Prasert “SUN” Prasertvithyakarn Luminous Productions Co., Ltd

Total Page:16

File Type:pdf, Size:1020Kb

Prasert “SUN” Prasertvithyakarn Luminous Productions Co., Ltd Can You Make A Good Game Without Good Play Mechanics? Prasert “SUN” Prasertvithyakarn Luminous Productions Co., Ltd. © 2019 Luminous Productions Co., Ltd. All Rights Reserved Prasert Sun Prasertvithyakarn FINAL FANTASY XV Lead Game Designer: Buddy System & AI A game designer specialized in AI and it’s application to CX (Character Experience) design. © 2016 SQUARE ENIX CO., LTD. All Rights Reserved. MAIN CHARACTER DESIGN: TETSUYA NOMURA LOGO ILLUSTRATION: © 2016 YOSHITAKA AMANO © 2016 SQUARE ENIX CO., LTD. All Rights Reserved. CHARACTER DESIGN: TETSUYA NOMURA © 2019 Luminous Productions Co., Ltd. All Rights Reserved Can we make a good game without good play mechanics? © 2019 Luminous Productions Co., Ltd. All Rights Reserved Properties of good play mechanics Meaningful Clear goals Appropriate Appropriate sets of & rules Approaches Challenges Reward Play mechanics = A quality that makes a game a game © 2019 Luminous Productions Co., Ltd. All Rights Reserved Fun from Play Mechanics Fun from other aspects © 2019 Luminous Productions Co., Ltd. All Rights Reserved • Interactive Toy • Interactive Art • Interactive Movie • Apps Fun from Play Mechanics Fun from other aspects © 2019 Luminous Productions Co., Ltd. All Rights Reserved Boundaries between content genres have become vague • Interactive Toy A Character A narrative • Interactive Art Social Game VR experience etc.. • Interactive Movie Many modern (that rarely have (that rarely have Chess strategic elements at all) meaningful choices at all) • Apps etc… TV games CONTENT A CONTENT B CONTENT C Fun from Play Mechanics Fun from More game-like contents Less game-like contents Fun from Play MechanicsFun from other aspects other aspects GAME PROBABLY A GAME IDK NOT GAME © 2019 Luminous Productions Co., Ltd. All Rights Reserved No matter if you call them “game” or not, It’s a game designer’s job to design them anyway! What’s your game/content’s fun balance like? Fun From Fun From Fun from Fun from Play Fun from Play Mechanics Play Mechanics Fun from Mechanicsother aspects other aspects other aspects • Interactive Toy A Character A narrative • Interactive Art Social Game VR experience etc.. • Interactive Movie Many modern (that rarely have (that rarely have Chess strategic elements at all) meaningful choices at all) • Apps etc… TV games CONTENT A CONTENT B CONTENT C Fun from Play Mechanics Fun from More game-like contents Less game-like contents Fun from Play MechanicsFun from other aspects other aspects © 2019 Luminous Productions Co., Ltd. All Rights Reserved Game Design is more than Play Mechanics Design Good game design can contribute to fun that is not from play mechanics too! Fun from OUR SUBJECT TODAY! Play Mechanics Fun from other aspects © 2019 Luminous Productions Co., Ltd. All Rights Reserved Our Goals Today Our goals are not to learn that we don’t need good play mechanics but to learn how to see other values games could possess and learn how to enhance them, because you will need it someday. © 2019 Luminous Productions Co., Ltd. All Rights Reserved Define the VERB © 2019 Luminous Productions Co., Ltd. All Rights Reserved What do people do with ice cream? © 2019 Luminous Productions Co., Ltd. All Rights Reserved to Eat VERB “to eat” means we should design ice cream that maximize taste. © 2019 Luminous Productions Co., Ltd. All Rights Reserved to Eat VERB “to eat” means we should design ice cream that maximize taste. What if we define another VERB that people would do with ice cream? Let’s say… to Instagram! © 2019 Luminous Productions Co., Ltd. All Rights Reserved To Instagram…? VERB © 2019 Luminous Productions Co., Ltd. All Rights Reserved To Instagram…? VERB Good designer can balance visual and flavor… however… What if we put all we have for the VERB to Instagram? What if we care about the appearance more or equal to its flavor? © 2019 Luminous Productions Co., Ltd. All Rights