GAME DEVELOPERS CONFERENCE 2005 PREVIEW Future Vision
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Audio Middleware the Essential Link from Studio to Game Design
AUDIONEXT B Y A LEX A N D E R B R A NDON Audio Middleware The Essential Link From Studio to Game Design hen I first played games such as Pac Man and GameCODA. The same is true of Renderware native audio Asteroids in the early ’80s, I was fascinated. tools. One caveat: Criterion is now owned by Electronic W While others saw a cute, beeping box, I saw Arts. The Renderware site was last updated in 2005, and something to be torn open and explored. How could many developers are scrambling to Unreal 3 due to un- these games create sounds I’d never heard before? Back certainty of Renderware’s future. Pity, it’s a pretty good then, it was transistors, followed by simple, solid-state engine. sound generators programmed with individual memory Streaming is supported, though it is not revealed how registers, machine code and dumb terminals. Now, things it is supported on next-gen consoles. What is nice is you are more complex. We’re no longer at the mercy of 8-bit, can specify whether you want a sound streamed or not or handing a sound to a programmer, and saying, “Put within CAGE Producer. GameCODA also provides the it in.” Today, game audio engineers have just as much ability to create ducking/mixing groups within CAGE. In power to create an exciting soundscape as anyone at code, this can also be taken advantage of using virtual Skywalker Ranch. (Well, okay, maybe not Randy Thom, voice channels. but close, right?) Other than SoundMAX (an older audio engine by But just as a single-channel strip on a Neve or SSL once Analog Devices and Staccato), GameCODA was the first baffled me, sound-bank manipulation can baffle your audio engine I’ve seen that uses matrix technology to average recording engineer. -
Introduction Physics Engines AGEIA Physx SDK AGEIA
25/3/2008 SVR2007 Introduction Tutorial AGEIA PhysX • What does physics give? – Real world interaction metaphor – Realistic simulation Virtual Reality • Who needs physics? and Multimedia { mouse, ds2, gsm, masb, vt, jk } @cin.ufpe.br Research Group Thiago Souto Maior – Immersive games and applications Daliton Silva Guilherme Moura Márcio Bueno • How to use this? Veronica Teichrieb Judith Kelner – Through physics engines implemented in software or hardware Petrópolis, May 2007 Physics Engines AGEIA PhysX SDK • Simplified Newtonian models • Based upon NovodeX API • “High precision” versus “real time” simulations • Commercial and open source engines • Middleware concept • What comes together in a physics engine? • First asynchronous physics API – Mandatory • Tons of math calculations • Takes advantage of multiprocessing game • Collision detection • Rigid body dynamics systems – Optional • Fluid dynamics • Cloth simulation • Particle systems • Deformable object dynamics AGEIA PhysX SDK AGEIA PhysX SDK • Supports game • Integration with game development life cycle engines – 3DSMax and Maya – Unreal Engine 3.0 plugins (PhysX – Emergent GameBryo Create) – Natural Motion – Properties tuning with Endorphin PhysX Rocket • Runs in PC, Xbox 360 – Visual remote and PS3 debugging with PhysX VRD 1 25/3/2008 AGEIA PhysX SDK AGEIA PhysX Processor • Supports • AGEIA PhysX PPU – Complex rigid body dynamics • Powerful PPU + – Collision detection CPU + GPU – Joints and springs – Physics + Math + – Volumetric fluid simulation Fast Rendering – Particle systems -
GPU Developments 2018
GPU Developments 2018 2018 GPU Developments 2018 © Copyright Jon Peddie Research 2019. All rights reserved. Reproduction in whole or in part is prohibited without written permission from Jon Peddie Research. This report is the property of Jon Peddie Research (JPR) and made available to a restricted number of clients only upon these terms and conditions. Agreement not to copy or disclose. This report and all future reports or other materials provided by JPR pursuant to this subscription (collectively, “Reports”) are protected by: (i) federal copyright, pursuant to the Copyright Act of 1976; and (ii) the nondisclosure provisions set forth immediately following. License, exclusive use, and agreement not to disclose. Reports are the trade secret property exclusively of JPR and are made available to a restricted number of clients, for their exclusive use and only upon the following terms and conditions. JPR grants site-wide license to read and utilize the information in the Reports, exclusively to the initial subscriber to the Reports, its