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DESIGN-DRIVEN APPROACHES TOWARD MORE EXPRESSIVE STORYGAMES a Dissertation Submitted in Partial Satisfaction of the Requirements for the Degree Of
UNIVERSITY OF CALIFORNIA SANTA CRUZ CHANGEFUL TALES: DESIGN-DRIVEN APPROACHES TOWARD MORE EXPRESSIVE STORYGAMES A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in COMPUTER SCIENCE by Aaron A. Reed June 2017 The Dissertation of Aaron A. Reed is approved: Noah Wardrip-Fruin, Chair Michael Mateas Michael Chemers Dean Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright c by Aaron A. Reed 2017 Table of Contents List of Figures viii List of Tables xii Abstract xiii Acknowledgments xv Introduction 1 1 Framework 15 1.1 Vocabulary . 15 1.1.1 Foundational terms . 15 1.1.2 Storygames . 18 1.1.2.1 Adventure as prototypical storygame . 19 1.1.2.2 What Isn't a Storygame? . 21 1.1.3 Expressive Input . 24 1.1.4 Why Fiction? . 27 1.2 A Framework for Storygame Discussion . 30 1.2.1 The Slipperiness of Genre . 30 1.2.2 Inputs, Events, and Actions . 31 1.2.3 Mechanics and Dynamics . 32 1.2.4 Operational Logics . 33 1.2.5 Narrative Mechanics . 34 1.2.6 Narrative Logics . 36 1.2.7 The Choice Graph: A Standard Narrative Logic . 38 2 The Adventure Game: An Existing Storygame Mode 44 2.1 Definition . 46 2.2 Eureka Stories . 56 2.3 The Adventure Triangle and its Flaws . 60 2.3.1 Instability . 65 iii 2.4 Blue Lacuna ................................. 66 2.5 Three Design Solutions . 69 2.5.1 The Witness ............................. 70 2.5.2 Firewatch ............................... 78 2.5.3 Her Story ............................... 86 2.6 A Technological Fix? . -
Sjwizzut 2014 Antwoorden
SJWizzut 2014 SJWizzut 2014 SJWizzut 2014 Welkom & Speluitleg Welkom… Fijn dat je mee doet aan de eerste SJWizzut … Naast deze avond waarop je vragen zo snel en goed mogelijk moet beantwoorden, mogen alle teamleden GRATIS naar onze Feestavond (uitslagavond) komen. Aangezien er een verschil zit tussen GRATIS en VOOR NIKS….kom je deze avond GRATIS…maar niet VOOR NIKS… Gezellig bij praten met de andere teams en haar teamleden… Het ‘ophalen’ van de uitslag en horen van sommige antwoorden… Maar bovenal een super gezellige avond met een LIVE BAND (Blind Date). Regeltjes Zoals bij elke quiz hebben wij ook regels…lees deze rustig door om zo goed mogelijk je vragen te kunnen beantwoorden en de hoogste score te bereiken. Wanneer wordt een antwoord goed gerekend? Simpel: als het antwoord goed is. Daarnaast gelden de volgende geboden: • Vul de antwoorden in op de grijze kaders van dit vragenboekje. Zoals deze… • Schrijf duidelijk. Aan niet of slecht leesbare antwoorden worden geen punten toegekend. • Spel correct. Als er om een specifieke naam gevraagd wordt, dan moet deze goed gespeld zijn. Wanneer moet het vragenboekje weer worden ingeleverd? Het ingevulde vragenboekje moet worden ingeleverd in De Poel VOOR 23:00 uur. Alleen de teams die hun vragenboekje tijdig en op de juiste wijze hebben ingeleverd dingen mee naar de prijzen. Hoe moet het vragenboekje worden ingeleverd? Stop alle categorieën van de Quiz op de juiste volgorde terug in het mapje en lever het zo in. Hoe werkt de puntentelling? In het totaal bestaat deze quiz uit 9 categorieën. Voor elke categorie zijn 200 punten te verdienen. -
The Game of Tetris in Machine Learning
The Game of Tetris in Machine Learning Simon´ Algorta 1 Ozg¨ ur¨ S¸ims¸ek 2 Abstract proaches to other games and to real-world problems. In the Appendix we provide a table of the algorithms reviewed The game of Tetris is an important benchmark and a description of the features used. for research in artificial intelligence and ma- chine learning. This paper provides a histori- cal account of the algorithmic developments in 2. The Game of Tetris Tetris and discusses open challenges. Hand- Tetris is one of the most well liked video games of all time. crafted controllers, genetic algorithms, and rein- It was created by Alexey Pajitnov in the USSR in 1984. forcement learning have all contributed to good It quickly turned into a popular culture icon that ignited solutions. However, existing solutions fall