DOCSLIB.ORG

Bit Y Aparte | N.º 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bit Y Aparte | N.º 1 SELLO ARSGAMES | Nº 1 | Enero 2014 Revista interdisciplinar de estudios videolúdicos EDITORIAL ARTE En el bit de Bit y aparte Hibridaciones contempo- / pág. 7 ráneas: el nuevo ambiente estético / pág. 8 María Luján Oulton / Eurídice Cabañes Martínez #ÍNDICE COMITÉ CIENTÍFICO ARTE EDUCACIÓN GÉNERO Implicaciones de aprender a God of War: consecuencias de Género y sexualidad más allá FLAVIO ESCRIBANO (España). Doctor por la Universidad Complu- crear videojuegos / pág. 22 la violencia a través de héroe de lo humano / pág. 50 tense de Madrid con la tesis doctoral “El videojuego como he- griego/ pág. 36 rramienta para la pedagogía artística. Innovación y creatividad”. Jacinto Quesnel Alvarez Juan Francisco Belmonte Ávila Begoña Cadiñanos Martínez / GRACIELA ESNAOLA (Argentina). Docente del Programa de Doc- Ruth García Martín torado “Formación del Profesorado en Entornos Virtuales”. Uni- versidad de Valencia. BIT Y APARTE GONZALO FRASCA (Uruguay). Catedrático de Videojuegos de la Facultad de Comunicación y Diseño de la Universidad ORT. Revista interdisciplinar de estudios videolúdicos ÓCAR GARCÍA PANELLA (España). Director del Grado en Vi- deojuegos de ENTIUB, del Máster en Gamificación ENTIUB y del Edita: Asociación ARSGAMES Máster en Gamifiación Online y Transmedia Storytelling de IEBS. Ilustración de la portada: PATRICIA GOUVEIA (Portugal). Profesora en el master de Arte digi- Juan Díaz-Faes GAME STUDIES GAME STUDIES INNOVACIÓN tal en la Faculdade de Ciências Sociais e Humanas. Universidade Evolución histórica de los CRPG Aprendizaje en MMOG Videojuegos, machinima y cine Diseño de portada, ilustración y Nova de Lisboa. (Computer Role-Playing Games) / pág. 84 clásico / pág. 94 producción gráfica: / pág. 64 MAR MARCOS MOLANO (España). Profesora Titular en la Facultad de SELLO ARSGAMES Ruth S. Contreras Espinosa / Pilar Lacasa / Mª. Ruth García- Ciencias de la Información. Universidad Complutense de Madrid. Daniel Sánchez Mateos José Luis Eguia Pernía / Sara Cortés ISSN: 2340-4434 JOAQUÍN PÉREZ (España). Director del Observatorio del Vi- Depósito legal: M-19557-2013 deojuego y de la Animación y Profesor Titular en la Universidad Europea de Madrid. sello.arsgames.net [email protected] FRANCISCO REVUELTA (España). Profesor Ayudante Doctor del Se permite la reproducción total o parcial Dpto. de Ciencias de la Educación en la Facultad de Formación de la obra y su difusión telemática para uso del Profesorado. Universidad de Extremadura. personal de los lectores siempre y cuando no sea con fines comerciales. CUAUHTEMOC SENTÍES (México). Director de las carreras de Ani- mación, Videojuegos y Web en SAE Institute. ESPECIAL: ESPECIAL: RECORTABLE CARINA SOLEDAD GONZÁLEZ (España). Directora del Máster en HISTORIANDO HISTORIANDO Gamestar[t] Creación de Videojuegos y del Máster en Interacción Persona- Ordenador en Móviles, Videojuegos y Medios Digitales. Univer- Creative Commons -Atribución-NoComercial- Uso público de la historia en Videojuegos y divulgación CompartirIgual 3.0 España (CC BY-NC-SA 3.0 ES) sidad de La Laguna. los videojuegos / pág. 110 histórica / pág. 126 Alberto Venegas Ramos Ramiro Cabañes Martínez En el bit de Bit y aparte «El pasado es como un rompe- hace que este número 1 de Bit y aparte pivote entre dos cabezas, como un espejo roto, a ejes fundamentales: la educación y la historia. medida que lo vas recomponiendo Entre ambos temas, que consideramos de gran im- te cortas y tu imagen no deja de portancia y que se complementan perfectamente —en cambiar… y tú cambias también» tanto que la historia nos permite llevar a cabo un análisis (Max Payne 2). del pasado imprescindible para comprender el presente y la educación, indefectiblemente, condiciona el futuro y, si l videojuego tiene un pasa- se hace bien, hasta puede suponer jugar a construirlo—, do y, por supuesto, un futuro. está el punto que estipulamos como