1. Planteamiento Del Problema

Total Page:16

File Type:pdf, Size:1020Kb

1. Planteamiento Del Problema ESCUELA POLITÉCNICA NACIONAL FACULTAD DE INGENIERIA DE SISTEMAS DESARROLLO DE UN JUEGO DE VIDEO BIDIMENSIONAL POR MEDIO DE LA CREACIÓN DE UN MOTOR GRÁFICO REUTILIZABLE PROYECTO PREVIO A LA OBTENCIÓN DEL TÍTULO DE INGENIERO EN SISTEMAS INFORMÁTICOS Y DE COMPUTACIÓN LUIS FERNANDO ALVAREZ ARTEAGA [email protected] DIRECTOR: ING. XAVIER ARMENDARIZ [email protected] Quito, Junio 2008 2 DECLARACIÓN Yo, Luis Fernando Alvarez Arteaga, declaro bajo juramento que el trabajo aquí descrito es de mi autoría; que no ha sido previamente presentada para ningún grado o calificación profesional; y que he consultado las referencias bibliográficas que se incluyen en este documento. A través de la presente declaración cedo mis derechos de propiedad intelectual correspondientes a este trabajo a la Escuela Politécnica Nacional, según lo establecido por la Ley de Propiedad Intelectual, por su Reglamento y por la normatividad institucional vigente. Luis Fernando Alvarez Arteaga 3 CERTIFICACIÓN Certifico que el presente trabajo fue desarrollado por Luis Fernando Alvarez Arteaga, bajo mi supervisión. Xavier Armendáriz DIRECTOR DE PROYECTO 4 AGRADECIMIENTOS Primeramente quiero dar gracias a Dios, ya que por medio de una gran cantidad de acontecimientos a lo largo de mi carrera y de mi vida me demostró que él es la única fuerza que me ha sostenido y colmado de bendiciones a lo largo de estos años. En segundo lugar quiero agradecer a mi familia, quienes han sido un apoyo incondicional en el desarrollo de este proyecto con sus oraciones y palabras de aliento, más aún en los momentos de mayor dificultad. También agradezco a mi director de tesis, el Ingeniero Xavier Armendáriz, quien con su experiencia profesional en el campo del desarrollo de software contribuyó a que este proyecto tome forma y sea encaminado de la mejor manera. Finalmente quiero agradecer a la gente con la que compartí tantos buenos momentos en esta facultad, y que de una manera u otra me enseñaron lecciones importantes. Las chicas Lynx, con las que compartí tantas alegrías y desvelos; los muchachos Nemesis, quienes con su espontaneidad siempre supieron arrancarme una o dos sonrisas; los profesores de la facultad, que con su conocimiento pudieron guiarme a lo largo de mi carrera. A todas estas personas, y a las que compartieron su tiempo conmigo de una u otra forma en el desarrollo de este proyecto les extiendo mis más sinceros agradecimientos Luis Fernando Alvarez A. 5 DEDICATORIA Dedico esta tesis a Dios por mostrarme día a día su gloria. A mis padres Fernando y Sylvia por ser un apoyo constante e incondicional. A Juan Pablo y Esteban por ser mis mejores amigos, y quienes me hacen caer en cuenta de mis errores. Finalmente dedico este trabajo a todas las personas cuyo niño interior todavía no ha crecido, para los cuales los videojuegos son una gran parte de sus vidas. 6 CONTENIDO RESUMEN ............................................................................................................. 8 PRESENTACION................................................................................................... 9 Introducción.......................................................................................................... 10 1. Planteamiento del problema.......................................................................... 12 1.1. Proceso de desarrollo de videojuegos ................................................... 12 1.1.1. Etapa de pre-producción................................................................. 12 1.1.2. Etapa de producción....................................................................... 13 1.1.3. Mantenimiento ................................................................................ 16 1.2. Uso de motores gráficos en la creación de videojuegos........................ 17 1.2.1. Definición de motor......................................................................... 17 1.2.2. Objetivos de un motor..................................................................... 18 1.2.3. Motores comerciales....................................................................... 19 2. Análisis y diseño conceptual ......................................................................... 20 2.1. Conceptualización del videojuego.......................................................... 20 2.1.1. Tratamiento inicial........................................................................... 20 2.1.2. Album de arte conceptual ............................................................... 22 2.2. Análisis y diseño de concepto inicial...................................................... 26 2.2.1. Documento de diseño inicial ........................................................... 