Reserved This what you can get when you focus to one value. In this case “to Instagram” Note: we are not discussing whether ice-cream should prioritize looks than tastes. It’s just a process for a new perspective. © 2019 Luminous Productions Co., Ltd. All Rights Reserved What do people do with Ice-Cream? New VERB = New Value New Value = New Design Approach © 2019 Luminous Productions Co., Ltd. All Rights Reserved What do people do with game? To play? Then you need good mechanics of play! © 2019 Luminous Productions Co., Ltd. All Rights Reserved What do people do with game? What if there are verbs other than to PLAY that people do with games? © 2019 Luminous Productions Co., Ltd. All Rights Reserved VERBS © 2019 Luminous Productions Co., Ltd. All Rights Reserved What you can do with a gameVERBS Relatively Requires good high awareness to PLAY to designers play mechanics ???? ???? ???? Doesn’t always require good game ???? mechanics. ???? Relatively low awareness ???? to designers © 2019 Luminous Productions Co., Ltd. All Rights Reserved to EXPLORE © 2019 Luminous Productions Co., Ltd. All Rights Reserved Why do people go sightseeing? Do they need a challenge? © 2019 Luminous Productions Co., Ltd. All Rights Reserved Make it countable!to EXPLORE Itemization & Visualization © 2019 Luminous Productions Co., Ltd. All Rights Reserved Motivation mightto change EXPLORE ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? VS ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? Exploration for Exploration for the sake of exploration the sake of completion = to PLAY (requires good play mechanics) © 2019 Luminous Productions Co., Ltd. All Rights Reserved Takeaways to EXPLORE Exploring is fun in itself. • Can we use itemization and visualization to add value to the exploration? • How do we use the sense of completion to urge the players to explore more? © 2019 Luminous Productions Co., Ltd. All Rights Reserved What you can do with a gameVERBS Relatively Requires good high awareness to PLAY to designers play mechanics • Exploring experience is fun in itself. • Can we use itemization and visualization to add value to the exploration? to EXPLORE • How do we use the sense of completion to urge the players to explore more? ???? ???? Doesn’t always require good game ???? mechanics. ???? Relatively low awareness ???? to designers © 2019 Luminous Productions Co., Ltd. All Rights Reserved to ROLE-PLAY © 2019 Luminous Productions Co., Ltd. All Rights Reserved The value oft roleo -ROLEplaying PLAY Through being a character, You savor the characters and their interactions, also the world and the story itself. © 2019 Luminous Productions Co., Ltd. All Rights Reserved Two Types oft oRole ROLE-Playing PLAY Being You Being Him/Her UNNAMED CHARACTER ROLE PLAYING NAMED CHARACTER ROLE PLAYING Be very clear about that in the design! © 2016 SQUARE ENIX CO., LTD. All Rights Reserved. CHARACTER DESIGN: TETSUYA NOMURA © 2019 Luminous Productions Co., Ltd. All Rights Reserved “Being You” Roleto-playing ROLE Design PLAY Leaving room & allow chances for player to express their thoughts/personality In contrary, provide a concrete role and situation for player to act. © 2019 Luminous Productions Co., Ltd. All Rights Reserved “Being Him/Her”to Role ROLE-Playing Design PLAY For the player to be able to act as a character, make sure the users know what the character would do Start with stereotype. See more in my talk about CX (Character Exp) Based Game Design in GDC 2018 lecture: Available in GDC Vault © 2016 SQUARE ENIX CO., LTD. All Rights Reserved. CHARACTER DESIGN: TETSUYA NOMURA © 2019 Luminous Productions Co., Ltd. All Rights Reserved “Being Him/Her”to Role ROLE-Playing Design PLAY Don’t let the player choose between being himself or being the character You can’t stop players from being them anyway! So why don’t make all choices express the characters! © 2019 Luminous Productions Co., Ltd. All Rights Reserved Projection Switchingto ROLE PLAY Don’t allow unnecessary freedom to let the player be what the character wouldn’t be