A Role-Playing Game V1.1 Manual
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Mythic: Dynamic Role-Playing
TM Create dynamic role-playing adventures without preparation For use as a stand-alone game or as a supplement for other systems TM Adventure Generator Role Playing System by Tom Pigeon Published by Word Mill Publishing Credits “To help, to continually help and share, that is the sum of all knowledge; that is the meaning of art.” Eleonora Duse The author extends his heartfelt thanks to those friendly souls who helped make this book come true. Without contributors, playtesters, friends, helpful advice, guidance and criticism, there would be no Mythic. ARTISTS MORAL SUPPORT RyK Productions My wife, Jennifer, who believes all things are possible. To contact RyK, you can send email to [email protected], or visit Also, my daughter Ally, just because she’s so darn cute. their webpage at www.ryk.nl RyK Productions is responsible for artwork on pages: 12, 16, TECHNICAL SUPPORT 28, 37, 64, 70, 77, 87, 89, 95, 96, 97, 99, & 119 Apple, for making such an insanely great computer. Karl Nordman OTHER FORMS OF SUPPORT To contact Karl, send email to [email protected]. View Word Mill Publishing, my daytime job. his work on the web at www.angelfire.com/art/xxtremelygraphic/ Karl North is responsible for artwork on pages: 8, 19, 32, 34, 41, 47, 50, 57, 60 PRINTING W RDS Printing in Ontario, California. Thanks to Bob for his W guidance and for investing in technology that allows for the production of digital print-on-demand products. Word Mill Publishing 5005 LaMart Dr. #204 • Riverside, CA 92507 PLAYTESTERS [email protected] • www.mythic.wordpr.com A host of online and real-time gamers whose names are lost Mythic © Copyright 2003 by Tom Pigeon and Word Mill Publishing. -
Nordic Game Is a Great Way to Do This
2 Igloos inc. / Carcajou Games / Triple Boris 2 Igloos is the result of a joint venture between Carcajou Games and Triple Boris. We decided to use the complementary strengths of both studios to create the best team needed to create this project. Once a Tale reimagines the classic tale Hansel & Gretel, with a twist. As you explore the magical forest you will discover that it is inhabited by many characters from other tales as well. Using real handmade puppets and real miniature terrains which are then 3D scanned to create a palpable, fantastic world, we are making an experience that blurs the line between video game and stop motion animated film. With a great story and stunning visuals, we want to create something truly special. Having just finished our prototype this spring, we have already been finalists for the Ubisoft Indie Serie and the Eidos Innovation Program. We want to validate our concept with the European market and Nordic Game is a great way to do this. We are looking for Publishers that yearn for great stories and games that have a deeper meaning. 2Dogs Games Ltd. Destiny’s Sword is a broad-appeal Living-Narrative Graphic Adventure where every choice matters. Players lead a squad of intergalactic peacekeepers, navigating the fallout of war and life under extreme circumstances, while exploring a breath-taking and immersive world of living, breathing, hand-painted artwork. Destiny’s Sword is filled with endless choices and unlimited possibilities—we’re taking interactive storytelling to new heights with our proprietary Insight Engine AI technology. This intricate psychology simulation provides every character with a diverse personality, backstory and desires, allowing them to respond and develop in an incredibly human fashion—generating remarkable player engagement and emotional investment, while ensuring that every playthrough is unique. -
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. -
The First but Hopefully Not the Last: How the Last of Us Redefines the Survival Horror Video Game Genre