26 2.3. Diseño de concepto detallado................................................................ 31 2.3.1. Documento de diseño detallado...................................................... 31 3. Análisis y diseño del producto....................................................................... 43 3.1. Selección de la metodología de desarrollo ............................................ 43 3.1.1. Scrum ............................................................................................. 43 3.1.2. Razones para usar Scrum .............................................................. 46 3.1.3. Entregables y documentos del proyecto ......................................... 47 3.2. Análisis del producto.............................................................................. 48 3.3. Diseño de arquitectura del sistema........................................................ 50 3.3.1. Documento de diseño de arquitectura ............................................ 50 4. Implementación, pruebas y evaluación ......................................................... 69 4.1. Desarrollo del motor gráfico ................................................................... 69 4.2. Desarrollo del videojuego....................................................................... 75 4.3. Pruebas.................................................................................................. 83 7 4.4. Evaluación del producto......................................................................... 85 5. Conclusiones y Recomendaciones ............................................................... 87 5.1. Conclusiones ......................................................................................... 87 5.2. Recomendaciones ................................................................................. 89 BIBLIOGRAFÍA .................................................................................................... 91 8 RESUMEN El presente trabajo contiene la documentación del proceso de desarrollo del videojuego Piratas: La Tumba del Corsario, y su respectivo motor reutilizable. Este documento está dividido en cinco capítulos: En el primer capítulo se planteará el tema básico del proyecto, al describir tanto el proceso de desarrollo de un videojuego, como un resumen y explicación del uso de motores en la industria. Luego del análisis del problema, en el segundo capítulo se propone el diseño de concepto para el videojuego Piratas: La Tumba del Corsario, mediante el modelado básico de las reglas del juego. En el tercer capítulo se realiza la selección de la metodología para el desarrollo del producto, y en base a ella se hace un análisis y diseño de la arquitectura del sistema. El cuarto capítulo detalla el desarrollo del motor y del videojuego que hará uso del mismo. En éste se incluyen los documentos generados al realizar las pruebas de sistema y la evaluación del producto. Finalmente, en el quinto capítulo se plantean las conclusiones obtenidas al realizar este proyecto y las recomendaciones pertinentes al tema tratado. 9 PRESENTACION Desde la aparición de las interfaces gráficas en los computadores personales, el desarrollo de software de entretenimiento ha sido un campo poco explotado por la dificultad de implementación que tiene un producto de este tipo. Más aún, con las nuevas tecnologías emergentes en el sector de los videojuegos, la implementación de este tipo de software ha llevado a los equipos de desarrollo a invertir una gran cantidad de tiempo y de recursos económicos para obtener un producto de alta calidad que sea competitivo en el mercado. En nuestro país no ha existido una incursión en el campo del desarrollo de videojuegos, ya que como se mencionó, es un negocio que requiere de una inversión muy alta, tanto en recursos de hardware como de software, y personal especializado en este tipo de productos, el cual no tiene la formación adecuada para la tarea. Mediante este trabajo se pretende implementar una herramienta que ayude a los desarrolladores de videojuegos a crear productos de una forma rápida, flexible, y con un costo y una curva de aprendizaje muy baja. Así mismo se contempla la reusabilidad de esta herramienta en distintos proyectos de este tipo, lo que ayudará al desarrollo de este campo en nuestro país. Adicionalmente, considerando que el desarrollo de videojuegos se ha caracterizado por ser un proceso totalmente informal, en este trabajo se plantea la selección de una metodología que se ajuste a un proyecto de este tipo de manera adecuada. 10 INTRODUCCIÓN A lo largo de los años, el campo del desarrollo de software ha evolucionado de manera acelerada. Mientras el mercado requiere de más productos, es tarea de las compañías desarrolladoras producir software de una manera ágil y flexible, pero sin dejar de lado la calidad y una correcta