Projection switching Narrative-oriented part: Parts with more freedom: tends to be the character tends to be themselves (or the director) © 2016 SQUARE ENIX CO., LTD. All Rights Reserved. CHARACTER DESIGN: TETSUYA NOMURA © 2019 Luminous Productions Co., Ltd. All Rights Reserved Takeaways to ROLE PLAY Role-playing is fun in itself. • How do we define a concrete role for the player to act? • How do we make a game that allow users to express themselves without making conflict with the given character settings? © 2019 Luminous Productions Co., Ltd. All Rights Reserved What you can do with a gameVERBS Relatively Requires good high awareness to PLAY to designers play mechanics • Exploring experience is fun in itself. • Can we use itemization and visualization to add value to the exploration? to EXPLORE • How do we use the sense of completion to urge the players to explore more? • Role-playing is fun in itself. • How do we make a game that allow users to express themselves without making conflict with to ROLE-PLAY the given character settings, while make sure it is special than their every day's life? ???? Doesn’t always require good game ???? mechanics. ???? Relatively low awareness ???? to designers © 2019 Luminous Productions Co., Ltd. All Rights Reserved to CREATE © 2019 Luminous Productions Co., Ltd. All Rights Reserved Turn users into creators ≠ Turn users into designer © 2019 Luminous Productions Co., Ltd. All Rights Reserved Method of Creationto CREATE Creation could be simple To customize a character To customize an environment To customize a scene … To take a picture And to share To draw a picture To write something To name something To dance etc. © 2019 Luminous Productions Co., Ltd. All Rights Reserved The TRAP to CREATE “Hey, I’ve added a screenshot + selfie system into the game, so that’s it, right?” © 2019 Luminous Productions Co., Ltd. All Rights Reserved Player’s Greatest Creationto CREATE See more in my talk in GDC 2017 Turn play experience into something the player could share. Available in GDC Vault © 2016 SQUARE ENIX CO., LTD. All Rights Reserved. CHARACTER DESIGN: TETSUYA NOMURA © 2019 Luminous Productions Co., Ltd.
Recommended publications
  • L'expérience De Création De Jeux Vidéo En Amateur Travailler Son
    Université de Liège Faculté de Philosophie et Lettres Département Médias, Culture et Communication L’expérience de création de jeux vidéo en amateur Travailler son goût pour l’incertitude Thèse présentée par Pierre-Yves Hurel en vue de l’obtention du titre de Docteur en Information et Communication sous la direction de Christine Servais Année académique 2019-2020 À Anne-Lyse, à notre aventure, à nos traversées, à nos horizons. À Charlotte, à tes cris de l’oie, à tes sourires en coin, à tes découvertes. REMERCIEMENTS Écrire une thèse est un acte pétri d’incertitudes, que l’auteur cherche à maîtriser, cadrer et contrôler. J’ai eu le bonheur d’être particulièrement bien accompagné dans cette pratique du doute. Seul face à mon document, j’étais riche de toutes les discussions qui ont jalonné mes années de doctorat. Je souhaite particulièrement remercier mes interlocuteurs pour leur générosité : - Christine Servais, pour sa direction minutieuse, sa franchise, sa bienveillance, ses conseils et son écoute. - Les membres du jury pour avoir accepté de me livrer leur analyse du présent travail. - Tous les membres du Liège Game Lab pour leur intelligence dans leur participation à notre collectif de recherche, pour leur capacité à échanger de manière constructive et pour leur humour sans égal. Merci au Docteure Barnabé (chercheuse internationale et coauteure de cafés-thèse fondateurs), au Docteure Delbouille (brillante sitôt qu’on l’entend), au Docteur Dupont (titulaire d’un double doctorat en lettres modernes et en élégance), au Docteur Dozo (dont le sens du collectif a tant permis), au futur Docteur Krywicki (prolifique en tout domaine), au futur Docteur Houlmont (dont je ne connais qu’un défaut) et au futur Docteur Bashandy (dont le vécu et les travaux incitent à l’humilité).
