Procedural Content Generation
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Designing a User Interface for Musical Gameplay
Designing a User Interface for Musical Gameplay An Interactive Qualifying Project submitted to the faculty of WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science Submitted by: Tech Side: Hongbo Fang Alexander Guerra Xiaoren Yang Art Side: Kedong Ma Connor Thornberg Advisor Prof. Vincent J. Manzo Abstract A game is made up of many components, each of which require attention to detail in order to produce a game that is enjoyable to use and easy to learn. The graphical user interface, or GUI, is the method a game uses to communicate with the player and has a large impact on the gameplay experience. The goal of this project was to design a GUI for a music oriented game that allows players to construct a custom instrument using instruments they have acquired throughout the game. Based on our research of GUIs, we designed a prototype in Unity that incorporates a grid system that responds to keypress and mouse click events. We then performed a playtest and conducted a survey with students to acquire feedback about the simplicity and effectiveness of our design. We found that our design had some confusing elements, but was overall intuitive and easy to use. We found that facilitation may have impacted the results and should be taken into consideration for future development along with object labeling and testing sample size. 1 Acknowledgements We would like to thank Professor Vincent Manzo for selecting us to design an important feature of his game and for is support and encouragement throughout the duration of the project. -
Shipbreaking Bulletin of Information and Analysis on Ship Demolition # 60, from April 1 to June 30, 2020
Shipbreaking Bulletin of information and analysis on ship demolition # 60, from April 1 to June 30, 2020 August 4, 2020 On the Don River (Russia), January 2019. © Nautic/Fleetphoto Maritime acts like a wizzard. Otherwise, how could a Renaissance, built in the ex Tchecoslovakia, committed to Tanzania, ambassador of the Italian and French culture, carrying carefully general cargo on the icy Russian waters, have ended up one year later, under the watch of an Ukrainian classification society, in a Turkish scrapyard to be recycled in saucepans or in containers ? Content Wanted 2 General cargo carrier 12 Car carrier 36 Another river barge on the sea bottom 4 Container ship 18 Dreger / stone carrier 39 The VLOCs' ex VLCCs Flop 5 Ro Ro 26 Offshore service vessel 40 The one that escaped scrapping 6 Heavy load carrier 27 Research vessel 42 Derelict ships (continued) 7 Oil tanker 28 The END: 44 2nd quarter 2020 overview 8 Gas carrier 30 Have your handkerchiefs ready! Ferry 10 Chemical tanker 31 Sources 55 Cruise ship 11 Bulker 32 Robin des Bois - 1 - Shipbreaking # 60 – August 2020 Despina Andrianna. © OD/MarineTraffic Received on June 29, 2020 from Hong Kong (...) Our firm, (...) provides senior secured loans to shipowners across the globe. We are writing to enquire about vessel details in your shipbreaking publication #58 available online: http://robindesbois.org/wp-content/uploads/shipbreaking58.pdf. In particular we had questions on two vessels: Despinna Adrianna (Page 41) · We understand it was renamed to ZARA and re-flagged to Comoros · According -
Strategy Games Big Huge Games • Bruce C
04 3677_CH03 6/3/03 12:30 PM Page 67 Chapter 3 THE EXPERTS • Sid Meier, Firaxis General Game Design: • Bill Roper, Blizzard North • Brian Reynolds, Strategy Games Big Huge Games • Bruce C. Shelley, Ensemble Studios • Peter Molyneux, Do you like to use some brains along with (or instead of) brawn Lionhead Studios when gaming? This chapter is for you—how to create breathtaking • Alex Garden, strategy games. And do we have a roundtable of celebrities for you! Relic Entertainment Sid Meier, Firaxis • Louis Castle, There’s a very good reason why Sid Meier is one of the most Electronic Arts/ accomplished and respected game designers in the business. He Westwood Studios pioneered the industry with a number of unprecedented instant • Chris Sawyer, Freelance classics, such as the very first combat flight simulator, F-15 Strike Eagle; then Pirates, Railroad Tycoon, and of course, a game often • Rick Goodman, voted the number one game of all time, Civilization. Meier has con- Stainless Steel Studios tributed to a number of chapters in this book, but here he offers a • Phil Steinmeyer, few words on game inspiration. PopTop Software “Find something you as a designer are excited about,” begins • Ed Del Castillo, Meier. “If not, it will likely show through your work.” Meier also Liquid Entertainment reminds designers that this is a project that they’ll be working on for about two years, and designers have to ask themselves whether this is something they want to work on every day for that length of time. From a practical point of view, Meier says, “You probably don’t want to get into a genre that’s overly exhausted.” For me, working on SimGolf is a fine example, and Gettysburg is another—something I’ve been fascinated with all my life, and it wasn’t mainstream, but was a lot of fun to write—a fun game to put together. -