nuestro inicio: el bit ESi en el número 0 de la pre- de Bit y aparte. sente publicación establecíamos Así, educación e historia impregnan el presente nú- la intención de marcar un punto mero, pero también todo SELLO ARSGAMES, cuyas publi- y aparte —o «bit y aparte»— den- caciones hasta el momento han transitado este espacio: tro de las escasas publicaciones el número inicial de la revista dando una perspectiva académicas sobre el universo del general de lo que ha sido y será el videojuego desde la videojuego en el mundo hispano- perspectiva de ARSGAMES y la reciente publicación del hablante, e iniciábamos dicha an- libro GAMESTAR(T): Pedagogías libres en la intersección danza lanzando una beta de la re- entre el arte, la pedagogía y los videojuegos mostrando vista, ahora continuamos desde el la historia de un proyecto educativo con la intención de mismísimo bit de Bit y aparte. que sus reflejos pueden multiplicarse a través del tiempo Los contenidos de estas pági- y el espacio replicándose de modo autónomo. nas inciden en la asunción del vi- Lo lúdico queda patente también en este número deojuego como una forma de arte, mediante un recortable en sus página finales que, en la reflexionan sobre la divulgación línea de toda la publicación, mezcla del mismo modo #EDITORIAL histórica y el uso público de la his- pasado y futuro, retrotrayéndonos a la infancia al invocar toria en los videojuegos, analizan las artesanías más tradicionales —invitando a recortar, las perspectivas de género en pegar y montar— y haciéndonos mirar hacia el futuro la evolución y construcción con el diseño de un robot que constituye un homenaje del espacio en el videojue- directo al proyecto educativo Gamestar(t). go y plantean diferentes e innovadoras propuestas didácticas a través de la creación o utilización de videojuegos. Todo ello #EDITORIAL ı sello arsgames #1 #ARTE HIBRIDACIONES CONTEMPORÁNEAS: el nuevo ambiente estético María Luján Oulton Eurídice Cabañes Martínez Game on! El arte en juego / Objeto a ARSGAMES / Centro Multimedia del CENART [email protected] [email protected] Palabras clave: Resumen La fuente, Brillo Bo- xes, Concetto Spazia- le, Attese, “Yard” y hibridación, arte, El arte se caracteriza por un fuerte componente de transgresión y un fuerte nes del mundo artístico1. Que una John Milton Cage Jr. videojuegos, vínculo con la sociedad en la que acontece y por tanto existe siempre en una 1. Introducción copia de una caja de detergente en estética, situación de cambio constante. Hoy estamos frente a un cambio de paradigma polvo haya sido otro de los principa- 1 La fuente, de Marcel interacción que replantea los modos de entender la estética. Videojuegos, arte interactivo, «HAMLET: ¿No ves nada ahí? les quiebros de la historia del arte2 Duchamp, 1917. La artgames y la hibridación entre arte, juego, cuerpo y tecnología, plantean un REINA: Nada de nada,y veo desencadenando el salto tras el linde obra, perteneciente a sujeto de arte activo, que comparte la autoría de las obras con sus creadores todo lo que hay» postulado por Hegel.3 Que un lienzo la categoría de ready mades creada por y abre el espacio para la transformación social. En el presente artículo hare- (Danto, 2004). blanco rasgado sea un grito desde lo Duchamp, consistía mos una aproximación a los videojuegos como herramientas de creación artís- más profundo de la esencia del ar- en un urinario titulado tica participativa, dando cuenta de algunos de los ejemplos representativos y iete cuadros rojos, idénticos te.4 Que una obra dure tan sólo unos “Fountain”, firmado abriendo el debate sobre el nuevo ambiente estético que habitamos. a primera vista y sin embargo minutos para desaparecer luego en con el seudónimo de R. Mutt y presentado en 5 Sabsolutamente distintos entre el recuerdo. Que el hecho artístico la exhibición que la So- sí. Creaciones de diversos artistas en convoque como parte constituyen- ciedad de Artistas Inde- Keywords: Abstract distintas épocas. Todas