    [Show full text]
  • Behaviours and Outcomes in Unauthorised Fan-Made Video Game Production
    Behaviours and outcomes in unauthorised fan-made video game production Kris Erickson*, Martin Kretschmer*, Olympia Mavridou**, Gregor White** CREATe, University of Glasgow ** University of Abertay Dundee What is a fan game? “A new game project, initiated by fans, which takes inspiration from a pre-existing video game… a fangame adds a significant new experience, differentiating it from minor tweaks, mods, or hacks that merely transform an existing game experience. A fangame project is judged to be motivated by love for the original game, rather than piggybacking on existing engine or source code to make a new product.” Original game may, or may not, be commercially available. Space Quest 0: Replicated Kings Quest 2 Remake Narrative fidelity Ash Grey pastiche sequel Rayman 3D adaptation Narrative innovation Digital Innovation & Copyright Intervention Legal status of Remakes: Constitute copyright infringement if they copy a substantial part of the original (which fan games do, almost by definition) – Unauthorised use may signal (unmet) demand – Unauthorised use may conflict with exploitation of original, and/or damage reputation – Fan games can involve considerable innovation: technological and narrative (i.e. may be wanted from a policy perspective in their own right) Interventions? (1) tolerated use; (2) (pre-)litigation; (3) policy change (exception/non-use) Methodological difficulties: – unknown population – highly heterogeneous practice – reporting bias / survivorship bias (illegitimate activity) – decay of records (digital memory hole)
    [Show full text]
  • A Message from the Final Fantasy Vii Remake
    FOR IMMEDIATE RELEASE A MESSAGE FROM THE FINAL FANTASY VII REMAKE DEVELOPMENT TEAM LONDON (14th January 2020) – Square Enix Ltd., announced today that the global release date for FINAL FANTASY® VII REMAKE will be 10 April 2020. Below is a message from the development team: “We know that so many of you are looking forward to the release of FINAL FANTASY VII REMAKE and have been waiting patiently to experience what we have been working on. In order to ensure we deliver a game that is in-line with our vision, and the quality that our fans who have been waiting for deserve, we have decided to move the release date to 10th April 2020. We are making this tough decision in order to give ourselves a few extra weeks to apply final polish to the game and to deliver you with the best possible experience. I, on behalf of the whole team, want to apologize to everyone, as I know this means waiting for the game just a little bit longer. Thank you for your patience and continued support. - Yoshinori Kitase, Producer of FINAL FANTASY VII REMAKE” FINAL FANTASY VII REMAKE will be available for the PlayStation®4 system from 10th April 2020. For more information, visit: www.ffvii-remake.com Related Links: Facebook: https://www.facebook.com/finalfantasyvii Twitter: https://twitter.com/finalfantasyvii Instagram: https://www.instagram.com/finalfantasyvii/ YouTube: https://www.youtube.com/finalfantasy #FinalFantasy #FF7R About Square Enix Ltd. Square Enix Ltd. develops, publishes, distributes and licenses SQUARE ENIX®, EIDOS® and TAITO® branded entertainment content in Europe and other PAL territories as part of the Square Enix group of companies.
    [Show full text]
  • E3 Targate Square Enix!
    Tutte le novità dell’E3 targate Square Enix! Tra alti (pochi) e bassi (molti), ecco tutto ciò che abbiamo visto nell’evento SQUARE ENIX PRESENTS Durante l’evento digitale SQUARE ENIX PRESENTS, SQUARE ENIX ha mostrato alcuni titoli che sicuramente faranno parlare di sé, ecco un recap generale. Marvel’s Guardians of the Galaxy Eidos-Montréal ha svelato l’uscita di Marvel’s Guardians of the Galaxy, uno sfrontato gioco d’azione in terza persona dalla forte componente narrativa, che combina una storia originale ed elettrizzanti meccaniche di gioco per giocatore singolo. Sviluppato da Eidos-Montréal in collaborazione con Marvel Entertainment, Marvel’s Guardians of the Galaxy sarà pubblicato contemporaneamente per PlayStation 5, PlayStation 4, Xbox Series X|S, Xbox One, PC e in streaming con GeForce NOW il 26 ottobre 2021. Attiva gli stivali-razzo di Star-Lord per una folle corsa nel cosmo con una nuova avventura di Marvel’s Guardians of the Galaxy. Insieme agli imprevedibili Guardiani, affronta una situazione esplosiva dopo l’altra, con personaggi originali e vecchie conoscenze Marvel in lotta per il destino dell’universo. Puoi farcela. Forse. David Anfossi, Head of Studio presso Eidos-Montréal, ha dichiarato: “Il team di Eidos-Montréal è onorato di poter lavorare a una serie tanto famosa insieme ai fidati colleghi di Marvel Entertainment. I nostri team sono noti per rivisitare proprietà intellettuali con un tocco originale alle storie e alla direzione artistica. Come scoprirai, Marvel’s Guardians of the Galaxy non fa eccezione.” Marvel’s Guardians of the Galaxy è stato realizzato dal team di esperti di Eidos-Montréal, in collaborazione con Marvel Entertainment per garantire un’esperienza originale e autentica ispirata a oltre 50 anni di tradizione dei Guardiani della Galassia.