The College of Wooster Open Works Senior Independent Study Theses 2018 The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre Joseph T. Gonzales The College of Wooster, [email protected] Follow this and additional works at: https://openworks.wooster.edu/independentstudy Part of the Other Arts and Humanities Commons, and the Other Film and Media Studies Commons Recommended Citation Gonzales, Joseph T., "The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre" (2018). Senior Independent Study Theses. Paper 8219. This Senior Independent Study Thesis Exemplar is brought to you by Open Works, a service of The College of Wooster Libraries. It has been accepted for inclusion in Senior Independent Study Theses by an authorized administrator of Open Works. For more information, please contact [email protected]. © Copyright 2018 Joseph T. Gonzales THE FIRST BUT HOPEFULLY NOT THE LAST: HOW THE LAST OF US REDEFINES THE SURVIVAL HORROR VIDEO GAME GENRE by Joseph Gonzales An Independent Study Thesis Presented in Partial Fulfillment of the Course Requirements for Senior Independent Study: The Department of Communication March 7, 2018 Advisor: Dr. Ahmet Atay ABSTRACT For this study, I applied generic criticism, which looks at how a text subverts and adheres to patterns and formats in its respective genre, to analyze how The Last of Us redefined the survival horror video game genre through its narrative. Although some tropes are present in the game and are necessary to stay tonally consistent to the genre, I argued that much of the focus of the game is shifted from the typical situational horror of the monsters and violence to the overall narrative, effective dialogue, strategic use of cinematic elements, and character development throughout the course of the game. -
Please Biofeed the Zombies: Enhancing the Gameplay and Display of a Horror Game Using Biofeedback
Please Biofeed the Zombies: Enhancing the Gameplay and Display of a Horror Game Using Biofeedback Andrew Dekker Erik Champion Interaction Design, School of ITEE, Media Arts, COFA, UNSW, PO Box 259 University of Queensland, Ipswich, Australia Paddington, NSW 2021 Australia [email protected] [email protected] ABSTRACT commercial computer game, allowing for more dynamic, This paper describes an investigation into how real-time but unpredictable, but also more personalized and situated low-cost biometric information can be interpreted by game experiences. computer games to enhance gameplay without fundamentally changing it. We adapted a cheap sensor, (the The primary benefit of incorporating this technique into Lightstone mediation sensor device by Wild Divine), to computer games is that game developers can offer control record and transfer biometric information about the player over direction of game play and game events to the player. (via sensors that clip over their fingers) into a commercial Rather than the flow and progression within the game being game engine, Half-Life 2. linear and scripted [13], a series of events can be strung together in a sequence that better appeals to the individual. During game play, the computer game was dynamically modified by the player’s biometric information to increase For example, Rouse [12] agrees that allowing the system to the cinematically augmented “horror” affordances. These choose methods of conveying emotion dynamically rather included dynamic changes in the game shaders, screen then forcing players to take specific emotional journeys is a shake, and the creation of new spawning points for the fundamental aspect of enhancing computer games. -
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. -
Med20 Character Creation Rules
MIDDLE -EARTH D20 CHARACTER CREATION RULES To create characters for this campaign, o +4 racial bonus on any Craft skill of the players will use 25 points to purchase abilities player's choice — it should be noted that according to the Purchase rules on pages 15-16 Ñoldor were legendary for their work with of the Pathfinder Roleplaying Game Core precious metals and jewelry. Rulebook . Then, character creation proceeds as o +2 racial bonus on any Perform (Sing) described in the Pathfinder Roleplaying Game checks. Core Rulebook . Additionally, players will create o +2 racial bonus on saves vs. fire. a 2 nd -level character, but the 1 st -level must be a o +2 racial bonus on saves vs. poison. basic NPC class ! Players may use the Pathfinder o Immune to Aging: Ñoldor Elves are Roleplaying Game Advanced Player’s Guide , immortal unless killed. Pathfinder Roleplaying Game Ultimate Combat , o Ñoldor Elves do not sleep, meditating and Pathfinder Roleplaying Game Ultimate Magic instead for about three hours every day. to create their characters. For all sources, use o Immune to natural cold. the following rules modifications. In addition, o Immune to disease, mundane or magical. the Variant Rules for Armor as Damage o Immune to scarring. Reduction, Called Shots, Piecemeal Armor, o Movement unimpeded by snow or wooded and Wounds and Vigor from Pathfinder terrain. Roleplaying Game Ultimate Combat (pp. 191-207) o Immune to any fear effects caused by are being utilized. Please note that these rules undead. are subject to change at any time without prior o Cannot be turned into undead. -