ellas obras te al espectador. Que un concierto pendientes organizó en de arte de gran virtuosismo, profun- de música carezca de instrumentos 1917. La obra desenca- denó gran controversia, hybridization, Art is characterized by a strong element of transgression and a strong link to didad conceptual y valor estético. y su partitura consista en el silencio no fue aceptada y es art, video games, the society wherein it emerges and, therefore, it always develops within an Una muestra que habla de la historia de una no-orquesta y el murmullo considerada uno de los aesthetics, ever-changing situation. Nowadays we are confronted with a new paradigm del arte, de su búsqueda ontológica, inquieto de los asistentes.6 principales hitos artísti- interaction. shift that reshapes our understanding of aesthetics. Video games, interactive de sus límites y sus luchas por que- El arte contemporáneo no se per- cos del siglo XX. art, artgames and all forms of hybridization between art, game, body and tech- brarlos. Una exhibición, imaginaria mite más a sí mismo ser representa- 2 Brillo box, Andy War- nology generate an active subject of art that shares the authorship of works por cierto, creada por Arthur Danto do por relatos legitimadores como hol, 1964. Una réplica with their creators and opens up new possibilities for social transformation. This (2004) para dar inicio a uno de sus los postulados por Greenberg.7 El serigrafiada sobre ma- paper presents an approach to video games as tools for participative artistic últimos escritos, La transfiguración arte contemporáneo se apropia de dera de las cajas de un creation, offering an analysis of especially relevant examples and trying to open del lugar común: una filosofía del ar- su historia generando una nueva au- detergente conocido. Las Brillo box fueron the debate on the contemporary artistic landscape we inhabit. te. Exhibición perfectamente plausi- toconciencia. Las vanguardias de fi- expuestas por primera ble hoy, luego de las vanguardias, de nales del siglo XIX y principios del XX vez en la Galería Stable tantos -ismos y post-períodos. supieron abandonar la mimesis de la de Nueva York junto a Y es que sólo hoy podemos realidad8 y descubrir nuevas formas otra serie de obras que replicaban elementos aceptar que un urinario haya sido de aprehender el mundo.
Load more

Recommended publications
  • Blast Off Broken Sword
    ALL FORMATS LIFTING THE LID ON VIDEO GAMES Broken Sword blast off Revolution’s fight Create a jetpack in for survival Unreal Engine 4 Issue 15 £3 wfmag.cc TEARAWAYS joyful nostalgia and comic adventure in knights and bikes UPGRADE TO LEGENDARY AG273QCX 2560x1440 A Call For Unionisation hat’s the first thing that comes to mind we’re going to get industry-wide change is collectively, when you think of the games industry by working together to make all companies improve. and its working conditions? So what does collective action look like? It’s workers W Is it something that benefits workers, getting together within their companies to figure out or is it something that benefits the companies? what they want their workplace to be like. It’s workers When I first started working in the games industry, AUSTIN within a region deciding what their slice of the games the way I was treated wasn’t often something I thought KELMORE industry should be like. And it’s game workers uniting about. I was making games and living the dream! Austin Kelmore is across the world to push for the games industry to But after twelve years in the industry and a lot of a programmer and become what we know it can be: an industry that horrible experiences, it’s now hard for me to stop the Chair of Game welcomes everyone, treats its workers well, and thinking about our industry’s working conditions. Workers Unite UK, allows us to make the games we all love. That’s what a a branch of the It’s not a surprise anymore when news comes out Independent Workers unionised games industry would look like.