    [Show full text]
  • ALAIC 29.Indd
    RECRIAR E DIFUNDIR: PRÁTICAS DE CIRCULAÇÃO A PARTIR DO JOGO ARMA 3 RECREATE AND DISTRIBUTE: CIRCULATION PRACTICES FROM ARMA 3 GAME RECREAR Y DIFUNDIR: PRÁCTICAS DE CIRCULACIÓN DEL JUEGO ARMA 3 Edu Jacques 82 Pós-doutorando em Design na Unisinos. Doutor em Ciências da Comunicação pela Unisinos. E-mail: [email protected]. RESUMO O convite feito a consumidores de objetos midiáticos a uma produção derivada conduz a uma reinterpretação do processo de circulação. Antes justaposto entre os momentos de produção e recepção, o operador reveste-se atualmente de importância analítica. Diante desse desafio recorremos a relatos de pesquisa empírica a respeito da produção que jogadores elaboram sobre um jogo de ação, Arma 3. Nesse quadro de referência, com a aceleração das trocas simbólicas num processo que convencionou-se chamar de midiatização, investimos numa análise das práticas de recepção criativa ou cocriação. O foco dado no texto remete às dinâmicas de aprendizado e sobre o redirecionamento narrativo. PALAVRAS-CHAVE: RECEPÇÃO; MIDIATIZAÇÃO; JOGOS DIGITAIS; CIRCULAÇÃO ABSTRACT The invitation to consumers of media objects to a derivative production leads to a reinterpretation of the circulation process in communication studies agenda. Previously, the process was juxtaposed between production and reception stages, however current transformations argue for its analytical importance. In this context, with the acceleration of symbolic exchanges in a process that has been called mediatization, we proceed in an analysis of the practices of creative reception or co-creation. The focus given in the paper refers to learning dynamics and narrative redirection. 83 KEYWORDS: AUDIENCE; MEDIATIZATION; GAME STUDIES; CIRCULATION RESUMEN La invitación a los consumidores de los objetos mediaticos a una producción derivada conduce a una reinterpretación del proceso de circulación en la agenda de los estudios de comunicación.
    [Show full text]
  • Delivering Unforgettable Experiences
    DELIVERING UNFORGETTABLE EXPERIENCES Over 154 million units in global package shipments and digital sales (as of the end of March 2020) © 1997, 2020 SQUARE ENIX CO., LTD. All Rights Reserved. CHARACTER DESIGN: TETSUYA NOMURA/ROBERTO FERRARI LOGO ILLUSTRATION: © 1997 YOSHITAKA AMANO “FINAL FANTASY” Series The “FINAL FANTASY” series celebrated its 30th anniversary in 2017. It has earned high praise from fans all over the world for its cutting-edge graphics, unique world view, and rich, in-depth storylines. Since its launch in 1987, the series has sold a total of over 154 million units worldwide. ©2015-2020 SQUARE ENIX CO., LTD. All Rights Reserved. Developed by Alim Co., Ltd. LOGO ILLUSTRATION:©2014 YOSHITAKA AMANO © 2019-2020 SQUARE ENIX CO., LTD. All Rights Reserved. Co-Developed by gumi Inc. LOGO ILLUSTRATION: © 2018 YOSHITAKA AMANO © 2010 - 2020 SQUARE ENIX CO., LTD. All Rights Reserved. © 2003, 2020 SQUARE ENIX CO., LTD. All Rights Reserved. LOGO ILLUSTRATION: CHARACTER DESIGN: Toshiyuki Itahana © 2018 YOSHITAKA AMANO Over 82 million units in global package shipments and digital sales (as of the end of March 2020) © 2017, 2017117 2019201 011 ARMORAARM M PROJECT/BIRD J STUDIO/SQUARE U / UA ENIX N X AAllll RRightsights RReserved.eserved. “DRAGON QUEST” Series In 2016, the “DRAGON QUEST” series celebrated its 30th anniversary. This series of popular roleplaying games has sold a total of over 82 million units worldwide since the launch of “DRAGON QUEST” for the Nintendo Entertainment System in 1986. The series keeps creating new gaming experiences by actively utilizing advanced technologies such as 3D maps, StreetPass wireless communication, and cloud gaming.