Threat Simulation in Virtual Limbo Preprint
This is a preprint of the article “Threat simulation in virtual limbo: An evolutionary approach to horror video games” by Jens Kjeldgaard-Christiansen and Mathias Clasen, Aarhus University. The final, published version has been published in the Journal of Gaming and Virtual Worlds and is available at https://doi.org/10.1386/jgvw.11.2.119_1. Page 2 of 33 Threat Simulation in Virtual Limbo: An Evolutionary Approach to Horror Video Games Keywords: horror, Limbo, game studies, evolution, simulation, evolutionary psychology Abstract Why would anyone want to play a game designed to scare them? We argue that an alliance between evolutionary theory and game studies can shed light on the forms and psychological functions of horror video games. Horror games invite players to simulate prototypical fear scenarios of uncertainty and danger. These scenarios challenge players to adaptively assess and negotiate their dangers. While horror games thereby instil negative emotion, they also entice players with stimulating challenges of fearful coping. Players who brave these challenges expand their emotional and behavioural repertoire and experience a sense of mastery, explaining the genre’s paradoxical appeal. We end by illustrating our evolutionary approach through an in-depth analysis of Playdead’s puzzle-horror game Limbo. Page 3 of 33 Introduction Imagine this: You are a little boy, lost somewhere deep in the woods at night. You do not know how you got there or how to get out. All you know is that your sister is out there, somewhere, possibly in great danger. You have to find her. The ambiance is alive with animal calls, the flutter of branches and bushes and a welter of noises that you cannot quite make out. -
Living Forgotten Realms Campaign Guide Explains How to Beyond
LIVING FORGOTTEN REALMS® CAMPAIGN GUIDE Version 2.5: August 4, 2011 (Next Update: January 2012) For a list of changes made from v2.0 of this document, please visit this thread on the LFR Community Forum. What is Living Forgotten Realms? Campaign Setting and Structure Living Forgotten Realms (LFR for short) is a worldwide Living The Living Forgotten Realms campaign is based on the setting Campaign that uses the 4th Edition DUNGEONS & DRAGONS® details found in the 4th Edition Forgotten Realms Campaign rules and the FORGOTTEN REALMS® campaign setting. Players Guide. Faerûn is constantly evolving. Game products from create characters using the core D&D rules and the Wizards of the Coast (such as the Neverwinter Campaign guidelines in this document, and can then play those Guide) offer new information about the world. New characters in any LFR adventure, anywhere in the world. As FORGOTTEN REALMS content appears regularly on D&D you play adventures, your character earns experience points, Insider. LFR adventures sometimes refer to events and gold, and magic items which stay with you from game to characters from the many fiction novels set in the Realms. game. There are dozens of new adventures to play each year! Most importantly, LFR characters themselves can and do change the world through their actions and decisions! How to Use This Guide Living Forgotten Realms adventures span the vastness of Faerûn's surface, the Underdark beneath, and the planes The Living Forgotten Realms Campaign Guide explains how to beyond. Your character might explore the jungles of Chult in create and advance characters. -
Page 22 Survival Horrality: Analysis of a Videogame Genre (1) Ewan
Page 22 Survival Horrality: Analysis of a Videogame Genre (1) Ewan Kirkland Introduction The title of this article is drawn from Philip Brophy’s 1983 essay which coins the neologism ‘horrality’, a merging of horror, textuality, morality and hilarity. Like Brophy’s original did of 1980s horror cinema, this article examines characteristics of survival horror videogames, seeking to illustrate the relationship between ‘new’ (media) horror and ‘old’ (media) horror. Brophy’s term structures this investigation around key issues and aspects of survival horror videogames. Horror relates to generic parallels with similarlylabelled film and literature, including gothic fiction, American horror cinema and traditional Japanese culture. Textuality examines the aesthetic qualities of survival horror, including the games’ use of narrative, their visual design and structuring of virtual spaces. Morality explores the genre’s