Teaching Games Level Design Using the Starcraft II Editor
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Game Level Layout from Design Specification
EUROGRAPHICS 2014 / B. Lévy and J. Kautz Volume 33 (2014), Number 2 (Guest Editors) Game Level Layout from Design Specification Chongyang Ma∗z Nicholas Vining∗ Sylvain Lefebvrey Alla Sheffer∗ ∗ University of British Columbia y ALICE/INRIA z University of Southern California Abstract The design of video game environments, or levels, aims to control gameplay by steering the player through a sequence of designer-controlled steps, while simultaneously providing a visually engaging experience. Traditionally these levels are painstakingly designed by hand, often from pre-existing building blocks, or space templates. In this paper, we propose an algorithmic approach for automatically laying out game levels from user-specified blocks. Our method allows designers to retain control of the gameplay flow via user-specified level connectivity graphs, while relieving them from the tedious task of manually assembling the building blocks into a valid, plausible layout. Our method produces sequences of diverse layouts for the same input connectivity, allowing for repeated replay of a given level within a visually different, new environment. We support complex graph connectivities and various building block shapes, and are able to compute complex layouts in seconds. The two key components of our algorithm are the use of configuration spaces defining feasible relative positions of building blocks within a layout and a graph-decomposition based layout strategy that leverages graph connectivity to speed up convergence and avoid local minima. Together these two tools quickly steer the solution toward feasible layouts. We demonstrate our method on a variety of real-life inputs, and generate appealing layouts conforming to user specifications. Categories and Subject Descriptors (according to ACM CCS): I.3.5 [Computer Graphics]: Computational Geometry and Object Modeling—Curve, surface, solid, and object representations 1. -
Textile & Fashion Careers Level 2
Textile & Fashion Careers Level 2 Apparel Construction Demonstrate measurement skills, standard and metric. Select patterns. Follow written pattern directions. Demonstrate pattern layout and material cutout. Demonstrate pattern making. Operate machines, equipment and attachments in a safe and efficient manner. Use tools for construction, alteration and repairs. Demonstrate basic construction and alteration skills and techniques. Computer Technology in Textile/Fashion Industry Set up Computer Aided Design (CAD) tables. Grade and digitize patterns. Create models. Design and plot markers. Produce embroidery motif. Interior Design Research and use information to assess product needs. Determine solutions to design problems. Select fabric, considering patterns and textures, for visual effect. Demonstrate basic construction skills needed in product development. Demonstrate basic installation of window treatments. Apply basic techniques to strip and rebuild furniture. Use standard methods of upholstery for furniture and automobiles. Design and construct slipcover products. Fashion Merchandising and Retail Describe the dynamics of the fashion industry. Explain economic concepts. Explain apparel production, business strategy, sales and distribution. Analyze retail business fundamentals. Compare strategies for retail success. Evaluate principles and methods of advertising. Analyze the global perspectives of the textile/fashion industry. Entrepreneurial Skills Describe types of small business. Analyze components of success in business. Evaluate methods for meeting customer needs. Evaluate regulations and laws related to self-employment. Utilize handcraft and entrepreneurial skills to meet business objectives. PERSONAL QUALITIES Work Effort Safety Habits Work Area Organization On Task Behavior Responsibility Initiative Team Work Respect Interpersonal Skills . -
2019 WCS Winter Rules
StarCraft II: World Championship Series 2019 WCS Winter Official Rules WCS 2019 WCS Winter Event Rules 1 of 44 TABLE OF CONTENTS 1. INTRODUCTION .......................................................................................................................................... 4 2. ACCEPTANCE OF RULES ............................................................................................................................. 4 2.1. Acceptance of the Official Rules ................................................................................................... 4 2.2. Applicability of the Official Rules. ................................................................................................. 5 3. PLAYER ELIGIBILITY REQUIREMENTS ......................................................................................................... 6 3.1. Regional Eligibility ......................................................................................................................... 6 3.2. Minimum Age Requirements. ....................................................................................................... 6 3.3. Ineligible Players. .......................................................................................................................... 7 4. WCS WINTER ELIGIBILITY ........................................................................................................................... 7 4.1. General Eligibility and Residency Requirements ......................................................................... -
Consumer Motivation, Spectatorship Experience and the Degree of Overlap Between Traditional Sport and Esport.”