Recommended publications
  • AI in First-Person Shooter Games FPS AI Architecture Animation Layer
    AI in First-Person Shooter Games Based in part on material developed by John McCloskey Jeffrey Miller Amish Prasad & Lars Linden FPS AI Architecture • Animation • Movement • Combat • Behavior Animation Layer • Controls the player’s body • Must resolve conflicts between animations • Dynamic blending • Actions often need to be specialized • Parameterize existing animations • Taking control of specific body parts • Handling inverse kinematics 1 AI Components: Animation • NPC models built by artists • Use tools such as “3D Studio Max” or “Maya” • Models are are constructed from bones • Bones are connected by articulated joints. • The movement of the joints is constrained by their interconnectivity. • See George Bush ragdoll physics demo. • The skeletal system is covered by a mesh of textured polygons (“skeletal animation”.) Half-Life was one of the first games to demonstrate this. AI Components: Animation • Example: AI Components: Animation • Animation sequences are generated by defining how joints should articulate through time • Walking sequence: 2 AI Components: Animation Animation sequences for a model are either: • Hand generated by a computer animator • Recorded from real human (or animal) movements and applied to a skeletal system (“motion capture”) AI Components: Animation • Motion Capture: Tom Molet (EGCAS ’96) 3 AI Components: Animation Animation sequences tend to be: • Motion primitives: • Run, Walk, Jump, Side-step, Climb • Transitions • Start_Walk, Run_To_Jump, Jump_Land AI Components: Animation Some animation sequences only
    [Show full text]
  • Resume / Cover Letter / Sample Code Updated May 2009
    http://www.enigmasoftware.ca/henry/Resume2009.html Resume / Cover Letter / Sample Code Updated May 2009 Henry Smith [email protected] home: (780) 642-2822 Available September 2009 cell: (780) 884-7044 15 people have recommended Henry Currently in: Edmonton, AB Canada Objective Senior programmer position at a world-class game development studio Interested in GUI programming/design, rapid prototyping, scripting languages, and engine architecture Skills Eight years of game industry experience, plus many more as a hobbyist Expert C++/C programmer Development experience on PC, Mac, Console, Handheld, and Flash platforms Published indie/shareware developer Languages Expert in C++/C, ActionScript 2 Familiar with Ruby, Python, Lua, JavaScript, UnrealScript, XML Exposure to various teaching languages (Scheme, ML, Haskell, Eiffel, Prolog) Tech Familiar with Scaleform GFx, Flash, Unity, STL, Boost, Perforce Exposure to Unreal Engine, NetImmerse/Gamebryo, iPhone, OpenGL Experience BioWare Senior GUI programmer on Dragon Age: Origins Senior Programmer Architected and maintained a GUI framework in C++ and Flash/ActionScript used for all game UI Edmonton, AB Canada Mentored a junior programmer 2004—present Spearheaded a “Study Lunch” group for sharing technical knowledge and expertise Member of the (internal) Technology Architecture Group Worked with many aspects of the game engine including: graphics, input, game-rules, scripting, tools Irrational Games Designed and built several major game systems for a PS2 3rd-person action title, using C++,
    [Show full text]
  • Multi-User Game Development
    California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2007 Multi-user game development Cheng-Yu Hung Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Software Engineering Commons Recommended Citation Hung, Cheng-Yu, "Multi-user game development" (2007). Theses Digitization Project. 3122. https://scholarworks.lib.csusb.edu/etd-project/3122 This Project is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. ' MULTI ;,..USER iGAME DEVELOPMENT '.,A,.'rr:OJ~c-;t.··. PJ:es·~nted ·t•o '.the·· Fa.8lllty· of. Calif0rr1i~ :Siat~:, lJniiV~r~s'ity; .•, '!' San. Bernardinti . - ' .Th P~rt±al Fu1fillrnent: 6f the ~~q11l~~fuents' for the ;pe'gree ···•.:,·.',,_ .. ·... ··., Master. o.f.·_s:tience•· . ' . ¢ornput~r •· ~6i~n¢e by ,•, ' ' .- /ch~ng~Yu Hung' ' ' Jutie .2001. MULTI-USER GAME DEVELOPMENT A Project Presented to the Faculty of California State University, San Bernardino by Cheng-Yu Hung June 2007 Approved by: {/4~2 Dr. David Turner, Chair, Computer Science ate ABSTRACT In the Current game market; the 3D multi-user game is the most popular game. To develop a successful .3D multi-llger game, we need 2D artists, 3D artists and programme.rs to work together and use tools to author the game artd a: game engine to perform \ the game. Most of this.project; is about the 3D model developmept using too.ls such as Blender, and integration of the 3D models with a .level editor arid game engine.