    [Show full text]
  • Strategy Games Big Huge Games • Bruce C
    04 3677_CH03 6/3/03 12:30 PM Page 67 Chapter 3 THE EXPERTS • Sid Meier, Firaxis General Game Design: • Bill Roper, Blizzard North • Brian Reynolds, Strategy Games Big Huge Games • Bruce C. Shelley, Ensemble Studios • Peter Molyneux, Do you like to use some brains along with (or instead of) brawn Lionhead Studios when gaming? This chapter is for you—how to create breathtaking • Alex Garden, strategy games. And do we have a roundtable of celebrities for you! Relic Entertainment Sid Meier, Firaxis • Louis Castle, There’s a very good reason why Sid Meier is one of the most Electronic Arts/ accomplished and respected game designers in the business. He Westwood Studios pioneered the industry with a number of unprecedented instant • Chris Sawyer, Freelance classics, such as the very first combat flight simulator, F-15 Strike Eagle; then Pirates, Railroad Tycoon, and of course, a game often • Rick Goodman, voted the number one game of all time, Civilization. Meier has con- Stainless Steel Studios tributed to a number of chapters in this book, but here he offers a • Phil Steinmeyer, few words on game inspiration. PopTop Software “Find something you as a designer are excited about,” begins • Ed Del Castillo, Meier. “If not, it will likely show through your work.” Meier also Liquid Entertainment reminds designers that this is a project that they’ll be working on for about two years, and designers have to ask themselves whether this is something they want to work on every day for that length of time. From a practical point of view, Meier says, “You probably don’t want to get into a genre that’s overly exhausted.” For me, working on SimGolf is a fine example, and Gettysburg is another—something I’ve been fascinated with all my life, and it wasn’t mainstream, but was a lot of fun to write—a fun game to put together.
    [Show full text]
  • Video Games and the Mobilization of Anxiety and Desire
    PLAYING THE CRISIS: VIDEO GAMES AND THE MOBILIZATION OF ANXIETY AND DESIRE BY ROBERT MEJIA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Kent A. Ono, Chair Professor John Nerone Professor Clifford Christians Professor Robert A. Brookey, Northern Illinois University ABSTRACT This is a critical cultural and political economic analysis of the video game as an engine of global anxiety and desire. Attempting to move beyond conventional studies of the video game as a thing-in-itself, relatively self-contained as a textual, ludic, or even technological (in the narrow sense of the word) phenomenon, I propose that gaming has come to operate as an epistemological imperative that extends beyond the site of gaming in itself. Play and pleasure have come to affect sites of culture and the structural formation of various populations beyond those conceived of as belonging to conventional gaming populations: the workplace, consumer experiences, education, warfare, and even the practice of politics itself, amongst other domains. Indeed, the central claim of this dissertation is that the video game operates with the same political and cultural gravity as that ascribed to the prison by Michel Foucault. That is, just as the prison operated as the discursive site wherein the disciplinary imaginary was honed, so too does digital play operate as that discursive site wherein the ludic imperative has emerged. To make this claim, I have had to move beyond the conventional theoretical frameworks utilized in the analysis of video games.