Bit Y Aparte | N.º 1
SELLO ARSGAMES | Nº 1 | Enero 2014 Revista interdisciplinar de estudios videolúdicos EDITORIAL ARTE En el bit de Bit y aparte Hibridaciones contempo- / pág. 7 ráneas: el nuevo ambiente estético / pág. 8 María Luján Oulton / Eurídice Cabañes Martínez #ÍNDICE COMITÉ CIENTÍFICO ARTE EDUCACIÓN GÉNERO Implicaciones de aprender a God of War: consecuencias de Género y sexualidad más allá FLAVIO ESCRIBANO (España). Doctor por la Universidad Complu- crear videojuegos / pág. 22 la violencia a través de héroe de lo humano / pág. 50 tense de Madrid con la tesis doctoral “El videojuego como he- griego/ pág. 36 rramienta para la pedagogía artística. Innovación y creatividad”. Jacinto Quesnel Alvarez Juan Francisco Belmonte Ávila Begoña Cadiñanos Martínez / GRACIELA ESNAOLA (Argentina). Docente del Programa de Doc- Ruth García Martín torado “Formación del Profesorado en Entornos Virtuales”. Uni- versidad de Valencia. BIT Y APARTE GONZALO FRASCA (Uruguay). Catedrático de Videojuegos de la Facultad de Comunicación y Diseño de la Universidad ORT. Revista interdisciplinar de estudios videolúdicos ÓCAR GARCÍA PANELLA (España). Director del Grado en Vi- deojuegos de ENTIUB, del Máster en Gamificación ENTIUB y del Edita: Asociación ARSGAMES Máster en Gamifiación Online y Transmedia Storytelling de IEBS. Ilustración de la portada: PATRICIA GOUVEIA (Portugal). Profesora en el master de Arte digi- Juan Díaz-Faes GAME STUDIES GAME STUDIES INNOVACIÓN tal en la Faculdade de Ciências Sociais e Humanas. Universidade Evolución histórica de los CRPG Aprendizaje en MMOG Videojuegos, machinima y cine Diseño de portada, ilustración y Nova de Lisboa. (Computer Role-Playing Games) / pág. 84 clásico / pág. 94 producción gráfica: / pág. 64 MAR MARCOS MOLANO (España). Profesora Titular en la Facultad de SELLO ARSGAMES Ruth S. -
Development of a Finite Runner Mobile Game Bachelor's Thesis | Abstract
Bachelor's Thesis Information Technology Software Business 2015 Eetu Pitkänen DEVELOPMENT OF A FINITE RUNNER MOBILE GAME BACHELOR'S THESIS | ABSTRACT TURKU UNIVERSITY OF APPLIED SCIENCES Information Technology | Software Business 2015 | 41 Tiina Ferm Eetu Pitkänen DEVELOPMENT OF A FINITE RUNNER MOBILE GAME The purpose of this thesis was to examine the process of developing a finite runner game. The game was developed for an indie game development company called FakeFish to answer their need of a product that can be easily showcased and used as a reference point of what the company is capable of in a limited amount of time. The theoretical section of the thesis focused on the game’s concept, the endless runner genre’s characteristics and history, tools used, potential publishing platforms and the challenges of publishing in the segregated markets of the east and west. The empirical section of the thesis consisted of the game’s main programmed features, ad-based monetization, the interconnectivity of the level design and difficulty as well as building to a platform. Unity was chosen as the development platform due to it having low royalty fees, a big developer community and FakeFish’s previous experience with the Unity game engine. The game’s publishing in the future will happen in the western world only as publishing in Asia is a complicated and expensive process that FakeFish is not yet ready to undergo. The publishing channel for the game is going to be Google Play and the operating system Android as these match the game’s planned monetization model and performance requirements the best. -
EA and Crytek Recruit Players Into Free Trial for Crysis Wars
EA and Crytek Recruit Players Into Free Trial for Crysis Wars New Players Can Experience the Critically-Acclaimed Multiplayer Action GameFree from April 9- April 17 and Get the Complete Crysis CompilationCrysis Maximum EditionStarting May 5 REDWOOD CITY, Calif., Apr 09, 2009 (BUSINESS WIRE) -- Electronic Arts Inc. (NASDAQ:ERTS) and Crytek GmbH announced the start of a free trial period for Crysis Wars(R)*, the multiplayer game for Crysis Warhead(R), the award-winning first-person shooter originally released last Fall. Starting today, gamers can play all of Crysis Wars** online for free including each of the game's three action-packed multiplayer modes and all 23 maps. The free trial period runs until Friday, April 17, 2009. This trial is designed to give players a sample of the signature action and visuals that only the Crysis(R) series delivered. For those players that want more than just a sample, EA and Crytek will release Crysis(R) Maximum Edition, a compilation of all three Crysis games in one box (Crysis, Crysis Warhead and Crysis Wars). Available beginning May 5th for the MSRP of $39.99, Crysis Maximum Edition is the ultimate Crysis experience. "When Crysis Wars was released seven months ago, one of our biggest goals was to be able to deliver continued support to our growing multiplayer community," said Cevat Yerli, CEO and President of Crytek. "We think we have delivered on that promise, not only by releasing new content, fixes and our powerful MOD SDK, but also by continuing to offer these types of free trials." Crysis Wars supports matches for up to 32 players and contains three distinct gameplay modes; InstantAction, frenetic deathmatch enhanced by the power of the nanosuit, PowerStruggle, a hardcore team-based mode and TeamInstantAction, a mix of fast-paced action in a team-based environment. -