far copyright battles amid the tensions of the final years of the short of what can be achieved by expert players Cold War (Temple, 2004). playing without time pressure. Further study of the game has the potential to contribute to impor- The game is played on a two-dimensional grid, initially tant areas of research, including feature discov- empty. The grid gradually fills up as pieces of different ery, autonomous learning of action hierarchies, shapes, called Tetriminos, fall from the top, one at a time. and sample-efficient reinforcement learning. The player can control how each Tetrimino lands by rotat- ing it and moving it horizontally, to the left or to the right, any number of times, as it falls one row at a time until one 1. -
The History of Video Game Music from a Production Perspective
Digital Worlds: The History of Video Game Music From a Production Perspective by Griffin Tyler A thesis submitted in partial fulfillment of the requirements for the degree, Bachelor in Arts Music The Colorado College April, 2021 Approved by ___________________________ Date __May 3, 2021_______ Prof. Ryan Banagale Approved by ___________________________ Date ___________________May 4, 2021 Prof. Iddo Aharony 1 Introduction In the modern era of technology and connectivity, one of the most interactive forms of personal entertainment is video games. While video games are arguably at the height of popularity amid the social restrictions of the current Covid-19 pandemic, this popularity did not pop up overnight. For the past four decades video games have been steadily rising in accessibility and usage, growing from a novelty arcade activity of the late 1970s and early 1980s to the globally shared entertainment experience of today. A remarkable study from 2014 by the Entertainment Software Association found that around 58% of Americans actively participate in some form of video game use, the average player is 30 years old and has been playing games for over 13 years. (Sweet, 2015) The reason for this popularity is no mystery, the gaming medium offers storytelling on an interactive level not possible in other forms of media, new friends to make with the addition of online social features, and new worlds to explore when one wishes to temporarily escape from the monotony of daily life. One important aspect of video game appeal and development is music. A good soundtrack can often be the difference between a successful game and one that falls into obscurity. -
Instruction Booklet Using the Buttons
INSTRUCTIONINSTRUCTION BOOKLETBOOKLET Nintendo of America Inc. P.O. Box 957, Redmond, WA 98073-0957 U.S.A. www.nintendo.com 60292A PRINTEDPRINTED ININ USAUSA PLEASE CAREFULLY READ THE SEPARATE HEALTH AND SAFETY PRECAUTIONS BOOKLET INCLUDED WITH THIS PRODUCT BEFORE WARNING - Repetitive Motion Injuries and Eyestrain ® USING YOUR NINTENDO HARDWARE SYSTEM, GAME CARD OR Playing video games can make your muscles, joints, skin or eyes hurt after a few hours. Follow these ACCESSORY. THIS BOOKLET CONTAINS IMPORTANT HEALTH AND instructions to avoid problems such as tendinitis, carpal tunnel syndrome, skin irritation or eyestrain: SAFETY INFORMATION. • Avoid excessive play. It is recommended that parents monitor their children for appropriate play. • Take a 10 to 15 minute break every hour, even if you don't think you need it. IMPORTANT SAFETY INFORMATION: READ THE FOLLOWING • When using the stylus, you do not need to grip it tightly or press it hard against the screen. Doing so may cause fatigue or discomfort. WARNINGS BEFORE YOU OR YOUR CHILD PLAY VIDEO GAMES. • If your hands, wrists, arms or eyes become tired or sore while playing, stop and rest them for several hours before playing again. • If you continue to have sore hands, wrists, arms or eyes during or after play, stop playing and see a doctor. WARNING - Seizures • Some people (about 1 in 4000) may have seizures or blackouts triggered by light flashes or patterns, such as while watching TV or playing video games, even if they have never had a seizure before. WARNING - Battery Leakage • Anyone who has had a seizure, loss of awareness, or other symptom linked to an epileptic condition should consult a doctor before playing a video game. -