    [Show full text]
  • Openbsd Gaming Resource
    OPENBSD GAMING RESOURCE A continually updated resource for playing video games on OpenBSD. Mr. Satterly Updated August 7, 2021 P11U17A3B8 III Title: OpenBSD Gaming Resource Author: Mr. Satterly Publisher: Mr. Satterly Date: Updated August 7, 2021 Copyright: Creative Commons Zero 1.0 Universal Email: [email protected] Website: https://MrSatterly.com/ Contents 1 Introduction1 2 Ways to play the games2 2.1 Base system........................ 2 2.2 Ports/Editors........................ 3 2.3 Ports/Emulators...................... 3 Arcade emulation..................... 4 Computer emulation................... 4 Game console emulation................. 4 Operating system emulation .............. 7 2.4 Ports/Games........................ 8 Game engines....................... 8 Interactive fiction..................... 9 2.5 Ports/Math......................... 10 2.6 Ports/Net.......................... 10 2.7 Ports/Shells ........................ 12 2.8 Ports/WWW ........................ 12 3 Notable games 14 3.1 Free games ........................ 14 A-I.............................. 14 J-R.............................. 22 S-Z.............................. 26 3.2 Non-free games...................... 31 4 Getting the games 33 4.1 Games............................ 33 5 Former ways to play games 37 6 What next? 38 Appendices 39 A Clones, models, and variants 39 Index 51 IV 1 Introduction I use this document to help organize my thoughts, files, and links on how to play games on OpenBSD. It helps me to remember what I have gone through while finding new games. The biggest reason to read or at least skim this document is because how can you search for something you do not know exists? I will show you ways to play games, what free and non-free games are available, and give links to help you get started on downloading them.
    [Show full text]
  • “Lessons Learned, from Games Preserved”
    “Lessons Learned, from Games Preserved” James “Ender” Brown Former Project Lead – http://www.scummvm.org/ [email protected] WhoWho AmAm II ● Grew up gaming and learning to code with the BBC Micro/Archimedes, Commodore 16(!) and Amiga – learnt Unix & VMS by doing naughty things to the Tassie VAX cluster (any locals remember davros and typhoon? :) ● Retro-Gaming Enthusiast by night, Systems Admin for a Perth-based Data Centre and Hosting Company by day ● Became Project Lead of ScummVM in Feb 2002, retiring as co-lead (from a team of 3) in Dec 2008 ● 10th linux.conf.au, first talk submission :) WhatWhat isis ScummVM?ScummVM? ● ScummVM is a collection of interpreter implementations for classic adventure games ● Founded by Ludwig ‘ludde’ Strivegus (uTorrent, OpenTTD, now at Spotify) in 2001, along with Vincent ‘yaz0r’ Hamm (now at Oculus), with the goal of building an interpreter for SCUMM-based games by LucasArts/LucasFilm games. ● Designed to be highly portable ● … evolved to become something much much more PortabilityPortability ● ScummVM architecture evolved early on to maximise portability by abstracting backend and common functions (‘Osystem’), with each port supplying a Osystem backend class (with platform specific overrides and subclassing where necessary) Osystem Backend Osystem Common Engine (Platform Specific) ● Carefully developed coding standards to encompass ‘lowest-common- denominator’ C++ implementations. No STL, Exceptions, etc http://wiki.scummvm.org/index.php/Coding_Conventions ● Ssennaidne ● Endianness ● Segment size limits on various platforms ReimplementingReimplementing EnginesEngines ● Most game studios developed their own engines, often used across a family of games. Examples: SCUMM (LucasArts), AGI/SCI (Sierra), Virtual Theatre (Revolution), AGOS (Adventure Soft) ● Reverse engineer: – Container files – Graphics formats (background, actors, sprites) – Audio formats (voice, sfx, music) – Scripting engine (where scripted..
