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Gamified Social Platform for Worldwide Gamers Whitepaper
Gamified Social Platform for Worldwide Gamers Whitepaper ENG Ver 2.0 Last updated July 2021 Whitepaper | Gamified Social Platform for Worldwide Gamers White Paper Ludena Protocol provides a gamified social platform for worldwide gamers The LDN token rewards users for platform engagement with fellow participants. Our 3 million strong commu- nity boasts the ultimate gamer-focused social ecosystem and offers the three major segments of the gaming industry exclusive benefits: Players Discover or upload helpful game strategies, hints and tricks and receive fair rewards for all kinds of engagement; Can easily find or sell rare and special game items in the world’s first fee-free virtual goods marketplace; Get matched with new friends to play fun and simple games with on Ludena’s 1:1 hyper casual gaming platform. Game Publishers Marketing dollars are targeted, no longer wasted, and result in real ROI effectiveness, through in-game purchases and driven player growth, due to our accumulated 1TB+ of user analytics and our 7 years of proven marketing successes. Indie Game Developers Our platform is an ideal solution for indie game developers, who want to reach a large audience, without paying exuberant commission fees, and who want to drive in-game spend, as our token economy design encourages. 1/47 ludenaprotocol.io | Copyright©2021. All rights reserved. Executive Summary | Gamified Social Platform for Worldwide Gamers Executive Summary Ludena Protocol is the first comprehensive gamified social platform, connecting gamers, from around the world, to a single application where they can play, trade and share all things gaming with one another. The Ludena Protocol team is made up of a group of professionals, who have been operating the 3 million user strong gaming social media application, 'GameTalkTalk,' for 7 years. -
Serious Games to Cope with the Genetic
i “thesis_A4” — 2018/12/20 — 12:35 — page 1 — #1 i i i Dipartimento di Informatica “Giovanni Degli Antoni” Doctoral Programme in Computer Science SERIOUS GAMES TO COPE WITH THE GENETIC TEST REVOLUTION Doctoral Dissertation of: Renato Mainetti Supervisor: Prof. N.Alberto Borghese Tutor: PhD Serena Oliveri The Chair of the Doctoral Program: Prof. Paolo Boldi Year 2018 – Cycle XXXI i i i i i “thesis_A4” — 2018/12/20 — 12:35 — page 2 — #2 i i i i i i i i “thesis_A4” — 2018/12/20 — 12:35 — page 1 — #3 i i i Acknowledgements Financial support: This work is supported by the project Mind the Risk from The Swedish Foundation for Humanities and Social Sciences, which had no influence on the content of this thesis. Grant nr. M13-0260:1 1 i i i i i “thesis_A4” — 2018/12/20 — 12:35 — page 2 — #4 i i i This research was carried out under the supervision of Prof.ssa Gabriella Pravettoni and Prof. N. Alberto Borghese. I wish to thank them for the great opportunity they gave me, allowing me to be part of the Mind the Risk project. It has been a wonderful experience and I am grateful for the trust I was given in conducting my research. I wish to thank all the people involved in the MTR project, with which I had the pleasure to work and especially Serena, Ilaria and Alessandra. Many thanks also go to Silvia and Daria for the help in collecting additional data. I wish to thank all the people who helped, participating in the test experiments. -
Matheus Lima Cunha Desenvolvimento De Um Jogo Do
Universidade de São Paulo Instituto de Matemática e Estatística Bachalerado em Ciência da Computação Matheus Lima Cunha Desenvolvimento de um jogo do gênero Metroidvania com geração procedural de mapas. São Paulo Dezembro de 2020 Desenvolvimento de um jogo do gênero Metroidvania com geração procedural de mapas. Monografia final da disciplina MAC0499 – Trabalho de Formatura Supervisionado. Supervisor: Prof. Dr. Ricardo Nakamura São Paulo Dezembro de 2020 Agradecimentos Gostaria de agradecer minha família que sempre cuidou de mim e me motivou a seguir meus sonhos. Thalia Laura por me ajudar com a parte visual do jogo e, mais importante, nos momentos difíceis.Por fim, meu orientador, Ricardo Nakamura, por me orientar mesmo observando muitos outros alunos. i Resumo Neste trabalho foi desenvolvido um jogo do gênero metroidvania aplicando-se