have taught me the courage to seek knowledge and truths among warring selves and thoughts. -
Spec Ops: the Line's Conventional Subversion of the Military Shooter
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Keogh, Brendan (2013) Spec Ops: The line’s conventional subversion of the military shooter. In Sharp, J, Pearce, C, & Kennedy, H (Eds.) Proceedings of DiGRA 2013: DeFragging Game Studies. Digital Games Research Association DiGRA, United States of America, pp. 1-17. This file was downloaded from: https://eprints.qut.edu.au/115527/ c 2013 Authors & Digital Games Research Association DiGRA This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. http:// www.digra.org/ digital-library/ publications/ spec-ops-the-lines-conventional-subversion-of-the-military-shooter/ Spec Ops: The Line’s Conventional Subversion of the Military Shooter Brendan Keogh School of Media and Communication RMIT University Melbourne, Australia [email protected] ABSTRACT The contemporary videogame genre of the military shooter, exemplified by blockbuster franchises like Call of Duty and Medal of Honor, is often criticised for its romantic and jingoistic depictions of the modern, high-tech battlefield. -
The Camera in 3D Video Games
University of Utah UNDERGRADUATE RESEARCH JOURNAL DESIGNING FOR INTERACTIVITY: THE CAMERA IN 3D VIDEOGAMES Jackson Keller (Gabriel Olson) Department of Entertainment Arts and Engineering ABSTRACT This paper analyzes the effect that camera control has on art, design, and player experience in 3D video games. It will specifically explore the implications of various methods of camera control that have emerged during the brief history of 3D games: the first and third-person perspectives, fixed and filmic perspectives, abstract non-linear perspectives, and unique perspectives enabled by recent technological innovation, including Virtual and Augmented reality. TABLE OF CONTENTS ABSTRACT I INTRODUCTION 3 THE EMERGENCE OF 3D VIDEO GAMES 4 THE THIRD-PERSON PERSPECTIVE 9 ALTERNATE APPROACHES TO THE CAMERA: IMITATING FILM 14 THE NON-LINEAR PERSPECTIVE: EXPERIMENTAL ART AND SIMULATED CAMERAS 20 THE IMPLICATIONS OF INNOVATION: MODIFICATION OF EXISTING PERSPECTIVES 22 CONCLUSION 24 SPECIAL THANKS 25 WORKS CITED 26 ii INTRODUCTION Both games and film are audiovisual media. One understanding of the medium of games is as a form of interactive movie, descending from the legacy of film. While games are certainly their own art form (The 2011 Brown v. Entertainment Merchants Association Supreme Court decision gave video games first amendment protection as an art form), many games do contain filmic elements. However, interactivityi is central to the medium and generally takes precedence over aesthetic control. Most 3D games allow the player to control the camera, and the gameplay experience lacks the cinematographic precision of film. Designers craft levels to lead players towards game objectives, as well as composed aesthetic experiences when possible. -
Game Developer Magazine
>> INSIDE: 2007 AUSTIN GDC SHOW PROGRAM SEPTEMBER 2007 THE LEADING GAME INDUSTRY MAGAZINE >>SAVE EARLY, SAVE OFTEN >>THE WILL TO FIGHT >>EXCLUSIVE INTERVIEW MAKING SAVE SYSTEMS FOR CHANGING GAME STATES HARVEY SMITH ON PLAYERS, NOT DESIGNERS IN PANDEMIC’S SABOTEUR POLITICS IN GAMES POSTMORTEM: PUZZLEINFINITE INTERACTIVE’S QUEST DISPLAY UNTIL OCTOBER 11, 2007 Using Autodeskodesk® HumanIK® middle-middle- Autodesk® ware, Ubisoftoft MotionBuilder™ grounded ththee software enabled assassin inn his In Assassin’s Creed, th the assassin to 12 centuryy boots Ubisoft used and his run-time-time ® ® fl uidly jump Autodesk 3ds Max environment.nt. software to create from rooftops to a hero character so cobblestone real you can almost streets with ease. feel the coarseness of his tunic. HOW UBISOFT GAVE AN ASSASSIN HIS SOUL. autodesk.com/Games IImmagge cocouru tteesyy of Ubiisofft Autodesk, MotionBuilder, HumanIK and 3ds Max are registered trademarks of Autodesk, Inc., in the USA and/or other countries. All other brand names, product names, or trademarks belong to their respective holders. © 2007 Autodesk, Inc. All rights reserved. []CONTENTS SEPTEMBER 2007 VOLUME 14, NUMBER 8 FEATURES 7 SAVING THE DAY: SAVE SYSTEMS IN GAMES Games are designed by designers, naturally, but they’re not designed for designers. Save systems that intentionally limit the pick up and drop enjoyment of a game unnecessarily mar the player’s experience. This case study of save systems sheds some light on what could be done better. By David Sirlin 13 SABOTEUR: THE WILL TO FIGHT 7 Pandemic’s upcoming title SABOTEUR uses dynamic color changes—from vibrant and full, to black and white film noir—to indicate the state of allied resistance in-game. -
SELECT Statement Basic Form
NAZIV OBJEKTA ZNANJA Art games PROLOG Autor * Katarina Kaplarski Klasifikacija * IM-ID-PVA-ArtGames Težina * Osnovni nivo Ključne reči * igre, online, desktop, mobile Ko sluša * Student OAS Trajanje * 15min Komentari autora SADRŽAJ Apstrakt Cilj * Uvodne napomene Naziv sekcije (1) Art games Sadržaj sekcije (1) Art game ili manje uobičajena "autorska igra"je delo interaktivne softverske umetnosti . Ovaj termin je akademski skovan 2002. Godine i predstavlja podžanr ozbiljne video igre (serious video game http://en.wikipedia.org/wiki/Serious_game) Ove igre su dizajnirane u svrhu koja nije komercijalna i koja nije u cilju zabave, već naglašava umetnost sa ciljem da proizvede neku vrstu reakcije kod publike. Izložbe poput Walker Art Center "Beyond Interface" (1998), online "Synreal" (1998) i "Cracking the Maze - Game Plug-Ins as Hacker Art" (1999), shift e.V. "RELOAD" (1999), t UCI Beall Centre's "Shift-Ctrl" (2000), i još nekoliko drugih u 2001. Su bile među prvim talasom izložbi video igara koje su popularizovale ovaj koncept. Sredinom dvehiljaditih art game su doživele uspeh. Među njima je Pac Manhattan iz 2004, – real life igra koja se zasnivala na Pacmanu. Igrači su bili studenti koji su je kreirali- koristili su wi-fi tehnologiju, open-source software i mobilne telefone. http://www.pacmanhattan.com/ Sličan koncept je imala i igra CAN ZOU SEE ME NOW, gde je bila mešana online-offline igra , a igrači su bili opremljeni ručnim komjuterima, GPSom, voki-tokijima da bi jurili online igrače koji su svoje avatare pomerali kroz virtuelni model istog grada. Kreirala ju je grupa umetnika pod nazivom - Blast theory. http://www.blasttheory.co.uk/projects/can-you-see-me-now/ CILJ UMETNIČKIH IGARA Cilj ovih igara je da prenese specifičnu poruku publici, ponekad čak i da kritikuje publku i komercijalnu gaming industriju, a ponekad je cilj samo da se vizuelni jezik i interaktivnost igre iskoriste na neki drugi način.