    [Show full text]
  • Multiplayer Online Games Insecurity (Neverfeelsafewhileplayingonline)
    MULTIPLAYER ONLINE GAMES INSECURITY (NEVER FEEL SAFE WHILE PLAYING ONLINE) Luigi Auriemma1 and Donato Ferrante2 ReVuln http://revuln.com [email protected] http://twitter.com/revuln 25 January 2013 Abstract Multiplayer online games security is an underestimated field, with an insane amount of players playing online games and companies push- ing out new games at an incredible rate. In this ecosystem finding vulnera- bilities in games turns to be a really attractive work. 1W HY ATTACKING GAMES? There are two main entities in multiplayer games: players and companies. Players play games for fun, companies make games for money. For each of these two entities there are different possible subsets of attackers. Let’s start by considering players. 1.1A TTACKING PLAYERS Some of the people who may be interested in attacking players systems while they play online games include: Script kiddies - people without any technical knowledge. They browse the • internet looking for ready-to-use attacking tools, and then they use such tools to attack players. Primarily, their final goal is to generate Denial Of Service (DoS) conditions against players systems. Others - this category is composed by several entities. We may find people • testing exploits, or people trying to build a games-based malware botnet. Others also include people interested in deploying "applications" on remote systems. 1.2A TTACKING COMPANIES As stated previously, companies make games for money. This is their business. Because of this possible attackers for game companies include: Script kiddies - this category of attackers makes no distinction between play- • ers or companies. They attack both for fun.
    [Show full text]
  • CUSTOMER ORDER FORM (Net)
    ORDERS PREVIEWS world.com DUE th 18 JAN 2015 JAN COMIC THE SHOP’S PREVIEWSPREVIEWS CATALOG CUSTOMER ORDER FORM CUSTOMER 601 7 Jan15 Cover ROF and COF.indd 1 12/4/2014 3:14:17 PM Available only from your local comic shop! STAR WARS: “THE FORCE POSTER” BLACK T-SHIRT Preorder now! BIG HERO 6: GUARDIANS OF THE DC HEROES: BATMAN “BAYMAX BEFORE GALAXY: “HANG ON, 75TH ANNIVERSARY & AFTER” LIGHT ROCKET & GROOT!” SYMBOL PX BLACK BLUE T-SHIRT T-SHIRT T-SHIRT Preorder now! Preorder now! Preorder now! 01 Jan15 COF Apparel Shirt Ad.indd 1 12/4/2014 3:06:36 PM FRANKENSTEIN CHRONONAUTS #1 UNDERGROUND #1 IMAGE COMICS DARK HORSE COMICS BATMAN: EARTH ONE VOLUME 2 HC DC COMICS PASTAWAYS #1 DESCENDER #1 DARK HORSE COMICS IMAGE COMICS JEM AND THE HOLOGRAMS #1 IDW PUBLISHING CONVERGENCE #0 ALL-NEW DC COMICS HAWKEYE #1 MARVEL COMICS Jan15 Gem Page ROF COF.indd 1 12/4/2014 2:59:43 PM FEATURED ITEMS COMIC BOOKS & GRAPHIC NOVELS The Fox #1 l ARCHIE COMICS God Is Dead Volume 4 TP (MR) l AVATAR PRESS The Con Job #1 l BOOM! STUDIOS Bill & Ted’s Most Triumphant Return #1 l BOOM! STUDIOS Mouse Guard: Legends of the Guard Volume 3 #1 l BOOM! STUDIOS/ARCHAIA PRESS Project Superpowers: Blackcross #1 l D.E./DYNAMITE ENTERTAINMENT Angry Youth Comix HC (MR) l FANTAGRAPHICS BOOKS 1 Hellbreak #1 (MR) l ONI PRESS Doctor Who: The Ninth Doctor #1 l TITAN COMICS Penguins of Madagascar Volume 1 TP l TITAN COMICS 1 Nemo: River of Ghosts HC (MR) l TOP SHELF PRODUCTIONS Ninjak #1 l VALIANT ENTERTAINMENT BOOKS The Art of John Avon: Journeys To Somewhere Else HC l ART BOOKS Marvel Avengers: Ultimate Character Guide Updated & Expanded l COMICS DC Super Heroes: My First Book Of Girl Power Board Book l COMICS MAGAZINES Marvel Chess Collection Special #3: Star-Lord & Thanos l EAGLEMOSS Ace Magazine #1 l COMICS Alter Ego #132 l COMICS Back Issue #80 l COMICS 2 The Walking Dead Magazine #12 (MR) l MOVIE/TV TRADING CARDS Marvel’s Agents of S.H.I.E.L.D.