técnicas de geração procedural de conteúdo na criação do mapa. Essa ideia vêm da suposição que essas técnicas, pouco usadas em jogos do gênero, possam contribuir positivamente para a experiencia: beneficiando sensação de exploração (uma das principais características do gê- nero metroidvania) e estimulariam que o usuário os jogue novamente após ter terminado a historia. O desenvolvimento foi feito em três etapas: criação do jogo base, estudo de al- goritmos e implementação do gerador. As primeiras versões serviram para fundamentar as principais mecânicas de jogo, sem o uso de geração procedural. Após um estudo de diferen- tes algoritmos, as melhores foram implementadas no protótipo final. As avaliações indicam interesse e divertimento da maior parte dos usuários do protótipo final. Próximos passos para este trabalho incluem a melhoria do sistema de combate do jogo como também testes com diferentes algoritmos de geração. -
Andrew Nealen
Andrew Nealen Interactive Media & Games Division Prof. Dr.-Ing. Andrew Nealen USC School of Cinematic Arts 1535 6th Street, Apt 301 3470 McClintock Avenue Santa Monica, CA 90401 Los Angeles, CA 90089 [email protected] [email protected] http://www.nealen.net Professional Game design, artificial intelligence, game programming/technology, computer Interests aided game design, computer graphics, interactive techniques, geometric mod- eling, human perception, computer animation, physically-based modeling Current Associate Professor of Cinematic Arts and Computer Science position(s) USC Cinematic Arts / USC Viterbi Work Associate Professor of Cinematic Arts and Computer Science experience USC Cinematic Arts / USC Viterbi (December 2019 { Today) Associate Professor of Cinematic Arts USC School of Cinematic Arts (May 2019 { November 2019) Visiting Associate Professor of Interactive Media & Games USC School of Cinematic Arts (September 2018 { May 2019) Assistant Professor of Computer Science NYU Tandon School of Engineering (September 2012 { September 2018) Core Team Member Hemisphere Games (September 2007 { Today) Assistant Professor of Computer Science Rutgers University (September 2008 { July 2012) Game Designer/Programmer Area/Code (September 2010 { May 2011) Postdoctoral Researcher and Lecturer Technische Universit¨atBerlin (October 2007 { August 2008) Teaching: game design and programming Research Assistant, Teaching Assistant and PhD Student Technische Universit¨atDarmstadt and Technische Universit¨atBerlin (June 2003 { September 2007) -
14 Apple Arcade Games to Play on Launch Day from Strategy to Action to Puzzle Games, Here’S Where You Should Head First
APPLE MOBILE GAMING 11 14 Apple Arcade games to play on launch day From strategy to action to puzzle games, here’s where you should head first By Russ Frushtick @RussFrushtick Sep 19, 2019, 9:40am EDT Simogo Games Today’s launch of Apple Arcade might be overwhelming to some players. Subscribers who drop $4.99 a month get unlimited access to a large swath of games, and scrolling through the list can feel a bit like trying to find something good to watch on Netflix. The initial launch line-up includes over 50 games, but we’ve gone ahead and narrowed them down to 14 titles you’d do well to check out first. WHAT THE GOLF? Triband/The Label While there are plenty of thoughtful, story-driven games in the Apple Arcade collection, What the Golf? goes another way. What starts as a simple miniature golf game quickly evolves into a bizarre blend of physics-based chaos. One level might have you sliding an office chair around the course while another has you knocking full-sized buildings into the pin. The pick-up-and-play nature makes it an easy recommendation for your first dive into Apple Arcade. ASSEMBLE WITH CARE It makes sense that Apple would work with usTwo on an Apple Arcade release title. After all, the developer is known as one of the most successful mobile game makers ever, thanks to Monument Valley and its sequel. usTwo’s latest title, Assemble with Care, taps into humans’ love of taking things apart and putting them back together. -
First Person Shooting (FPS) Game