Game-Designer Interviews
Appendix A Game-designer interviews To complement the technical content of the chapters, all written by academics (though some of the chapter authors also design and develop games), we performed five interviews with the creators of well-known PCG-heavy games. We selected the interviewees mostly because the games they had been part of had either introduced new interesting PCG techniques, or because they had integrated them in game de- sign in some novel way. The interviews were performed in 2013 and 2014 over email, and are reproduced in their entirety here (except for corrected typos). We asked most of the interviewees the same set of questions, focusing on the role of PCG in game design and the limits of generative methods. The interviewees are: • Andrew Doull, creator of UnAngband and UnBrogue, founder of RogueLikeRa- dio. • Ed Key, creator of Proteus. • Michael Toy, co-creator of Rogue. • Richard Evans, AI lead programmer on The Sims 3, co-creator of Versu. • Tarn Adams, creator of Dwarf Fortress. A.1 Andrew Doull Was there anything you wanted to do in a game you worked on that you could not do because of algorithmic or computational limitations? My thinking about game design has changed significantly over the years, since writing the original Death of the Level Designer series of articles. One of the key changes—guided a lot by games like Michael Brough’s 868-HACK—is that a game should embrace limitations, rather than attempt to design around them. So rather than creating procedural systems which can model everything a` la Dwarf Fortress, Ó Springer International Publishing Switzerland 2016 225 N. -
Trident Technical College Transparency Report February
Trident Technical College Transparency Report February 2020 Identification # Check Date Payee Category Object Department Source of Funds Total 03*0460665 02/05/20 AAA Business Travel Contractual Services Other Contractual Services Accreditations Unrestricted Funds $ 160.00 03*0460665 02/05/20 AAA Business Travel Travel - Out of State Out-Of-State - Air Transp. Achieving The Dream Unrestricted Funds $ 364.10 03*0460666 02/05/20 Adams Outdoor Advertising S.C. Contractual Services Prtg.Bndg.Adv.-Commercial Marketing Services Unrestricted Funds $ 825.00 03*0460667 02/05/20 Adorama Supplies & Materials Education Supplies Foundation Mini Grants Unrestricted Funds $ 4,398.70 03*0460668 02/05/20 Aircraft Technical Publishers Contractual Services Data Processing Serv.-Other IT Software Unrestricted Funds $ 4,872.00 03*0460669 02/05/20 Alternative Staffing Contractual Services Temporary Services Bookstore - Operating Overhead Unrestricted Funds $ 6,306.72 03*0460670 02/05/20 Apple Computer, Inc. Supplies & Materials Data Processing Supplies Foundation Mini Grants Unrestricted Funds $ 4,490.80 03*0460671 02/05/20 Atlantic Electric LLC Contractual Services Other Contractual Services Plant Oper & Maint-M Unrestricted Funds $ 5,605.79 03*0460672 02/05/20 Berkeley County Water & Sanitation Authority Contractual Services Utilities Plant Oper & Maint-B Unrestricted Funds $ 221.71 03*0460673 02/05/20 Berkeley Propane Company Contractual Services Utilities Plant Oper & Maint-M Unrestricted Funds $ 235.48 03*0460674 02/05/20 Berlin's Restaurant Supply, Inc. -
High-Performance Play: the Making of Machinima
High-Performance Play: The Making of Machinima Henry Lowood Stanford University <DRAFT. Do not cite or distribute. To appear in: Videogames and Art: Intersections and Interactions, Andy Clarke and Grethe Mitchell (eds.), Intellect Books (UK), 2005. Please contact author, [email protected], for permission.> Abstract: Machinima is the making of animated movies in real time through the use of computer game technology. The projects that launched machinima embedded gameplay in practices of performance, spectatorship, subversion, modification, and community. This article is concerned primarily with the earliest machinima projects. In this phase, DOOM and especially Quake movie makers created practices of game performance and high-performance technology that yielded a new medium for linear storytelling and artistic expression. My aim is not to answer the question, “are games art?”, but to suggest that game-based performance practices will influence work in artistic and narrative media. Biography: Henry Lowood is Curator for History of Science & Technology Collections at Stanford University and co-Principal Investigator for the How They Got Game Project in the Stanford Humanities Laboratory. A historian of science and technology, he teaches Stanford’s annual course on the history of computer game design. With the collaboration of the Internet Archive and the Academy of Machinima Arts and Sciences, he is currently working on a project to develop The Machinima Archive, a permanent repository to document the history of Machinima moviemaking. A body of research on the social and cultural impacts of interactive entertainment is gradually replacing the dismissal of computer games and videogames as mindless amusement for young boys. There are many good reasons for taking computer games1 seriously. -