    [Show full text]
  • Writing Music for Animation, Video Games & Virtual Reality
    Writing Music for Animation, Video Games & Virtual Reality I. The Composer's Brief The composer will meet with the director of the production at a spotting session, to decide what kind of original music will go where in the production. Discussion can be focused more on emotions and effects, rather than musical aspects per se, with which the director may not be familiar. Through the contract (see section VI below), the composer will be commissioned to compose, arrange, perform (and/or or have performed), record and mix the music, before delivering finished, mixed masters. The composer will not normally be obliged to re-score the music after delivery of finished mixed masters. The composer may have to begin work with concepts (e.g. for animation a storyboard or still- frame animatics1). In computer games there may be character sketches. The visual material may exist in a rough cut or a (final) locked edit (this is rare). Having a locked edit is ideal, because music can be timed directly to it. Music is timed to picture through a digital audio workstation (DAW). The principle of synchronization stems from the formula: duration of 1 beat = 60 seconds metronome mark In calculating click tracks (see later) the composer should take care to distinguish between simple and compound time signatures. A dotted crotchet (dotted quarter note) is the beat in a 6/8 time signature for example. Each cue will have a SMPTE2 start time. SMPTE shows time in hours:minute:seconds:frames. A frame is one still picture from the animation. Production companies may work at different frame rates, e.g.
    [Show full text]
  • Communication Inside Game Engine
    Coordination and communication inside game engine University of Oulu Department of Information Processing Science Master’s Thesis Tuomas Kukkamaa 29 May 2014 2 Abstract This study examines the communication and coordination among different parts of game engine. As games contain multiple co-operating processes, each of which handles a small part of whole game experience, game engines must handle the management of co-operation efficiently. The issue is that while the competitive and demanding game industry has hastened the development of game engines, the academic research has been lagging behind. This study aims to bridge the gap between industrial know-how and academic research by studying how game engines handle managing the processes and data that they require. The study uses coordination paradigm as the research viewpoint and focuses on finding the coordination model used in game engines. The target of the study is to understand how the coordination model is implemented in game engines. The study followed design science research, whereby both industrial know-how and academic literature were used in finding the coordination model and implementation method of it. The coordination model was first searched among the existing models, but as those were proven inefficient in describing the overall theory, a new architectural theory was built. This new theory, called “Communication-oriented game engine architecture”, was then analysed against communication mechanisms used in open source game engines for verification. The result of the analysis indicates that the theory proposed in this thesis explains the common features among analysed game engines. Since the proposed architecture is based on existing and well-known event-based communication mechanism, the theory behind proposed architecture aids in understanding the design of game engines in respect to the design of other software.