International Research Journal of Engineering and Technology (IRJET) e-ISSN: 2395-0056 Volume: 05 Issue: 04 | Apr-2018 www.irjet.net p-ISSN: 2395-0072 Thunder Force - First Person Shooting (FPS) Game Swati Nadkarni1, Panjab Mane2, Prathamesh Raikar3, Saurabh Sawant4, Prasad Sawant5, Nitesh Kuwalekar6 1 Head of Department, Department of Information Technology, Shah & Anchor Kutchhi Engineering College 2 Assistant Professor, Department of Information Technology, Shah & Anchor Kutchhi Engineering College 3,4,5,6 B.E. student, Department of Information Technology, Shah & Anchor Kutchhi Engineering College ----------------------------------------------------------------***----------------------------------------------------------------- Abstract— It has been found in researches that there is an have challenged hardware development, and multiplayer association between playing first-person shooter video games gaming has been integral. First-person shooters are a type of and having superior mental flexibility. It was found that three-dimensional shooter game featuring a first-person people playing such games require a significantly shorter point of view with which the player sees the action through reaction time for switching between complex tasks, mainly the eyes of the player character. They are unlike third- because when playing fps games they require to rapidly react person shooters in which the player can see (usually from to fast moving visuals by developing a more responsive mind behind) the character they are controlling. The primary set and to shift back and forth between different sub-duties. design element is combat, mainly involving firearms. First person-shooter games are also of ten categorized as being The successful design of the FPS game with correct distinct from light gun shooters, a similar genre with a first- direction, attractive graphics and models will give the best person perspective which uses light gun peripherals, in experience to play the game. -
Nordic Game Is a Great Way to Do This
2 Igloos inc. / Carcajou Games / Triple Boris 2 Igloos is the result of a joint venture between Carcajou Games and Triple Boris. We decided to use the complementary strengths of both studios to create the best team needed to create this project. Once a Tale reimagines the classic tale Hansel & Gretel, with a twist. As you explore the magical forest you will discover that it is inhabited by many characters from other tales as well. Using real handmade puppets and real miniature terrains which are then 3D scanned to create a palpable, fantastic world, we are making an experience that blurs the line between video game and stop motion animated film. With a great story and stunning visuals, we want to create something truly special. Having just finished our prototype this spring, we have already been finalists for the Ubisoft Indie Serie and the Eidos Innovation Program. We want to validate our concept with the European market and Nordic Game is a great way to do this. We are looking for Publishers that yearn for great stories and games that have a deeper meaning. 2Dogs Games Ltd. Destiny’s Sword is a broad-appeal Living-Narrative Graphic Adventure where every choice matters. Players lead a squad of intergalactic peacekeepers, navigating the fallout of war and life under extreme circumstances, while exploring a breath-taking and immersive world of living, breathing, hand-painted artwork. Destiny’s Sword is filled with endless choices and unlimited possibilities—we’re taking interactive storytelling to new heights with our proprietary Insight Engine AI technology. This intricate psychology simulation provides every character with a diverse personality, backstory and desires, allowing them to respond and develop in an incredibly human fashion—generating remarkable player engagement and emotional investment, while ensuring that every playthrough is unique. -
TI£ᄍᆲAL ¬タモ Asynchronous Multiplayer Shooter With