    [Show full text]
  • 2010 Annual Report
    2010 Corporate Philosophy To spread happiness across the globe by providing unforgettable experiences This philosophy represents our company’s mission and the beliefs for which we stand. Each of our customers has his or her own definition of happiness. The Square Enix Group provides high-quality content, services, and products to help those customers create their own wonderful, unforgettable experiences, thereby allowing them to discover a happiness all their own. Management Guidelines These guidelines reflect the foundation of principles upon which our corporate philosophy stands, and serve as a standard of value for the Group and its members. We shall strive to achieve our corporate goals while closely considering the following: 1. Professionalism We shall exhibit a high degree of professionalism, ensuring optimum results in the workplace. We shall display initiative, make continued efforts to further develop our expertise, and remain sincere and steadfast in the pursuit of our goals, while ultimately aspiring to forge a corporate culture disciplined by the pride we hold in our work. 2. Creativity and Innovation To attain and maintain new standards of value, there are questions we must ask ourselves: Is this creative? Is this innovative? Mediocre dedication can only result in mediocre achievements. Simply being content with the status quo can only lead to a collapse into oblivion. To prevent this from occurring and to avoid complacency, we must continue asking ourselves the aforementioned questions. 3. Harmony Everything in the world interacts to form a massive system. Nothing can stand alone. Everything functions with an inevitable accord to reason. It is vital to gain a proper understanding of the constantly changing tides, and to take advantage of these variations instead of struggling against them.
    [Show full text]
  • 大規模開発のための Luminous Engine の ログ分析と自動テスト
    大規模開発のための LUMINOUS ENGINE の ログ分析と自動テスト 株式会社 Luminous Productions 岩﨑 浩 自己紹介 • 岩﨑 浩 Hiroshi Iwasaki – Luminous Productions http://www.luminous-productions.com/ – プログラムセクション ディレクター FINAL FANTASY XV MONSTER OF THE DEEP FINAL FANTASY XV © 2016 SQUARE ENIX CO., LTD. All Rights Reserved. MAIN CHARACTER DESIGN:TETSUYA NOMURA LOGO ILLUSTRATION:© 2016 YOSHITAKA AMANO ©2019 Luminous Productions CO.,LTD. Agenda • LUMINOUS ENGINE 紹介 主に機能紹介 • ログ分析と自動テスト の概要 • ログ分析 15分(目標) • プレイログ 機械学習の話とか • 自動プレイ ©2019 Luminous Productions CO.,LTD. What’s © 2016-2019 SQUARE ENIX CO., LTD. All Rights Reserved. ©2019 Luminous Productions CO.,LTD. MAIN CHARACTER DESIGN:TETSUYA NOMURA コリジョン C#スクリプト ナビメッシュ レベルエディタ キャラツール グラフィックス テラインツール AI LUMINOUS ENGINEの構成 VFX アニメーション UI アセットブラウザ アセットビルド Mayaプラグイン DevOps © 2016-2019 SQUARE ENIX CO., LTD. All Rights Reserved. MAIN©2019 CHARACTER Luminous DESIGN Productions:TETSUYA CO.,LTD. NOMURA ログ分析と自動テスト 概要 ©2019 Luminous Productions CO.,LTD. QA or デバッグで 大変な所 ©2019 Luminous Productions CO.,LTD. QAで大変なところ • 繰り返すのが大変 – 必須ルート、サブクエストの通しプレイ – 全ハードウェアで同じ内容をチェック • 多数のパターンを網羅するのが大変 – 全部のアイテムを検証 – 様々なセーブデータが正常にロードできるかの確認 – マップ全域を、いろいろな時間、天候で、確認 ©2019 Luminous Productions CO.,LTD. デバッグで大変なところ • どこでバグっているか見つけるのが大変。 – ほとんどの場合、原因を見つける方が、直すより大変です。 • バグを再現するのが大変。 – 再現性が低い、とか。 – 再現する手順が大変、とか。 ©2019 Luminous Productions CO.,LTD. 自動化したいこと 繰り返し 自動プレイ パターンの網羅 スクリプト実行 発生した 原因の特定 バージョンの特定 再現 リプレイ ©2019 Luminous Productions CO.,LTD. ログ分析、自動プレイの全体像 ログホスト ログサーバー Web サーバー 開発機 スケジューラ プレイログ テストサーバーテストサーバー テストサーバーテストサーバー テストサーバー テストサーバー 自動プレイ ©2019 Luminous Productions CO.,LTD. ログ分析、自動プレイの全体像 ログホスト ログサーバー Web サーバー 開発機 スケジューラ プレイログ テストサーバーテストサーバー テストサーバーテストサーバー テストサーバー テストサーバー 自動プレイ ©2019 Luminous Productions CO.,LTD. Webサーバーの役割 • ログや自動テストの可視化です。 ©2019 Luminous Productions CO.,LTD. Webサーバー の機能紹介 ©2019 Luminous Productions CO.,LTD. テスト結果一覧 ©2019 Luminous Productions CO.,LTD. テスト結果の一覧 ©2019 Luminous Productions CO.,LTD.