    [Show full text]
  • Holiday Sale Ovember
    N Holiday Sale OVEMBER 23 RD – J A N UARY 8 TH GAME PRE-SALE PRICE SALE PRICE YOU SAVE Achtung Panzer: Operation Star $19.99 $9.99 50% Across the Dnepr: Second Edition $29.99 $9.99 67% Advanced Tactics: Gold Edition $29.99 $9.99 67% AI War: Alien Bundle $29.99 $9.99 67% Alea Jacta Est $24.99 $9.99 60% Alea Jacta Est: Parthian Wars $19.99 $9.99 50% Alea Jacta Est: The Cantabrian Wars 29BC $3.99 $1.99 50% Alea Jacta Est: The Spartacus Revolt 73 BC $3.99 $1.99 50% American Civil War – The Blue and the Gray $19.99 $9.99 50% Armada 2526 $19.99 $9.99 50% Armada 2526 – Supernova $9.99 $4.99 50% Battle Academy $14.99 $4.99 67% Battle Academy – Blitzkrieg France $9.99 $4.99 50% Battle Academy – Fortress Metz $9.99 $4.99 50% Battle Academy – Market Garden $9.99 $4.99 50% Battle Academy – Operation Husky $9.99 $4.99 50% Battle Academy – Operation Sealion $9.99 $4.99 50% Battle Academy – Rommel in Normandy $9.99 $4.99 50% Battle Academy 2 – Battle of Kursk $19.99 $9.99 50% Battle Academy 2 – Eastern Front $39.99 $19.99 50% Battle Academy: Mega Pack $19.99 $9.99 50% GAME PRE-SALE PRICE SALE PRICE YOU SAVE Battle of Britain II – Wings of Victory $9.99 $4.99 50% Battle of the Bulge $9.99 $4.99 50% Battlefront $39.99 $19.99 50% Battles In Italy $39.99 $19.99 50% Battles in Normandy $39.99 $19.99 50% Birth of America $14.99 $7.49 50% Birth of America 2: Wars in America $14.99 $7.49 50% Birth of Rome $19.99 $9.99 50% Brother Against Brother $49.99 $24.99 50% Buzz Aldrins Space Program Manager $29.99 $14.99 50% Campaign Series: Middle East 1948-1985 $39.99
    [Show full text]
  • List of Western-Themed Games
    List of Western-Themed Games Key action (A) adventure (ADV) card game (C) duel (D) first-person shooter (FPS) laser disc/multimedia (LD) other (O) pinball (PB) platform (PL) puzzle (PUZ) real-time strategy/manager (RTS) role-playing game (RPG) strategy/wargame (S) target shooting/reaction (TS) Year Games 1939 Buckaroo (PB), Ride “M” Cowboy (PB) 1941 Texas Mustang (PB) 1945 Wagon Wheels (PB) 1946 Dynamite (PB) 1947 Broncho (PB), Ranger (PB) 1948 Round Up (PB) 1949 Oklahoma (PB), Tumbleweed (PB), Utah (PB) 1950 Buffalo Bill (PB), Six Shooter (TS) 1954 Stage Coach (PB) 1955 Smoke Signal (PB), Southern Belle (PB), Wild West Gallery (TS) 1957 Arrow Head (PB) 1959 Gunsmoke (TS) 1960 Pony Express (TS), Texan (PB), Wagon Train (PB) 1961 Double Barrel (PB), Indian Scout (TS), Mr. Quick Draw (TS), Mr. Top Gun (TS), Wild West (TS) 1962 Arrowhead (PB), Flipper Cowboy (PB) 1963 Bronco (PB), Texas Ranger Gatling Gun (TS) WiderScreen 1/2015: Villin lännen uudet visiot – New Visions of the Wild West 1964 Bonanza (PB), Championship Fast Draw (TS) 1965 Buckaroo (PB) 1966 Six Shooter (PB) 1967 Rifleman (TS), Wild West Rifle Gallery (TS) 1968 Civil War (S), Dogies (PB), Gun Smoke (PB), Stage Coach (PB) 1969 Lariat (PB) 1970 Bonanza (TS), Cowboy (PB), Gun Fight (D), White Lightning (TS) 1971 Gold Rush (PB), Lawman (PB) 1972 Rodeo Shooting Gallery (TS), Texas Ranger (PB) 1974 Big Indian (PB), Cowboy (A), Wild Gunman (TS) 1975 El Dorado (PB), Fast Draw (PB), Gun Fight [Western Gun] (D) 1976 Cherokee (PB), Outlaw (TS), Plinker’s Canyon (TS), Top
    [Show full text]
  • Disruptive Innovation and Internationalization Strategies: the Case of the Videogame Industry Par Shoma Patnaik