Entertainment Computing 16 (2016) 81–93 Contents lists available at ScienceDirect Entertainment Computing journal homepage: ees.elsevier.com/entcom TIṬAL – Asynchronous multiplayer shooter with procedurally generated maps q,qq ⇑ Bhojan Anand , Wong Hong Wei School of Computing, National University of Singapore, Singapore article info abstract Article history: Would it be possible to bring the promise of unlimited re-playability typically reserved for Roguelike Received 1 March 2015 games to competitive multiplayer shooters? This paper tries to address this issue by proposing a novel Revised 21 January 2016 method to dynamically generate maps at run-time almost as soon as players press the Play button, while Accepted 19 February 2016 ensuring the features what players would expect from the genre. The procedures are simple and practi- Available online 7 March 2016 cally feasible to be employed in actual computer games. In addition, the work experiments the possibility of incorporating asynchronous game-play element into a multiplayer shooter with human imitating bots Keywords: where the players can let their bot/avatar replace them when they are not around. The algorithms are Game implemented and evaluated with a playable game. The evaluations prove that playable 3D dynamic maps TIṬAL Prodecural content generation can be generated in order of seconds using game context data to initialise the parameters of the algo- Game map generation rithm. The paper also shows that asynchronous game-play element is a possible feature for consideration Bots in next generation multiplayer shooters. Artificial intelligence Ó 2016 Elsevier B.V. All rights reserved. 1. Introduction 1.1. Procedural content generation This paper demonstrates a novel method for procedurally gen- Procedural Content Generation (PCG) is the use of algorithmic erating dynamic maps at run-time at the click of the ‘Play’ button means to create content [2,3] dynamically during run-time. -
Links to the Past User Research Rage 2
ALL FORMATS LIFTING THE LID ON VIDEO GAMES User Research Links to Game design’s the past best-kept secret? The art of making great Zelda-likes Issue 9 £3 wfmag.cc 09 Rage 2 72000 Playtesting the 16 neon apocalypse 7263 97 Sea Change Rhianna Pratchett rewrites the adventure game in Lost Words Subscribe today 12 weeks for £12* Visit: wfmag.cc/12weeks to order UK Price. 6 issue introductory offer The future of games: subscription-based? ow many subscription services are you upfront, would be devastating for video games. Triple-A shelling out for each month? Spotify and titles still dominate the market in terms of raw sales and Apple Music provide the tunes while we player numbers, so while the largest publishers may H work; perhaps a bit of TV drama on the prosper in a Spotify world, all your favourite indie and lunch break via Now TV or ITV Player; then back home mid-tier developers would no doubt ounder. to watch a movie in the evening, courtesy of etix, MIKE ROSE Put it this way: if Spotify is currently paying artists 1 Amazon Video, Hulu… per 20,000 listens, what sort of terrible deal are game Mike Rose is the The way we consume entertainment has shifted developers working from their bedroom going to get? founder of No More dramatically in the last several years, and it’s becoming Robots, the publishing And before you think to yourself, “This would never increasingly the case that the average person doesn’t label behind titles happen – it already is. -
In This Day of 3D Graphics, What Lets a Game Like ADOM Not Only Survive
Ross Hensley STS 145 Case Study 3-18-02 Ancient Domains of Mystery and Rougelike Games The epic quest begins in the city of Terinyo. A Quake 3 deathmatch might begin with a player materializing in a complex, graphically intense 3D environment, grabbing a few powerups and weapons, and fragging another player with a shotgun. Instantly blown up by a rocket launcher, he quickly respawns. Elapsed time: 30 seconds. By contrast, a player’s first foray into the ASCII-illustrated world of Ancient Domains of Mystery (ADOM) would last a bit longer—but probably not by very much. After a complex process of character creation, the intrepid adventurer hesitantly ventures into a dark cave—only to walk into a fireball trap, killing her. But a perished ADOM character, represented by an “@” symbol, does not fare as well as one in Quake: Once killed, past saved games are erased. Instead, she joins what is no doubt a rapidly growing graveyard of failed characters. In a day when most games feature high-quality 3D graphics, intricate storylines, or both, how do games like ADOM not only survive but thrive, supporting a large and active community of fans? How can a game design seemingly premised on frustrating players through continual failure prove so successful—and so addictive? 2 The Development of the Roguelike Sub-Genre ADOM is a recent—and especially popular—example of a sub-genre of Role Playing Games (RPGs). Games of this sort are typically called “Roguelike,” after the founding game of the sub-genre, Rogue. Inspired by text adventure games like Adventure, two students at UC Santa Cruz, Michael Toy and Glenn Whichman, decided to create a graphical dungeon-delving adventure, using ASCII characters to illustrate the dungeon environments. -