Playing Tetris Using Bandit-Based Monte-Carlo Planning
Playing Tetris Using Bandit-Based Monte-Carlo Planning Zhongjie Cai and Dapeng Zhang and Bernhard Nebel1 Abstract. to remove rows as soon as possible in each turn to survive the game. Tetris is a stochastic, open-ended board game. Existing artificial The game is over when only one player is still alive in the competi- Tetris players often use different evaluation functions and plan for tion, and of course the last player is the winner. only one or two pieces in advance. In this paper, we developed an ar- Researchers have created many artificial players for the Tetris tificial player for Tetris using the bandit-based Monte-Carlo planning game using various approaches[12]. To the best of our knowledge, method (UCT). most of the existing players rely on evaluation functions, and the In Tetris, game states are often revisited. However, UCT does not search methods are usually given less focus. The Tetris player devel- keep the information of the game states explored in the previous plan- oped by Szita et al. in 2006[11] employed the noisy cross-entropy ning episodes. We created a method to store such information for our method, but the player had a planner for only one piece. In 2003, player in a specially designed database to guide its future planning Fahey had developed an artificial player that declared to be able to process. The planner for Tetris has a high branching factor. To im- remove millions of rows in a single-player Tetris game using a two- prove game performance, we created a method to prune the planning piece planner[6]. -
(Sometimes) Invisible to the Eyes. Innovation As Driving
The business magazine for horticultural plant breeding 2013 APRIL WWW.CIOPORA.ORG PBR TOPSY-TURVY What is essential How UPOV and its members is (sometimes) turn the system upside down invisible to the eyes. SEEING DOUBLE… YOU BET Innovation as driving Minimal distance between varieties force of the market! Diversity is our Glory star® ROSES & PLANTS Conard-Pyle Roses • Woodies • Perennials Proud Introducers of e Knock Out® Family of Roses Peach Dri ® uja Fire Chief™ Clematis Sapphire Indigo™ ‘Meiggili’ PP#18542 CPBRAF ‘Congabe’ PP#19009 ‘Cleminov 51’ PP#17012 www.starroses andplants.com Table of Contents 07 Breeding industry ‘manifesto’ refl ects strong visions and daily praxis 15 12 Biancheri Creations 11 Marketability of combines centuries- Orchid lookalike innovation – the old traditions marks the start of power of ideas in with revolutionary the spring horticulture research 16 20 Contemporary How Alexey Pajitnov marketing solutions 18 regained the IP for horticultural Breeding 2.0: from rights to his Tetris® businesses fi eld book to tablet computer game 26 24 PBR topsy-turvy. 22 European patent with How UPOV and its Seeing double… unitary effect and members turn the …you bet Unifi ed Patent Court system upside down 4 www.FloraCultureInternational.com | CIOPORA Chronicle April 2013 April 2013 CIOPORA Chronicle 30 33 Belgian discovery Colombia’s PBR 35 rules give Plant system faces Breeders play vital Variety Rights teeth unsolved problems role in supply chain 38 The importance 40 36 of communication Hydrangeas in in breeder-agent- Clearly or just about a PVR squeeze grower relationships distinguishable? 44 FruitBreedomics 42 improves effi ciency A CPVO success story of fruit breeding 48 49 47 France’s accession For Meilland CIOPORA’s AGM: tout to the 1991 Act of IP is The Next Big arrive en France! the UPOV convention Thing for innovation CIOPORA Chronicle April 2013 | www.FloraCultureInternational.com 5 CIOPORA Members Aris® BallFloraPlant 0-C, 91-M, 76-Y, 0-K (red) 100-C, 0-M, 91-Y, 6-K (green) Beijing Hengda CADAMON E.G. -
Ludic Dysnarrativa: How Can Fictional Inconsistency in Games Be Reduced? by Rory Keir Summerley