ideological characteristics, the nature of survival horror violence, the familial politics of these texts, and their reflection on issues of institutional and bodily control. Hilarity refers to moments of humour and self reflexivity, leading to consideration of survival horror’s preoccupation with issues of vision, identification, and the nature of the videogame medium. ‘Survival horror’ as a game category is unusual for its prominence within videogame scholarship. Indicative of the amorphous nature of popular genres, Aphra Kerr notes: ‘game genres are poorly defined and evolve as new technologies and fashions emerge’;(2) an observation which applied as much to videogame academia as to the videogame industry. Within studies of the medium, various game types are commonly listed. These might include the shoot‘emup, the racing game, the platform game, the God game, the realtime strategy game, and the puzzle game,(3) the simulation, roleplaying, fighting/action, sports, traditional and ‘”edutainment”’ game,(4) or action, adventure, strategy and ‘processorientated’ games.(5) These clusters of game types tend to be broad, commonsensical, and undertheorized. -
Last Children of the Gods
Last Children of The Gods Adventures in a fantastic world broken by the Gods By Xar [email protected] Version: alpha 9 Portals of Convenience Portals of Convenience 1 List of Tables 3 List of Figures 4 1 Childrens Stories 5 1.1 Core Mechanic ............................................... 5 1.2 Attributes.................................................. 6 1.3 Approaches................................................. 6 1.4 Drives.................................................... 7 1.5 Considerations ............................................... 8 2 A Saga of Heroes 9 2.1 Character Creation............................................. 9 2.2 Player Races ................................................ 9 2.3 Talents.................................................... 11 2.4 Class..................................................... 13 2.5 Secondary Characteristics......................................... 14 2.6 Bringing the character to life ....................................... 14 2.7 Considerations ............................................... 14 3 Grimoire 16 3.1 Defining Mages............................................... 16 3.2 The Shadow Weave............................................. 16 3.3 Elemental Magic .............................................. 16 3.4 Rune Magic................................................. 16 3.5 True Name Magic.............................................. 16 3.6 Blood Magic ................................................ 17 3.7 Folklore .................................................. -
Virtual Pacifism 1
Virtual Pacifism 1 SCREEN PEACE: HOW VIRTUAL PACIFISM AND VIRTUAL NONVIOLENCE CAN IMPACT PEACE EDUCATION A THESIS SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS OF TELECOMMUNICATIONS BY JULIA E. LARGENT DR. ASHLEY DONNELLY – ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA JULY 2013 Virtual Pacifism 2 Table of Contents Title Page 1 Table of Contents 2 Acknowledgement 3 Abstract 4 Foreword 5 Chapter One: Introduction and Justification 8 Chapter Two: Literature Review 24 Chapter Three: Approach and Gathering of Research 37 Chapter Four: Discussion 45 Chapter Five: Limitations and a Call for Further Research 57 References 61 Appendix A: Video Games and Violence Throughout History 68 Appendix B: Daniel Mullin’s YouTube Videos 74 Appendix C: Juvenile Delinquency between 1965 and 1996 75 Virtual Pacifism 3 Acknowledgement I would like to thank my committee members, Dr. Ashley Donnelly, Professor Nancy Carlson, and Dr. Paul Gestwicki, for countless hours of revision and guidance. I also would like to thank my friends and family who probably grew tired of hearing about video games and pacifism. Lastly, I would like to thank those nonviolent players who inspired this thesis. Without these individuals playing and posting information online, this thesis would not have been possible. Virtual Pacifism 4 Abstract Thesis: Screen Peace: How Virtual Pacifism and Virtual Nonviolence Can Impact Peace Education Student: Julia E. Largent Degree: Master of Arts College: Communication, Information, and Media Date: July 2013 Pages: 76 The following thesis discusses how virtual pacifism can be utilized as a form of activism and discussed within peace education with individuals of all ages in a society saturated with violent media.