Music-Based Procedural Content Generation for Games
FACULDADE DE ENGENHARIA DA UNIVERSIDADE DO PORTO Music-Based Procedural Content Generation for Games Pedro Maria Resende Vieira de Castro Mestrado Integrado em Engenharia Informática e Computação Supervisor: Pedro Gonçalo Ferreira Alves Nogueira July 30, 2017 Music-Based Procedural Content Generation for Games Pedro Maria Resende Vieira de Castro Mestrado Integrado em Engenharia Informática e Computação Approved in oral examination by the committee: Chair: Jorge Manuel Gomes Barbosa External Examiner: Luís Filipe Guimarães Teófilo Supervisor: Pedro Gonçalo Ferreira Alves Nogueira July 30, 2017 Abstract Procedural content generation (PCG) has been used to create content for video games since 1980’s. It allows an easier creation of levels and other game content while providing the player with a more refreshing and less boring game-play due to the constant game level variety. Although the process of PCG is said to be automatic, it is usually used with an interface where the level designer has to choose and define the creation parameters for each kind of level desired. The purpose of this thesis is to create a new paradigm, where the whole level is created using the existing designed game content and parameters without the need of anyone’s intervention. The whole choice of the parameters and settings used would be defined by music. We can extract various kind of information from any piece of music, for which different Mu- sical Information Retrieval (MIR) tools can be used. And then using this information we can map them in various different ways to select our parameters, creating in this way a paradigm where the focus is changed from a low-level parameters input method, to a higher one where these are altered and interpreted from a music track, which in turn would result in different kinds of levels and game-play by simply using a new piece of music. -
Nintendo Co., Ltd
Nintendo Co., Ltd. Financial Results Briefing for the Nine-Month Period Ended December 2013 (Briefing Date: 1/30/2014) Supplementary Information [Note] Forecasts announced by Nintendo Co., Ltd. herein are prepared based on management's assumptions with information available at this time and therefore involve known and unknown risks and uncertainties. Please note such risks and uncertainties may cause the actual results to be materially different from the forecasts (earnings forecast, dividend forecast and other forecasts). Nintendo Co., Ltd. Consolidated Statements of Income Transition million yen FY3/2010 FY3/2011 FY3/2012 FY3/2013 FY3/2014 Apr.-Dec.'09 Apr.-Dec.'10 Apr.-Dec.'11 Apr.-Dec.'12 Apr.-Dec.'13 Net sales 1,182,177 807,990 556,166 543,033 499,120 Cost of sales 715,575 487,575 425,064 415,781 349,825 Gross profit 466,602 320,415 131,101 127,251 149,294 (Gross profit ratio) (39.5%) (39.7%) (23.6%) (23.4%) (29.9%) Selling, general and administrative expenses 169,945 161,619 147,509 133,108 150,873 Operating income 296,656 158,795 -16,408 -5,857 -1,578 (Operating income ratio) (25.1%) (19.7%) (-3.0%) (-1.1%) (-0.3%) Non-operating income 19,918 7,327 7,369 29,602 57,570 (of which foreign exchange gains) (9,996) ( - ) ( - ) (22,225) (48,122) Non-operating expenses 2,064 85,635 56,988 989 425 (of which foreign exchange losses) ( - ) (84,403) (53,725) ( - ) ( - ) Ordinary income 314,511 80,488 -66,027 22,756 55,566 (Ordinary income ratio) (26.6%) (10.0%) (-11.9%) (4.2%) (11.1%) Extraordinary income 4,310 115 49 - 1,422 Extraordinary loss 2,284 33 72 402 53 Income before income taxes and minority interests 316,537 80,569 -66,051 22,354 56,936 Income taxes 124,063 31,019 -17,674 7,743 46,743 Income before minority interests - 49,550 -48,376 14,610 10,192 Minority interests in income -127 -7 -25 64 -3 Net income 192,601 49,557 -48,351 14,545 10,195 (Net income ratio) (16.3%) (6.1%) (-8.7%) (2.7%) (2.0%) - 1 - Nintendo Co., Ltd.