On the Evolution of Narrative Mechanics in Open-World Games
On the Evolution of Narrative Mechanics in Open-World Games Ulrich Götz SAME MESSAGE, DIFFERENT BOTTLE Experiencing and propagating narratives is an essential component of cultural history. Although this process has changed over the course of centuries, its basic principles persist. Regardless of eras or means of transmission, it is a primordial human instinct to want to communicate real or imagined experiences, and expe- rience them oneself. How deeply rooted this can be is reflected in a wide variety of social endeavors, demands and circumstances, which underscore the central importance of storytelling to our social fabric. The value of narrative and per- formative acts manifests itself in the layout of human settlements, which are ori- ented towards meaningful landmarks. New narrative styles intertwine them- selves closely with the most advanced technologies, which they either advance as a driving force, or rapidly incorporate. The communication of narrative content may have altered its external ap- pearance, but its essence has been preserved. Printing made it possible to repli- cate texts, replacing the oral transmission of poems, songs or performances. Contemporary technological innovations further expanded narrative possibili- ties: today, these range from audiovisual compositions and three-dimensional projections to hybrid performances that fuse real and virtual space. This change of narrative modes distills existing methods down to their core and creates new genres, until they, too, are subject to this process of reduction. At the heart of these continuing cyclical mechanisms lies the moment of narrative transfer. What was once conveyed through interpersonal contact is now amplified by highly diverse forms of media and performative practices. -
PROCEDURAL CONTENT GENERATION for GAME DESIGNERS a Dissertation
UNIVERSITY OF CALIFORNIA SANTA CRUZ EXPRESSIVE DESIGN TOOLS: PROCEDURAL CONTENT GENERATION FOR GAME DESIGNERS A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in COMPUTER SCIENCE by Gillian Margaret Smith June 2012 The Dissertation of Gillian Margaret Smith is approved: ________________________________ Professor Jim Whitehead, Chair ________________________________ Associate Professor Michael Mateas ________________________________ Associate Professor Noah Wardrip-Fruin ________________________________ Professor R. Michael Young ________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Gillian Margaret Smith 2012 TABLE OF CONTENTS List of Figures .................................................................................................................. ix List of Tables ................................................................................................................ xvii Abstract ...................................................................................................................... xviii Acknowledgments ......................................................................................................... xx Chapter 1: Introduction ....................................................................................................1 1 Procedural Content Generation ................................................................................. 6 1.1 Game Design................................................................................................... -
H1 FY12 Earnings Presentation
H1 FY12 Earnings Presentation November 08, 2011 Yves Guillemot, President and Chief Executive Officer Alain Martinez, Chief Financial Officer Jean-Benoît Roquette, Head of Investor Relations Disclaimer This statement may contain estimated financial data, information on future projects and transactions and future business results/performance. Such forward-looking data are provided for estimation purposes only. They are subject to market risks and uncertainties and may vary significantly compared with the actual results that will be published. The estimated financial data have been presented to the Board of Directors and have not been audited by the Statutory Auditors. (Additional information is specified in the most recent Ubisoft Registration Document filed on June 28, 2011 with the French Financial Markets Authority (l’Autorité des marchés financiers)). 2 Summary H1 : Better than expected topline and operating income performance with strong growth margin improvement H1 : Across the board performance : Online − Casual − High Definition H2 : High potential H2 line-up for casual and passionate players, targeting Thriving HD, online platforms and casual segments H2 : Quality improves significantly Online : Continue to strenghten our offering and expertise FY12 : Confirming guidance for FY12 FY13 : Improvement in operating income and back to positive cash-flows 3 Agenda H1 FY12 performance H2 FY12 line-up and guidance 4 H1 FY12 : Sales Q2 Sales higher than guidance (146 M€ vs 99 M€) Across the board performance : Online − Casual − HD Benefits