Read Book Animating Real-Time Game Characters Kindle
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Understanding Computer Role-Playing Games
Understanding Computer Role-Playing Games A Genre Analysis Based on Gameplay Features in Combat Systems Christopher Dristig Stenström1 Staffan Björk2,3 1Chalmers University of Technology 2Gothenburg University 3The Interactive Institute Department of of Applied IT Department of Applied IT Lindholmsplatsen 1 412 96 Gotheburg SWEDEN 412 96 Gothenburg SWEDEN 417 56 Göteborg +46 (0)31-7721039 +46 (0)31-7721039 +46 (0)702-889759 [email protected] [email protected] [email protected] ABSTRACT viewed as a vital part – if not the core gameplay – of the role- A game genre as diverse as that of computer role-playing games playing genre. This is a stance differing from for example that of is difficult to overview. This poses challenges or both developers Wolf [32] which uses an inclusive strategy to compile genres and researchers to position their work clearly within the genre. within video games. However, that approach leaves the We present an overview of the genre based on clustering games motivation for specific subgenres difficult to understand from a with similar gameplay features. This allows a tracing of relations structural perspective and does not clearly show any potential between subgenres through their gameplay, and connecting this to relation between the subgenres. While limiting the perspective, concrete game examples. The analysis was done through using the choice of basing a subgenre specification on the gameplay gameplay design patterns to identify gameplay features and related to combat offers to present a subgenre classification focused upon the combat systems in the games. The resulting scheme with internal relations and a common method for cluster structure makes use of 321 patterns to create 37 different selection. -
Game Console Rating
Highland Township Public Library - Video Game Collection Updated January 2020 Game Console Rating Abzu PS4, XboxOne E Ace Combat 7: Skies Unknown PS4, XboxOne T AC/DC Rockband Wii T Age of Wonders: Planetfall PS4, XboxOne T All-Stars Battle Royale PS3 T Angry Birds Trilogy PS3 E Animal Crossing, City Folk Wii E Ape Escape 2 PS2 E Ape Escape 3 PS2 E Atari Anthology PS2 E Atelier Ayesha: The Alchemist of Dusk PS3 T Atelier Sophie: Alchemist of the Mysterious Book PS4 T Banjo Kazooie- Nuts and Bolts Xbox 360 E10+ Batman: Arkham Asylum PS3 T Batman: Arkham City PS3 T Batman: Arkham Origins PS3, Xbox 360 16+ Battalion Wars 2 Wii T Battle Chasers: Nightwar PS4, XboxOne T Beyond Good & Evil PS2 T Big Beach Sports Wii E Bit Trip Complete Wii E Bladestorm: The Hundred Years' War PS3, Xbox 360 T Bloodstained Ritual of the Night PS4, XboxOne T Blue Dragon Xbox 360 T Blur PS3, Xbox 360 T Boom Blox Wii E Brave PS3, Xbox 360 E10+ Cabela's Big Game Hunter PS2 T Call of Duty 3 Wii T Captain America, Super Soldier PS3 T Crash Bandicoot N Sane Trilogy PS4 E10+ Crew 2 PS4, XboxOne T Dance Central 3 Xbox 360 T De Blob 2 Xbox 360 E Dead Cells PS4 T Deadly Creatures Wii T Deca Sports 3 Wii E Deformers: Ready at Dawn PS4, XboxOne E10+ Destiny PS3, Xbox 360 T Destiny 2 PS4, XboxOne T Dirt 4 PS4, XboxOne T Dirt Rally 2.0 PS4, XboxOne E Donkey Kong Country Returns Wii E Don't Starve Mega Pack PS4, XboxOne T Dragon Quest 11 PS4 T Highland Township Public Library - Video Game Collection Updated January 2020 Game Console Rating Dragon Quest Builders PS4 E10+ Dragon -
Ogre Battle Review
Eric Liao STS 145 February 2 1,2001 Ogre Battle Review This review is of the cult Super Nintendo hit Ogre Battle. In my eyes, it achieved cult hit status because of its appeal to hard-core garners as well as its limited release (only 25,000 US copies!), despite being extraordinarily successful in Japan. Its innovative gameplay has not been emulated by any other games to date (besides sequels). As a monument to Ogre Battle’s amazing replayability, I still play the game today on an SNES emulator. General information: Full name: Ogre Battle Saga, Episode 5: The March of the Black Queen Publisher: Atlus Developer: Quest Copyright Date: 1993 Genre: real time strategy with RPG elements Platform: Originally released for SNES, ported to Sega Saturn and Sony Playstation, with sequels for SNES, N64, NeoGeo Pocket Color, Sony Playstation # Players: 1 player game Storyline: This game hasa tremendously deep storyline for a console game, rivaling most RPGs. When I say deep, it is not in the traditional interactive fiction sense. There are no cutscenes in the game, and characters do not talk to each other. Rather, what makes the game deep is not the plot, but the completely branching structure of the plot. The story itself is not extremely original: The gametakes place thousands of years after a huge battle, called “The Ogre Battle,” was fought. This war was between mankind and demonkind, with the winner to rule the world. Mankind won and sealed the demons in the underworld. However, an evil wizard created an artifact called “The Black Diamond” that could destroy this seal. -