    [Show full text]
  • VIDEO GAME SUBCULTURES Playing at the Periphery of Mainstream Culture Edited by Marco Benoît Carbone & Paolo Ruffino
    ISSN 2280-7705 www.gamejournal.it Published by LUDICA Issue 03, 2014 – volume 1: JOURNAL (PEER-REVIEWED) VIDEO GAME SUBCULTURES Playing at the periphery of mainstream culture Edited by Marco Benoît Carbone & Paolo Ruffino GAME JOURNAL – Peer Reviewed Section Issue 03 – 2014 GAME Journal A PROJECT BY SUPERVISING EDITORS Antioco Floris (Università di Cagliari), Roy Menarini (Università di Bologna), Peppino Ortoleva (Università di Torino), Leonardo Quaresima (Università di Udine). EDITORS WITH THE PATRONAGE OF Marco Benoît Carbone (University College London), Giovanni Caruso (Università di Udine), Riccardo Fassone (Università di Torino), Gabriele Ferri (Indiana University), Adam Gallimore (University of Warwick), Ivan Girina (University of Warwick), Federico Giordano (Università per Stranieri di Perugia), Dipartimento di Storia, Beni Culturali e Territorio Valentina Paggiarin, Justin Pickard, Paolo Ruffino (Goldsmiths, University of London), Mauro Salvador (Università Cattolica, Milano), Marco Teti (Università di Ferrara). PARTNERS ADVISORY BOARD Espen Aarseth (IT University of Copenaghen), Matteo Bittanti (California College of the Arts), Jay David Bolter (Georgia Institute of Technology), Gordon C. Calleja (IT University of Copenaghen), Gianni Canova (IULM, Milano), Antonio Catolfi (Università per Stranieri di Perugia), Mia Consalvo (Ohio University), Patrick Coppock (Università di Modena e Reggio Emilia), Ruggero Eugeni (Università Cattolica del Sacro Cuore, Milano), Roy Menarini (Università di Bologna), Enrico Menduni (Università di
    [Show full text]
  • Reference Slides for the UK Roadshow in February, 2017
    SQUARE ENIX HOLDINGS CO., LTD. U.K. Road Show Material February 2017 1 Sales Trend and Mid‐term Plan Expecting sales increase over 6 consecutive years through high growth in the Digital Entertainment (DE) segment, which is the key driver for achieving the mid‐term goal. Mid‐term Plan Million JPY 300,000~ 450,000 Sales Trend 400,000 MJPY 400,000 350,000 300,000 Adjustment 250,000 Merchandising Publication 200,000 Amusement Digital Entertainment 150,000 100,000 50,000 FY2017 : Based on the intermmediate 0 scenario in the forecast range. FY2011 FY2012 FY2013 FY2014 FY2015 FY2016 FY2017E FY2018 FY2019T 2 Profit Trend and Mid‐term Plan On top of stable profit base of MMO and Games for Smart Devices and PC Browser segments, improvement of DE profitability is crucial. Million JPY Operating Income Trend Mid‐term Plan 50,000 MJPY 60,000 50,000 40,000 Adjustment 30,000 Merchandising 20,000 Publication 10,000 Amusement 0 Digital Entertainment FY2011 FY2012 FY2013 FY2014 FY2015 FY2016 FY2017E FY2018 FY2019T (10,000) FY2017 : Based on the intermmediate scenario in the forecast range. (20,000) Sales Composition Trend by DE Sub Segment 100% 80% 60% HD 40% MMO 20% Games for Smart Devices/PC Browser 0% FY2011 FY2012 FY2013 FY2014 FY2015 FY2016 FY2017E 3 Strategies to Achieve the Mid‐term Plan. 1. Digital Sales Enhancement 2. Multi Platform Utilisation 3. Geographical Expansion 4 1. Digital Sales Enhancement ・Establish SQEX digital sales global website ‐Cross‐border/platform sales channel ‐Long tail revenue stream ・Create library of catalogue titles, and eliminate backward compatibility issue 5 1.