    HEC MONTRÉAL Disruptive Innovation and Internationalization Strategies: The Case of the Videogame Industry par Shoma Patnaik Sciences de la gestion (Option International Business) Mémoire présenté en vue de l’obtention du grade de maîtrise ès sciences en gestion (M. Sc.) Décembre 2017 © Shoma Patnaik, 2017 Résumé Ce mémoire a pour objectif une analyse des deux tendances très pertinentes dans le milieu du commerce d'aujourd'hui – l'innovation de rupture et l'internationalisation. L'innovation de rupture (en anglais, « disruptive innovation ») est particulièrement devenue un mot à la mode. Cependant, cela n'est pas assez étudié dans la recherche académique, surtout dans le contexte des affaires internationales. De plus, la théorie de l'innovation de rupture est fréquemment incomprise et mal-appliquée. Ce mémoire vise donc à combler ces lacunes, non seulement en examinant en détail la théorie de l'innovation de rupture, ses antécédents théoriques et ses liens avec l'internationalisation, mais en outre, en situant l'étude dans l'industrie des jeux vidéo, il découvre de nouvelles tendances industrielles et pratiques en examinant le mouvement ascendant des jeux mobiles et jeux en lignes. Le mémoire commence par un dessein des liens entre l'innovation de rupture et l'internationalisation, sur le fondement que la recherche de nouveaux débouchés est un élément critique dans la théorie de l'innovation de rupture. En formulant des propositions tirées de la littérature académique, je postule que les entreprises « disruptives » auront une vitesse d'internationalisation plus élevée que celle des entreprises traditionnelles. De plus, elles auront plus de facilité à franchir l'obstacle de la distance entre des marchés et pénétreront dans des domaines inconnus et inexploités.
    [Show full text]
  • Rapportmall För Examensarbete
    Institutionen för kommunikation och information Examensarbete i datavetenskap 20p C-nivå Vårterminen 2007 Styrsystem för fordon med hjälp av artificiella neurala nätverk Sigurd Engerström Styrsystem för fordon med hjälp av artificiella neurala nätverk Sigurd Engerström Examensrapport inlämnad av Sigurd Engerström till Högskolan i Skövde, för Kandidatexamen (B.Sc.) vid Institutionen för kommunikation och information. Arbetet har handletts av Mikael Thieme. 2007-06-01 Härmed intygas att allt material i denna rapport, vilket inte är mitt eget, har blivit tydligt identifierat och att inget material är inkluderat som tidigare använts för erhållande av annan examen. Signerat: _______________________________________________ Styrsystem för fordon med hjälp av artificiella neurala nätverk Sigurd Engerström Sammanfattning Denna rapport jämför två nätverksarkitekturer för artificiella neurala nätverk vars uppgift är att realisera ett styrsystem för ett fordon som det även skall lära sig att styra. Jämförelsen bygger på utförda experiment där de båda nätverken fick lära sig att styra ett fordon längs en slumpgenererad väg. Båda nätverken bygger på belöningsbaserad inlärning för att lära sig lösa uppgiften. Resultatet av utvärderingen visar både att nätverken inte hade några problem med att lära sig att styra fordonet och att de inte krävde lång tid för att kunna lära sig hur fordonet skulle styras. Resultaten visar inte heller att någon skillnad fanns i vare sig tillförlitlighet eller generaliseringsförmåga hos de båda nätverksarkitekturerna. Nyckelord:
    [Show full text]
  • Annual Review
    annual review 2017 our board Ukie Annual Review 2016/17 contents 02 foreword 04 Noirin Carmody - Chair Harvey Eagle chair’s report Owner and COO Xbox UK Marketing Director Our initiatives Revolution Software Microsoft 06 ceo’s report Ian Livingstone CBE - Vice Chair Miles Jacobson OBE Chairman Studio Director Playmob Sports Interactive 08 a year in westminster and brussels askaboutgames Dave Gould - Treasurer Veronique Lallier askaboutgames.com Snr Director of Sales UK & Export European Managing Director 12 Take 2 Interactive Hi-Rez Studios research and analysis Without house background Simon Barratt Warwick Light 16 Director UK Managing Director and Vice President ukie’s year in numbers Sony Interactive Entertainment Barog Game Labs INSPIRATIONAL COMPUTING 18 Katherine Bidwell Phil Mansell Digital Schoolhouse acting locally thinking globally Co-Founder CEO digitalschoolhouse.org.ukWith house background State of Play Games