Game Review | the Legend of Zelda file:///Users/Denadebry/Desktop/Hpsresearch/Papersfromgreen
Game Review | The Legend of Zelda file:///Users/denadebry/Desktop/HPSresearch/PapersFromGreen... Matt Waddell STS 145: Game Review Table of Contents: Da Game Story Line & Game-play Technical Stuff Game Design Success Endnotes In 1984 President Hiroshi Yamauchi asked apprentice game designer Sigeru Miyamoto to oversee R&D4, a new research and development team for Nintendo Co., Ltd. Miyamoto's group, Joho Kaihatsu, had one assignment: "to come up with the most imaginative video games ever." 1 On February 21, 1986, Nintendo Co., Ltd. published The Legend of Zelda (hereafter abbreviated LoZ) for the Famicom in Japan. It was Miyamoto's first autonomous attempt at game design. In July 1987, Nintendo of America published LoZ for the Nintendo Entertainment System in the United States, this time with a shiny gold cartridge. Origins: where did LoZ come from? Miyamoto admits that LoZ is partly based on Ridley Scott's movie Legend. Indeed, Miyamoto's video game shares more than just a title with Scott's 1985 production. But Miyamoto's fundamental inspiration for LoZ remains his childhood home, with its maze of rooms, sliding shoji screens, and "hallways, from which there seemed to be a medieval castle's supply of hidden rooms." 2 Story Line: a brief synopsis. In the land of Hyrule, the legend of the "Triforce" was being passed down from generation to generation; golden triangles possessing mystical powers. One day, an evil army attacked Hyrule and stole the Triforce of Power. This army was led by Gannon, the powerful Prince of Darkness. Fearing his wicked rule, Zelda, the princess of Hyrule, split the remaining Triforce of Wisdom into eight fragments and hid them throughout the land. -
Super Mario Brothers
Super Mario Brothers Complete* Transcription/Arrangements for the Piano By Philip Kim Original Music Composed by Kondo Koji 近藤 浩治 Game Produced by Nintendo * I did not include sound effects not playable by the piano. Forward I want to first of all, thank the people at Nintendo for creating this video game classic which I have fond memories of playing for many hours during my early teen years and way into my 20s. I want to especially thank the composer, Kondo Koji, for composing such memorable tunes which will remain within us to those who have played this wonderful game series. I first heard the piano arrangements of the Super Mario series on the internet played by The Blindfolded Pianist, a.k.a. Martin Leung, about 4‐5 years back and I was thrilled to hear these gems on the piano. As most of the people probably did, I looked for the sheet music but I couldn’t find the complete transcriptions/arrangements for the piano except the ones available done by Martin. It was recently that I watched Martin’s performance video again and it was then when I decided if I couldn’t purchase the scores I’ll do my own transcriptions and arrangements. So it is Mr. Martin Leung that I owe my inspiration to do my own transcriptions of these musical gems. Since I couldn’t find any “Officially” published music scores for these BMG (Background Music) for the Super Mario series, I did my searches on the net and got my hands on many midi files and nsf (Nintendo Sound Format) files to play and to listen in order to notate the music. -
From Girlfriend to Gamer: Negotiating Place in the Hardcore/Casual Divide of Online Video Game Communities
FROM GIRLFRIEND TO GAMER: NEGOTIATING PLACE IN THE HARDCORE/CASUAL DIVIDE OF ONLINE VIDEO GAME COMMUNITIES Erica Kubik A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2010 Committee: Radhika Gajjala, Advisor Amy Robinson Graduate Faculty Representative Kristine Blair Donald McQuarie ii ABSTRACT Radhika Gajjala, Advisor The stereotypical video gamer has traditionally been seen as a young, white, male; even though female gamers have also always been part of video game cultures. Recent changes in the landscape of video games, especially game marketers’ increasing interest in expanding the market, have made the subject of women in gaming more noticeable than ever. This dissertation asked how gender, especially females as a troubling demographic marking difference, shaped video game cultures in the recent past. This dissertation focused primarily on cultures found on the Internet as they related to video game consoles as they took shape during the beginning of the seventh generation of consoles, between 2005 and 2009. Using discourse analysis, this dissertation analyzed the ways gendered speech was used by cultural members to define not only the limits and values of a generalizable video game culture, but also to define the idealized gamer. This dissertation found that video game cultures exhibited the same biases against women that many other cyber/digital cultures employed, as evidenced by feminist scholars of technology. Specifically, female gamers were often perceived as less authoritative of technology than male gamers. This was especially true when the concept “hardcore” was employed to describe the ideals of gaming culture. -