    [Show full text]
  • Kingdom Hearts Pre Order
    Kingdom Hearts Pre Order Unrevealable and visiting Joe sentinel his snakewood postdate weaken overboard. Austin mercurialised heaps while augmentable Bryce outreach practicably or rumpuses aeronautically. James exceed nervily as areolar Wayne dethroning her fennecs analogising adjacently. Order and canadian winter water gun fight of kingdom hearts pre order bonuses, we can help support available for pc through disney. Xehanort to retrieve his alternate selves, Marluxia, Larxene, Demyx, Luxord, Vantias, and Xion from across time in Replica bodies to form his ideal Organization XIII with Xigbar, Saix, and Vexen. Tetsuya nomura does this? Union and favorite? Disney and Pixar characters in epic, wild adventures. Kingdom Hearts III art cards. Operated by sleep where to chose from across time kingdom hearts pre order to do not endorsed, security and its way you can set in order. Get sometimes unforgettable music and register to unlock the permissions for a unique panel system which is invalid or in kingdom hearts pre order? Sorry the hearts pre order value you are not available at the story and was not responsible for multiple keyblades, and should you a game in no communication from us. User or password incorrect! Physical publications in the standard video may earn commission requests so beware of kingdom hearts pre order to retrieve his friends. Morgan is shared with differences to comment was great way to release the proper platform for kingdom hearts pre order now live, afterpay if they may be. Sorry, this field may not contain reserved space characters. The flawless condition stated that was his design, kingdom hearts pre order now if we were found on this makes it before it.
    [Show full text]
  • Teaching Resources For
    Teaching Resources for Reimena yee & Tintin Pantoja POWERED BY DIFFERENCE ENGINE NADIA TAN Artistic and geeky, Nadia likes drawing, making zines, and eating pineapple tarts. She can usually be found in her bedroom reading, making art, or daydreaming. She loves her family and wants to do well in school to make them proud. She is the self-proclaimed number one fan of the Banyan High series. PRIYA KUMAR A loner, Priya spends most of her time in her room playing video games to escape her parents and the rest of the world. She is seldom seen without her noise-cancelling headphones and hoodie. Smart, focused and driven, Priya always wants to win. She is a new fan of the Banyan High series. FU YONG QIANG Everyone’s best friend, Yong Qiang never fails to light up every room he enters. Sporty and resilient, he always finds a way to make things interesting and fun. His love of the Banyan High series is second only to Nadia’s. AQILAH ZURAIDI Creative with a flair for fashion, Aqilah loves designing and crafting. She’s a fiercely loyal friend and is determined to be an independent young woman. She is always battling Yong Qiang for the position of second biggest fan of the Banyan High series. TILLY TAY Tilly is a maker, tinkerer, and loves working as a school librarian. She is devoted to her students and her cat, and is never too far away from her next cup of coffee. She always ensures the school library has the latest Banyan High novels.
    [Show full text]