Jagex 20 ukie’s global trade programme Neil Boyd Andy Payne OBE INSPIRATIONAL COMPUTING European Anti-Piracy Counsel CEO Nintendo Europe AppyNation 22 the digital schoolhouse Shaun Campbell Kirsty Rigden Games London UK Country Manager Operations Director games.london 24 Electronic Arts FuturLab inspiring talent John Clark Ella Romanos 26 Senior Vice President, Commercial Director promoting a positive image Publishing Rocket Lolly Games SEGA Europe Students 27 Rob Cooper Roy Stackhouse making the most of your IP Managing Director Northern Europe and Vice President - UK, Ireland & Benelux Ukie Students Export Territories
    [Show full text]
  • A Massively Multiplayer Online Game
    Project Number. MLC1112 Broken World: A Massively Multiplayer Online Game A Major Qualifying Project Report submitted to the Faculty of WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degrees of Computer Science and Interactive Media and Game Development by Nathanael Thorn Mark Troutt and the Degree of Interactive Media and Game Development by Ethan Lawrence Date: April 26, 2012 Approved: Professor Mark Claypool, Major Advisor Professor Joshua Rosenstock, Major Advisor 1 Abstract Broken World is a non-violent, non-competitive MMO set in an expansive post-fuel world with an emphasis on building a community. The art style is drawn from the real world, using low-poly models. The game is built upon a unique peer-to-peer networking model, which allows for a low-resource server. It also features a terrain rendering system that utilizes PNGs to store landscape data efficiently. Along with the game, a suite of custom development tools were built to allow developers to insert game content quickly. Post-development, the game and its related technologies were evaluated for their effectiveness. 2 Table of Contents Abstract ........................................................................................................................................... 2 Table of Contents ............................................................................................................................ 3 1 Introduction .................................................................................................................................
    [Show full text]
  • Thesis Front Matter
    UNIVERSITY OF CALGARY THE INVENTION OF GOOD GAMES: UNDERSTANDING LEARNING DESIGN IN COMMERCIAL VIDEO GAMES by KATRIN BECKER A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE DIVISION OF EDUCATIONAL RESEARCH CALGARY, ALBERTA JANUARY 2008 © KATRIN BECKER 2008 ii Abstract This work sought to help inform the design of educational digital games by the studying the design of successful commercial videogames. The main thesis question was: How does a commercially and critically successful modern video game support the learning that players must accomplish in order to succeed in the game (i.e. get to the end or win)? This work takes a two-pronged approach to supporting the main argument, which is that the reason we can learn about designing educational games by studying commercial games is that people already learn from games and the best ones are already quite effective at teaching players what they need to learn in order to succeed in the game. The first part of the research establishes a foundation for the argument, namely that accepted pedagogy can be found in existing commercial games. The second part of the work proposes new methods for analysing games that can uncover mechanisms used to support learning in games which can be emplyed even if those games were not originally designed as educational objects. In order to support the claim that ‘good’ commercial videogames already embody elements of sound pedagogy an explicit connection is made between game design and formally accepted theory and models in teaching and learning.
    [Show full text]