    [Show full text]
  • The Architecture and Evolution of Computer Game Engines
    The architecture and evolution of computer game engines University of Oulu Department of Information Processing Sciences B.Sc thesis Rainer Koirikivi 12.3.2015 2 Abstract In this study, the architecture and evolution of computer game engines are analyzed by means of a literature review on the academic research body on the subject. The history of computer games, from early 1960s to modern day is presented, with a focus on the architectures behind the games. In the process, this study will answer a selection of research questions. The topics of the questions include identifying the common parts of a game engine, identifying the architectural trends in the evolution from early to present-day games and engines, identifying ways the process of evolution has affected the present state of the engines, and presenting some possible future trends for the evolution. As findings of the study, common parts of a game engine were identified as the parts that are specific to every game, with the suggestion that more detailed analyses could be made by concentrating on different genres. Increase in the size, modularity and portability of game engines, and improved tooling associated with them were identified as general trends in the evolution from first games to today. Various successful design decisions behind certain influential games were identified, and the way they affect the present state of the engines were discussed. Finally, increased utilization of parallelism, and the move of game engines from genre-specific towards genre-neutral were identified as possible future trends in the evolution. Keywords computer game, video game, game engine, game, software architecture, architecture, evolution 3 Foreword I'd like to thank my thesis supervisor Jouni Lappalainen for his continued support on what turned to be an epic journey into the fields of game engines and academic writing.
    [Show full text]
  • Range Rover Sport 2014
    Twitter Facebook RANGE ROVER SPORT 2014 Information Provided by: Twitter Facebook LONDON Page 2 Information Provided by: Twitter Facebook SAN FRANCISCO SPECIFICATIONS Page 16 Page 28 Information Provided by: Twitter Facebook Information Provided by: Twitter Facebook The Range Rover Sport has been taken to another level. It is the most agile, dynamic and responsive Land Rover ever. Its flowing lines, distinctive silhouette and dramatic presence embody the vehicle’s energy and modernity. It simply demands to be driven. Information Provided by: Vehicle shown left is Supercharged in Chile. 3 Twitter Facebook Designed and engineered by Land Rover in the UK, this vehicle has been created without compromise. It is beautifully proportioned with a muscular and contemporary presence. The tapered bodywork, wider track and shorter rear overhang help give the vehicle a powerful, planted stance. While the gentle curves, slimmer lights and sculpted corners denote the precision of its design that is unmistakably Land Rover. Information Provided by: 4 Vehicle shown right is Supercharged in Chile. Twitter Facebook Information Provided by: Twitter Facebook Information Provided by: Twitter Facebook This latest Land Rover has a composed, assertive on-road appearance. Its streamlined front elevation and rearward sloping grille give the vehicle a distinctive and confident road image. With strong flowing lines and styling, the sophisticated design of the vehicle is conveyed without compromising the Range Rover Sport’s eminently capable character. Information Provided by: Vehicle shown left and above is Supercharged in Chile. 7 Twitter Facebook The Range Rover Sport’s interior is contemporary and meticulously fashioned to its muscular character. Superb detailing, strong elegant lines and clean surfaces combine with luxurious soft-touch finishes.
    [Show full text]
  • Unreal Ambiences