COMPETITIVE SPORT IN WEB 2.0: CONSUMER MOTIVATION, SPECTATORSHIP EXPERIENCE, AND THE DEGREE OF OVERLAP BETWEEN TRADITIONAL SPORT AND ESPORT by JUE HOU ANDREW C. BILLINGS, COMMITTEE CHAIR CORY L. ARMSTRONG KENON A. BROWN JAMES D. LEEPER BRETT I. SHERRICK A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Journalism and Creative Media in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2019 Copyright Jue Hou 2019 ALL RIGHTS RESERVED ABSTRACT In the 21st Century, eSport has gradually come into public sight as a new form of competitive spectator event. This type of modern competitive video gaming resembles the field of traditional sport in multiple ways, including players, leagues, tournaments and corporate sponsorship, etc. Nevertheless, academic discussion regarding the current treatment, benefit, and risk of eSport are still ongoing. This research project examined the status quo of the rising eSport field. Based on a detailed introduction of competitive video gaming history as well as an in-depth analysis of factors that constitute a sport, this study redefined eSport as a unique form of video game competition. From the theoretical perspective of uses and gratifications, this project focused on how eSport is similar to, or different from, traditional sports in terms of spectator motivations. The current study incorporated a number of previously validated-scales in sport literature and generated two surveys, and got 536 and 530 respondents respectively. This study then utilized the data and constructed the motivation scale for eSport spectatorship consumption (MSESC) through structural equation modeling. -
Blizzcon Is Bigger Than Ever with Nine Stages, 12 Trucks, 200+ Broadcast Streams
BlizzCon Is Bigger Than Ever With Nine Stages, 12 Trucks, 200+ Broadcast Streams The live stages feed into central Master Control, ‘Post Hub’ BY JASON DACHMAN, CHIEF EDITOR NOVEMBER 2, 2018 We distribute to a huge number amount of platforms and we also localize in 18 different languages. All of our esports programming is free, and we make the decision what goes on R Logotext Lorem TaglineBlizzCon Virtual Ticket holistically across Blizzard [based on] what we feel our community would want access to. Peter Eminger, Sr. Director Blizzard With 40,000 fans onsite watching five live esports stages and four content stages sprawled across a million square feet at Anaheim Convention Center, it simply doesn’t get any bigger for the Blizzard Entertainment pro- duction operation than BlizzCon. In addition, Blizzard’s Global Broadcast team is distributing a whopping 211 unique broadcast streams to 17 outlets in 18 languages. “For us, the live event and the broadcasts are very linked together because so much of the broadcast is from these live stages. Our show is definitely bigger this year,” says Pete Emminger, senior director, Blizzard Entertain- ment. “We’re really lucky in that we have a lot of consistent crew, so this year has actually been the smoothest year so far. Plus, we’ve really had a great year at Blizzard overall, so we’re extremely excited to finally be here at BlizzCon, which is really a celebration for us as much as it is [for the fans].” A Blizzard of Activity: A Dozen Mobile Units Onsite Serving Nine Stages Now in its 14th year, the convention features everything from live esports competitions to Q&A panels and announcements to demos of upcoming game releases to concerts and much more. -
Gourmet Typography Training
presents GOURMET TYPOGRAPHY TRAINING Take control of your type instead of letting it control you! Gourmet Typography Training teaches and demonstrates the expert-level typographic skills and aesthetics that are rarely taught in schools or fully understood by professionals. Fill in the gaps in your typographic know-how and learn how to “see” type like you’ve never seen it before. Why Gourmet Typography Training? Every creative professional, regardless of specialty, can benefit from learning to communicate more effectively with type. Whether you are a beginner or seasoned pro, Gourmet Typography Training will sharpen your eye and give you practical, usable skills that will visibly improve the beauty, clarity and effectiveness of all your typographic projects. Subjects covered include: Who will benefit? What makes a good typeface Visual communicators of all kinds, including: OpenType demystified Graphic designers Type crimes: Are you a type criminal? Art directors Fine-tuning type, including alignment, Creative directors hyphenation, hung punctuation, etc. Creative services directors Tracking, kerning, and word spacing Web designers Tips for more professional typography Package designers Type on the Web, Web fonts Production specialists Type in motion Typographers Keyboard shortcuts and time-saving tips Web programmers and developers Every creative professional regardless of specialty can learn to communicate more effectively with type! For more information, call The Type Studio at 203.227.5929 or email us at [email protected]. www.thetypestudio.com (page 1 of 2) What they are saying about Ilene’s Gourmet Typography Training... “Your course was great! Since taking it, “I recently attended your Gourmet “As a working professional in the advertis- I can’t help but look at every book title, Typography workshop and wanted to ing industry with 10 years of creative magazine headline, and even company thank you again for an amazing day. -