Ludic Dysnarrativa: How Can Fictional Inconsistency In Games Be Reduced? by Rory Keir Summerley A Thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy (PhD) at the University of the Arts London In Collaboration with Falmouth University December 2017 Abstract The experience of fictional inconsistencies in games is surprisingly common. The goal was to determine if solutions exist for this problem and if there are inherent limitations to games as a medium that make storytelling uncommonly difficult. Termed ‘ludic dysnarrativa’, this phenomenon can cause a loss of immersion in the fictional world of a game and lead to greater difficulty in intuitively understanding a game’s rules. Through close textual analysis of The Stanley Parable and other games, common trends are identified that lead a player to experience dysnarrativa. Contemporary cognitive theory is examined alongside how other media deal with fictional inconsistency to develop a model of how information (fictional and otherwise) is structured in media generally. After determining that gaps in information are largely the cause of a player feeling dysnarrativa, it is proposed that a game must encourage imaginative acts from the player to prevent these gaps being perceived. Thus a property of games, termed ‘imaginability’, was determined desirable for fictionally consistent game worlds. Many specific case studies are cited to refine a list of principles that serve as guidelines for achieving imaginability. To further refine these models and principles, multiplayer games such as Dungeons and Dragons were analysed specifically for how multiple players navigate fictional inconsistencies within them. While they operate very differently to most single-player games in terms of their fiction, multiplayer games still provide useful clarifications and principles for reducing fictional inconsistencies in all games. -
Tetris Delivers an Irresistible, Unending Puzzle That Has Players Hooked
Recently rediscovered by art historians, and one of the few female post-Renaissance painters to achieve fame during her own era, Artemisia Gentileschi led a remarkably "modern" life. Susan Vreeland tells Artemisia's captivating story, beginning with her public humiliation in a rape trial at the age of eighteen, and continuing through her father's betrayal, her marriage of convenience, motherhood, and growing fame as an artist. Set against the glorious backdrops of Rome, Florence, Genoa, and Naples, inhabited by historical characters such as Galileo and Cosimo de' Medici II, and filled with rich details about life as a seventeenth-century painter, Vreeland creates an inspiring story about one woman's lifelong struggle to reconcile career and family, passion and genius. Lexile: Unknown Age Range: Unspecified Mr. King’s AP Art History Selection Joining the ranks of modern myth busters, Dr. Sharon Moalem turns our current understanding of illness on its head and challenges us to fundamentally change the way we think about our bodies, our health, and our relationship to just about every other living thing on earth. Through a fresh and engaging examination of our evolutionary history, Dr. Moalem reveals how many of the conditions that are diseases today actually gave our ancestors a leg up in the survival sweepstakes. But Survival of the Sickest doesn't stop there. It goes on to demonstrate just how little modern medicine really understands about human health, and offers a new way of thinking that can help all of us live longer, healthier lives. Lexile: Unknown Age Range: Unspecified Ms. Beswick’s AP Bio Selection Imogen is a runaway heiress, an orphan, a cook, and a cheat. -
Ludocapital: the Political Economy of Digital Play
UC Irvine UC Irvine Electronic Theses and Dissertations Title Ludocapital: The Political Economy of Digital Play Permalink https://escholarship.org/uc/item/0985k4rw Author Jordan, Will Gregory Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, IRVINE Ludocapital: The Political Economy of Digital Play DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Comparative Literature by Will Gregory Jordan Dissertation Committee: Associate Professor Eyal Amiran, Chair Professor James Steintrager Professor David Theo Goldberg 2014 © 2014 Will Gregory Jordan DEDICATION To my parents, who kept us playing and thinking ii TABLE OF CONTENTS Page ACKNOWLEDGMENTS iv CURRICULUM VITAE vi ABSTRACT OF THE DISSERTATION vii Introduction 1 1 Play and Freedom 25 1.1 Play and Procedurality ............................. 