    The Sound Pack Tree - Unreal Ambiences ID Name Loop Duration Channels Keywords AMBIANCE AMBIENCE ATMOSPHERE BACKGROUND BUZZ CHAOS CONTINUUM DIMENSION DREAM ENERGY FLASHBACK FORTH FUTURE GLITCH GLITCHES INSANITY 082100 Time Travel Ambience Loop 0:27 Stereo INTERFERENCE NIGHTMARE OVERLOAD PAST SPACE SPACESHIP SWOOSH SYSTEM TIME TRANSMISSION TRAVEL WARP WHOOSH AMBIANCE AMBIENCE ATMOSPHERE BACKGROUND BUZZ CHAOS CONTINUUM DIMENSION DREAM ENERGY FLASHBACK FORTH FUTURE GLITCH GLITCHES INSANITY 082200 Digital Chaos Storm Loop 0:15 Stereo INTERFERENCE NIGHTMARE OVERLOAD PAST SPACE SPACESHIP SWOOSH SYSTEM TIME TRANSMISSION TRAVEL WARP WHOOSH AMBIANCE AMBIENCE ATMOSPHERE BACKGROUND CHAOS CONTINUUM DARK DIMENSION DREAM DRUGS ENERGY FEAR FLASHBACK FORTH GHOST GLITCH 082400 Nightmare Voices Loop 0:26 Stereo HAUNTED HORROR INSANE MAGIC NIGHTMARE OVERLOAD SCARY SPACE TIME TRAVEL TRIP VOICES WARP AMBIANCE AMBIENCE ATMOSPHERE BACKGROUND CHAOS CONTINUUM DARK DIMENSION DISHARMONIC DREAM DRUGS ENERGY FEAR FLASHBACK FORTH GHOST 082800 Disharmonic Ghost Orchestra Loop 0:18 Stereo GLITCH HAUNTED HORROR INSANE MAGIC NIGHTMARE OVERLOAD SCARY SPACE TIME TRAVEL TRIP VOICES WARP AMBIANCE AMBIENCE ATMOSPHERE BACKGROUND BUZZ CHAOS CONTINUUM DIMENSION DREAM ENERGY FLASHBACK FORTH FUTURE GLITCH GLITCHES INSANITY 082900 Painful Flashback Ambience . 1:11 Stereo INTERFERENCE NIGHTMARE OVERLOAD PAST SPACE SPACESHIP SWOOSH SYSTEM TIME TRANSMISSION TRAVEL WARP WHOOSH AMBIANCE AMBIENCE ATMOSPHERE BACKGROUND CHAOS DARK DEMONIC DEVIL DIABOLIC DOOM DREAM EVIL FEAR FLASHBACK HALLOWEEN
    [Show full text]
  • NIFV - T1 a Serious Game Concerning Triage with Use of an Intelligent Tutoring System
    NIFV - T1 A Serious Game concerning Triage with use of an Intelligent Tutoring System MSc Thesis M.M. Hendriks June 2008 NIFV - T1 2 / 167 NIFV - T1 NIFV – T1 A Serious Game concerning Triage with use of an Intelligent Tutoring System MSc Thesis M.M.Hendriks 1150014 Man-Machine Interaction Group Faculty of Electrical Engineering, Mathematics and Computer Science (EEMCS) Delft University of Technology (TU Delft) Graduation committee : Prof.dr. L.J.M. Rothkrantz Ir. P. Wiggers Dr.ir. A.R. Bidarra Th.J.A. Uffink, RN, CCRN, MSc Abstract : In a Mass Casualty Incident, medical personnel aren’t able to help all the victims in a disaster area at once. Therefore, triage is performed to classify the casualties into groups of urgency. In the Netherlands, a new triage procedure is going to be introduced in the beginning of 2009. The triage system requires medical workers to re-learn and train the reasoning patterns of the new methodology. This MSc thesis will describe the creation of a serious game that will help medical workers train the triage procedure. In order to track and respond to the user’s actions in the game an Intelligent Tutoring System (ITS) will be implemented that is specifically designed for communicating with the game and the underlying game engine. The global ITS framework is used for three different observation and manipulation functions: the monitoring of the player’s movement, the providing of feedback on the user’s actions concerning triage and the automatic creation of a disaster scenario. This last function will generate a disaster area at random for the player to search victims in.
    [Show full text]
  • Serious Games Architectures and Engines
    Serious Games Architectures and Engines Heinrich Söbke1, Alexander Streicher2 1 Bauhaus-Institute for Infrastructure Solutions (b.is), Bauhaus-Universität Weimar, Germany [email protected] 2 Fraunhofer IOSB, Karlsruhe, Germany [email protected] Abstract. The term Serious Game includes a wide, heterogeneous field of digital games with varying purposes and objectives and for a multitude of different ap- plication areas. All in common is the underlying software. This chapter gives an overview on the technical aspects of serious games including their software ar- chitectures and engines. As the general topic is manifold and the technical aspects of serious game software are quite comprehensive, this chapter covers the basic principles of and requirements for serious game software. It depicts selected soft- ware architectures and provides examples for game engines including a descrip- tion of selected components. Keywords: Serious Games Architecture, Game Engine, Serious Game Devel- opment, Distributed Architecture, Game Component, Schema. 1 Introduction What are serious games and how can they be categorized? Schmidt et al. [1] suggest a categorization according to the purpose of the game: they follow the work of Connolly et al. [2] and classify the purposes of a game as Attention, Motivation, Knowledge or skill acquisition, Process Support, Joy/Playfulness and Information. Michael & Chen [3] identify eight categories as markets for serious games: Military, government, edu- cation, corporate games, healthcare, politics, religion and art. These are only two of the suggested categorizations – Djaouti et al. [4] present a literature review of serious games categorization in their work to develop their G/P/S model.
    [Show full text]