Level Design Histories and Futures”
Level Design in a Day: “Level Design Histories and Futures” Robert Yang @radiatoryang About this talk ● Concepts and language to help you be critical about “level design” ● Not about “how to do level design” ● Heavy bias toward 3D character-based games (like everyone else) (The PERFECT level designer?) (one can dream...) Four (4) possible dimensions of contemporary level design ● as a material, as data ● as industrial process ● as architectural space ● as community politics 1:1: LevelLevel designdesign asas MATERIALS,MATERIALS, CONSTRUCTION,CONSTRUCTION, andand DATADATA “LEVEL” = a bunch of data (asset) that references a bunch of other data (other assets) “LEVEL EDITOR” = software that enables human visualization and modification of this data LEVEL EDITOR HISTORY: text editor as level editor LEVEL EDITOR HISTORY: studying tool interfaces / workflow LEVEL EDITOR HISTORY: one 2D floorplan pane AutoCAD (1982) DoomEd (~1992?) LEVEL EDITOR HISTORY: the asset browser Hammer (2004) Hammer (2006?) LEVEL EDITOR HISTORY: 3 pane, 3D preview + floorplan + elevation QuakeEd (1996) (great ancestor of “Radiant” level editors) LEVEL EDITOR HISTORY: mouse-look / WASD more emphasis on 3D camera view, more emphasis on “wandering” as workflow LEVEL EDITOR HISTORY: 4 pane, 3D preview + 2D ortho views 3D Studio (1990) Worldcraft (Hammer) (1996-2012?) Unreal Dev Kit (UE3, 2009) LEVEL EDITOR HISTORY: (from left to right:) - Unity one big interactive 3D view - Unreal 4 - SketchUp to rule them all and in the darkness bind them - Trenchbroom (Quake 1) - CryEngine3 -
Resident Sound Designer Job
Resident Sound Designer Job The Opportunity Laguna Playhouse, a professional LORT theatre company located steps away from the Pacific Ocean in the charming arts colony in Laguna Beach, California, seeks an experienced Resident Sound Designer. This employee will report directly to the Production Manager. Applicants should have Sound Design, Sound Engineering, and Sound Operator experience along with a comfort working in a fast-paced environment. This is a full time staff position. Responsibilities • Design, supervise, and execute the implementation of Laguna Playhouse Mainstage and Youth Theatre sound designs. • Act as Sound Engineer and Front of House Mixer for all Laguna Playhouse Productions. The Laguna Playhouse incorporates the “line by line” mixing style of many Broadway musicals. • Collaborate with electrics, wardrobe, and running crew. • Serve as Master Sound Engineer for all external and internal rental events. • Event related responsibilities: o Install speaker systems o Prepare consoles o Maintain and upkeep equipment o Troubleshoot and repair audio equipment o Prepare orchestra “pit” as needed o Install and troubleshoot closed circuit video and intercom systems as needed Required Skills and Experience • BFA in Audio/Sound design or equivalent experience required. • Minimum 2 years educational/professional theatre experience in sound design/audio department. • High level supervisory experience and ability to lead a crew. • Working knowledge of Yamaha line of audio consoles. • Working knowledge of QLab. • Ability to troubleshoot, repair and maintain all audio equipment including wireless mics, recording equipment and speaker systems. • Experience with “line by line” mixing style. • Excellent organizational and communication skills with the abilities to work well under pressure, make decisions, and represent the organization well. -
The Rising Esports Industry and the Need for Regulation
TIME TO BE GROWN-UPS ABOUT VIDEO GAMING: THE RISING ESPORTS INDUSTRY AND THE NEED FOR REGULATION Katherine E. Hollist* Ten years ago, eSports were an eccentric pastime primarily enjoyed in South Korea. However, in the past several years, eSports have seen meteoric growth in dozens of markets, attracting tens of millions of viewers each year in the United States, alone. Meanwhile, the players who make up the various teams that play eSports professionally enjoy few protections. The result is that many of these players— whose average ages are between 18 and 22—are experiencing health complications after practicing as much as 14 hours a day to retain their professional status. This Note will explore why traditional solutions, like existing labor laws, fail to address the problem, why unionizing is impracticable under the current model, and finally, suggest regulatory solutions to address the unique characteristics of the industry. TABLE OF CONTENTS INTRODUCTION ..................................................................................................... 824 I. WHAT ARE ESPORTS? ....................................................................................... 825 II. THE PROBLEMS PLAYERS FACE UNDER THE CURRENT MODEL ....................... 831 III. THE COMPLICATIONS WITH COLLECTIVE BARGAINING ................................. 837 IV. GETTING THE GOVERNMENT INVOLVED: THE WHY AND THE HOW .............. 839 A. Regulate the Visas ...................................................................................... 842 B. Form an -