29 1.2 Aesthetics of game-playing ........................... 38 1.3 Digital play and the Ludic Posthuman .................... 45 1.4 Case Studies ................................... 52 1.5 Conclusions ................................... 64 2 Specters of Play: Hauntology of Tetris® 67 2.1 Tetris as Symbolic Game Object ........................ 72 2.2 Tetris as Cultural Commodity ......................... 84 2.3 The Idealization of Property in the Digital Age . 96 2.4 Conclusions ...................................115 3 Procedural Literacy: Toward a Programming Public 124 3.1 Procedural -
Learn to Play Tetris with Deep Reinforcement Learning
Learn to Play Tetris with Deep Reinforcement Learning Hanyuan Liu Lixin Liu 1155138650 1155136644 Department of CSE Department of CSE The Chinese University of Hong Kong The Chinese University of Hong Kong Shatin, Hong Kong Shatin, Hong Kong [email protected] [email protected] Abstract Tetris is one of the most popular video games ever created, perhaps in part because its difficulty makes it addictive. In this course project, we successfully trained a DQN agent in a simplified Tetris environment with state-action pruning. This simple agent is able to deal with the Tetris Problem with reasonable performance. We also applied several state of the art reinforcement learning algorithms such as Dreamer, DrQ, and Plan2Explore in the real-world Tetris game environment. We augment the Dreamer algorithm with imitation learning as Lucid Dreamer algorithm. Our experiments demonstrate that the mentioned state of art methods and their variants fail to play the original Tetris game. The complex state-action space make original Tetris a quite difficult game for non-population based reinforcement learning agents. (Video link). 1 Introduction Tetris is one of the most popular video games ever created. As shown in Figure 1, the game is played on a two-dimensional game board, where pieces of 7 different shapes, called tetriminos, fall from the top gradually. The immediate objective of the game is to move and rotate falling tetriminos to form complete rows at the bottom of the board. When an entire row becomes full, the whole row is deleted and all the cells above this row will drop one line down. -
ABSTRACT CASHMAN, SHAUN LEE. the Rhetoric
ABSTRACT CASHMAN, SHAUN LEE. The Rhetoric of Immersion in Video Game Technologies. (Under the direction of Dr. Victoria Gallagher.) Immersion is a crucial concept for understanding how people engage, interact, and understand mediated messages. This work examines the concept of immersion within video game technologies. It argues that immersion is a rhetorical function and that we can understand how a media text induces immersion using rhetorical theory. Immersion itself is defined as a unique, multifaceted relationship that forms between a person and a media message that acts on the body, mind, and emotions of a person and is intrinsically tied to the unique experience of a medium. To that end, video games are distinct in that they are comprised of a game, screen, computer, and interface. These four components allow us to understand the medium as a communicative act that can be studied through rhetoric. Justified in existing game and media theory, this work constructs a rhetorical model of immersion that highlights seven rhetorical means through which video game technologies can immerse. The rhetorical model of immersion is then compared to two existing immersion models through and analysis of five distinct video. Through this analysis the rhetorical model shows its viability by comparison and its contributions to our understanding of immersion in video game technologies. The Rhetoric of Immersion in Video Game Technologies by Shaun Cashman A dissertation submitted to the Graduate Faculty of North Carolina State University in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Communication & Rhetoric in Digital Media Raleigh, North Carolina 2010 APPROVED BY: _________________________ _________________________ Dr.