Playgrounds for the Digital Age: Super Mario 64 and the Emerging Identity of Videogames As an Immersive Medium
Playgrounds for the Digital Age: Super Mario 64 and the Emerging Identity of Videogames as an Immersive Medium Douglas Wilson 3-18-03 STS 145 Playgrounds for the Digital Age: Super Mario 64 and the Emerging Identity of Videogames as an Immersive Medium1 “I think great video games are like favorite playgrounds, places you become attached to and go back to again and again. Wouldn’t it be great to have a whole drawer full of ‘playgrounds’ right at your finger tips?” - Shigeru Miyamoto, Creator of Mario, 19912 Back in 1991, Shigeru Miyamoto’s proclaimed view of videogames as playgrounds probably struck most gamers – and even many game designers – as odd. Indeed, even the most popular titles of the time, such as Super Mario Brothers 3 and The Legend of Zelda were somewhat shallow in both their depth of interaction and richness of experience. Games of the time were largely physical and mental contests against the computer, against time, against the other player. But as gamers and designers have since learned, it is seldom prudent to ignore Miyamoto, the father of such blockbuster dynasties such as Super Mario Brothers, Zelda, Donkey Kong, Star Fox, and Super Mario Kart. And surely enough, Miyamoto’s vision has not only become reality, but a new paradigm in videogame design. Anyone who has played such modern megahits as Tomb Raider, Zelda 64: The Ocarina of Time, and Grand Theft Auto 3 can finally appreciate the idea of videogames as “playgrounds.” Namely, videogame worlds are increasingly fun to simply explore, interact with, and exist within. -
Jennifer Dewinter, Shigeru Miyamoto: Super Mario Bros., Donkey Kong
98 AMERICAN JOURNAL OF PLAY • FALL 2016 pily travel with her as she traverses the As the video game industry ages, the need art and craft of designing for social play, to discuss game designers and their contri- physical play, and more. Still, there is the butions becomes paramount. While there niggling (and inevitable?) question of what are several ways of looking at and con- exactly constitutes “meaningful choice.” textualizing past milestones in the game After all, even the most complex games industry—such as the books in the MIT offer players only a handful of options in Press Platform Studies series—Jennifer the grand scheme of things and, there- deWinter and Carly Kocurek’s Influential fore, the promise rather than the reality Video Game Designers series, published of choice. But I suppose that will have to by Bloomsbury, is an attempt to move for- be a question for another book. ward the conversation between the design- For the uninitiated, I expect that How ers and their games over an entire career. Games Move Us will be pleasant reading, In the series’ debut book, Shigeru and it might make a good opening text in Miyamoto, deWinter examines the cre- an Introduction to Game Design course or ator of Mario, Donkey Kong, Pikmin, and find its way onto a friend’s summer read- many other games to figure out how the ing list. More experienced readers, though, designer’s life and interests affected his will likely be better served by exploring game designs. Miyamoto is a fitting icon Isbister’s traditional scholarly work, upon to begin a series like this, considering his which How Games Move Us is based and contributions to games are both large and examples of which are cited in the book’s significant. -
Ame Development from Nintendo 8-Bit to Wii