Historiography of Korean Esports: Perspectives on Spectatorship
International Journal of Communication 14(2020), 3727–3745 1932–8036/20200005 Historiography of Korean Esports: Perspectives on Spectatorship DAL YONG JIN Simon Fraser University, Canada As a historiography of esports in Korea, this article documents the very early esports era, which played a major role in developing Korea’s esports scene, between the late 1990s and the early 2000s. By using spectatorship as a theoretical framework, it articulates the historical backgrounds for the emergence of esports in tandem with Korea’s unique sociocultural milieu, including the formation of mass spectatorship. In so doing, it attempts to identify the major players and events that contributed to the formation of esports culture. It periodizes the early Korean esports scene into three major periods—namely, the introduction of PC communications like Hitel until 1998, the introduction of StarCraft and PC bang, and the emergence of esports broadcasting and the institutionalization of spectatorship in the Korean context until 2002. Keywords: esports, historiography, spectatorship, youth culture, digital games In the late 2010s, millions of global youth participated in esports as gamers and viewers every day. With the rapid growth of various game platforms, in particular, online and mobile, people around the world enjoy these new cultural activities. From elementary school students to college students, to people in their early careers, global youth are deeply involved in esports, referring to an electronic sport and the leagues in which players compete through networked games and related activities, including the broadcasting of game leagues (Jin, 2010; T. L. Taylor, 2015). As esports attract crowds of millions more through online video streaming services like Twitch, the activity’s popularity as one of the most enjoyable sports and business products continues to soar. -
Level Design What Is Level Design?
the gamedesigninitiative at cornell university Lecture 24 Level Design What is Level Design? Understanding of player capabilities Abilities, mechanics available to the player Assumptions of current player skill level Layout of game geography Location and relationship of challenges Movement of dynamic features (e.g. NPCs) Layout of player progression How the player should move through the game How the player visualizes this progression the gamedesigninitiative 2 Level Design at cornell university Aspects of Game Design Games as Education Train player skill and understanding Focuses primarily on player capabilities Games as Exploration Focuses on the game geography Typically involves heavy storyboarding Games as Storytelling Focuses on player progression Most challenging element of game design the gamedesigninitiative 3 Level Design at cornell university Aspects of Game Design Games as Education Train player skill and understanding Focuses primarily on player capabilities Games as Exploration Focuses on the game geography Typically involves heavy storyboarding Games as Storytelling Focuses on player progression Most challengingFor a later element lecture of game design the gamedesigninitiative 4 Level Design at cornell university Aspects of Game Design Games as Education Train player skill and understanding Focuses primarily on player capabilities Games as Exploration Focuses on the game geography Typically involves heavy storyboarding Games as Storytelling Focuses on player progression Most challenging -
SUBMISSION TIPS How to Submit a Proposal (With Only a Little Trying) Welcome to Typecon! We Are a Conference for the Community, by the Community
TypeCon SUBMISSION TIPS How to submit a proposal (with only a little trying) Welcome to TypeCon! We are a conference for the community, by the community. The Society of Typographic Aficionados (SOTA) thanks you for your interest in submitting a programming proposal. As a non-profit organization, TypeCon relies on your ideas, knowledge, interests, skills, and generosity to fill our program each year. You are an integral part of this industry. Please come join us for one of the most vibrant and welcoming events in the typographic and lettering community! This year we are seeking proposals for 3 types of content: Main Conference Workshops Education Forum :20 Presentation Day, Full Day, or 2-Day :20 Presentation • Presentations exploring • Hands-on, instructional • Presentations devoted topics of interest to type, workshops teaching to addressing the design, and lettering practical skills and needs of typographic professionals; artists and techniques, in-depth and design educators, in printmakers; students exploration of various a day of dedicated and educators global writing systems, programming production intensives in Presentations typically design and engineering Presentations typically consist of a talk in apps, and professional consist of a talk in conjunction with slides. development conjunction with slides. TypeCon is an open, equitable, and diverse conference. We have welcomed speakers and workshop leaders from every continent except Antarctica (any letter lovers down there at McMurdo Station want to break the streak?). Half of our