Bachelor report in Computer Science Blekinge institute of technology, 2009 EXAMINATION CANDIDATE COMPUTER SCIENSE Game Development from Nintendo 8-bit to Wii An analysis of Super Mario Bros. 1985 to 2009 Sophie Forsell 2009-08-14 This is a report of the game development of Super Mario Bros. from 1985 to 2009. It describes the differences in the games; Story, game flow, hardware, software development and graphics Game Development from Nintendo 8-bit to Wii A report of Super Mario Bros. 1985 to 2009 Contact information: Author: Sophie Forsell E-mail: [email protected] Supervisor: Jeanette Eriksson E-mail: [email protected] Program: Game Programing Blekinge Tekniska Högskola Phone: +46 457 38 50 00 SE - 372 25 RONNEBY Fax: +46 457 279 14 2 Game Development from Nintendo 8-bit to Wii A report of Super Mario Bros. 1985 to 2009 ABSTRACT “The game begins the moment a person touches a console -- everything builds from that.” (Quote by Shiguru Miyamoto; founder of Super Mario) This report contains a well-structured analysis of the main four Super Mario games that clearly states a difference in story, hardware, software development and design. The report is structured in sections for each game to better understand the concept of the Super Mario games. The report ends with comparisons of the games for a better view of the paradigm between them. The pictures and quotations in this report are referenced to the company that has copy write and Shiguru Miyamoto that is the founder of the character Super Mario. 3 Game Development from Nintendo 8-bit to Wii A report of Super Mario Bros. -
The Nintendo 64: Nintendo’S Adult Platform? the Dichotomy of Nintendo And
THE NINTENDO 64: NINTENDO’S ADULT PLATFORM? THE DICHOTOMY OF NINTENDO AND CHILDREN’S VIDEO GAMES by Nicholas AshmorE, BA, TrEnt UnivErsity, 2016 A Major ResEarch ProjEct prEsEnted to RyErson UnivErsity in partial fulfillmEnt of thE rEquirEmEnts for thE dEgrEE of Master of Arts in thE English MA Program in LiteraturEs of ModErnity Toronto, Ontario, Canada, 2017 ©Nicholas AshmorE 2017 1 Contents Author’s DEclaration 2 Introduction 3 Toys, Or ElEctronics?: A BriEf History of Nintendo and ChildrEn’s EntertainmEnt 6 LEssons From Childhood StudiEs and Youth: ThE Adult Hand, Child PlayEr, and NostalgiA 11 Nintendo’s GamEs: ThE PowEr of ExclusivE SoftwarE 15 PhasE OnE: Launch, Super Mario 64, and ChildrEn’s VidEo GamEs 17 PhasE Two: 1998 and thE First Turning Point 22 PhasE ThrEE: ThE Dichotomy of MaturE GamEs: 2000 Onward 26 Conclusion 30 Works Cited 31 Video GAmEs Cited 33 Appendix 34 2 AUTHOR'S DECLARATION FOR ELECTRONIC SUBMISSION OF A MAJOR RESEARCH PROJECT I hereby declare that I am the sole author of this MRP. This is a true copy of the MRP, including any required final revisions. I authorize Ryerson University to lend this MRP to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this MRP by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my MRP may be made electronically available to the public. 3 Introduction WhEn thE Nintendo 64 was rElEasEd in 1996, TIME Magazine gavE it thE distinction of “MachinE of thE YEar,” arguing that Nintendo had rEvitalized thE somEwhat stagnant vidEo gamE consolE markEt of thE 1990s, which had offErEd littlE morE than incrEmEntal hardwarE upgradEs and mostly unsuccEssful add-on dEvicEs. -
Designing Gameplay Researching and Testing Nintendo’S Game Design
Designing Gameplay Researching and testing Nintendo’s game design Malin Ribäck Arcada Biblioteket och Språkenheten Helsingfors 2019 EXAMENSARBETE Arcada Utbildningsprogram: Mediekultur Identifikationsnummer: 6847 Författare: Malin Ribäck Arbetets namn: Gameplays design – Undersökning och test av Nintendos speldesign Handledare (Arcada): Mirko Ahonen Uppdragsgivare: Sammandrag: Studien gick ut på att utforska hur spelföretaget Nintendo designar gameplay. För att testa resultaten i praktiken skapades ett game design-dokument. Därför börjar arbetet med att diskutera vad game design-dokument är och vad de används för. Game design-dokumentet som gjordes i samband med studien är en kombination av det huvudsakliga game design- dokumentet och ett konceptdokument. Därför tar arbetet också upp skillnaderna mellan dessa dokument. För att utreda hur Nintendo designar gameplay utfördes en litteraturundersökning. Materialet som användes i litteraturundersökningen består av intervjuer. Majoriteten av intervjuerna härstammar från Nintendos egen hemsida. För att utforma en teori tar arbetet upp några befintliga teorier för hur Nintendo designar sina spel. För att kunna diskutera Nintendos gameplay definieras gameplays koncept genom att diskutera olika definitioner av olika författare som tar upp ämnet i fråga. Litteraturundersökningen inleds med en presentation av varifrån materialet för studien har kommit. Inledningsvis tar också arbetet upp två viktiga spelutvecklare från Nintendo, för att ge insikt i varför just de personerna är viktiga. För att presentera en helhet över hur Nintendo designar gameplay studeras, organiseras, presenteras och diskuteras innehållet från litteraturundersökningen. Resultatet från undersökningen visar bland annat att när Nintendo designar sina spel, fokuserar man på följande saker: Att göra spelen användarvänliga, att formge dem enligt deras funktion, att göra spelvärlden responsiv i förhållande till spelaren och att undvika störa eller avbryta spelarens inlevelse i spelet.