subsidiaries, divisions, and employees (collectively, “Subscriber”). The Reports shall, at all times, be treated by Subscriber as proprietary and confidential documents, for internal use only. Subscriber agrees that it will not reproduce for or share any of the material in the Reports (“Material”) with any entity or individual other than Subscriber (“Shared Third Party”) (collectively, “Share” or “Sharing”), without the advance written permission of JPR. Subscriber shall be liable for any breach of this agreement and shall be subject to cancellation of its subscription to Reports. Without limiting this liability, Subscriber shall be liable for any damages suffered by JPR as a result of any Sharing of any Material, without advance written permission of JPR. -
Differentiate Your Android Game with Tegra & Allegorithmic Substance
FLAP HIGHER THAN THE BIRDS: DIFFERENTIATE YOUR ANDROID GAME WITH TEGRA & ALLEGORITHMIC SUBSTANCE Andrew Edelsten, NVIDIA Dr Sebastien Deguy, Allegorithmic GOOD MORNING! . Welcome to GTC 2014 . And yes, that is the time! GOOD MORNING! OVERVIEW . Today’s Android and Google Play Store . NVIDIA Technology — SHIELD — Tegra K1 & the Kepler GPU architecture . Hands on with Allegorithmic Substance . NVIDIA GameWorks — Libraries & Samples — Tools — TegraZone . Wrap up ANDROID IN 2014 . The world’s most popular mobile OS . Over 1 billion devices (as of September 2013) . 1 million new devices every day . Devices in over 190 countries GOOGLE PLAY STORE . Play Store has over 1 million apps and games . Over 1.5 billion apps and games downloaded each month . With great success comes great problems — How do you get noticed through the noise? GETTING NOTICED GETTING NOTICED . Today’s mobile games are often too simple or clones — Angry Birds and Flappy Birds (and 2048?) will still happen — You may win the lottery . The Wild West is becoming more mainstream — Quality games are trending higher more often . Quality games — “Quality” is a nebulous term — Game design is hugely important — Differentiation . General niceties . Graphics and next-gen visuals TODAY’S THEME Human’s are visual creatures; we like things that are different, pretty, and which stand out. Stand out from the crowd: . Be different . Get noticed . Succeed NVIDIA TECHNOLOGY NVIDIA SHIELD . Tegra 4 powered . 5 inch 720p & multitouch display . Console-grade controller . High speed Wi-Fi . Full connectivity (HDMI, Miracast, USB, MicroSD, headphone, Bluetooth) . Tuned port base reflex speakers . Pure Android . 3D dashboard SHIELD DEVELOPMENT CONSIDERATIONS . -
Ratchet Clank Ps2 Cheats
Ratchet clank ps2 cheats click here to download This page contains a list of cheats, codes, Easter eggs, tips, and other secrets for Ratchet & Clank [] for PlayStation 2. The R.Y.N.O costs , bolts and is worth every bolt because of its destructive power and rate of fire. There is another unlimited bolt exploit besides. PS2 Cheats - Ratchet and Clank: Up Your Arsenal: This page contains a list of cheats, codes, Easter eggs, tips, and other secrets for Ratchet and Clank 3: Totsugeki! Karakuchikku Rangers for PlaySta. The best place to get cheats, codes, cheat codes, walkthrough, guide, FAQ, unlockables, tricks, and secrets for PlayStation 2 (PS2). Find all our Ratchet & Clank Cheats for PlayStation 2. Plus great forums, game help and a special question and answer system. All Free. Get the latest cheats, codes, unlockables, hints, Easter eggs, glitches, tips, tricks, hacks, downloads, hints, guides, FAQs, and walkthroughs for Ratchet And Clank on PlayStation 2 (PS2). After defeating drek use the full health temporary invinsiblity cheat which is comet strike(4 times)flip back, full second crouch,flip back,full second crouch,comet strike(4 times) then on planet Quartu after finishing the under water challenge the water will be electric and there will be a life or two waiting for you get them and. This is cheats for the first Ratchet and Clank game. You can only use these cheats after beating Drek. After that, order the Gauge-Bots to enter. They will enter a portal type thing and open a force field for you. You will receive the www.doorway.ru will show footage of Clank giving the Hydrodisplacer to Rachet. -
Indoor Fireworks: the Pleasures of Digital Game Pyrotechnics
Indoor Fireworks: the Pleasures of Digital Game Pyrotechnics Simon Niedenthal Malmö University, School of Arts and Communication Malmö, Sweden [email protected] Abstract: Fireworks in games translate the sensory power of a real-world aesthetic form to the realm of digital simulation and gameplay. Understanding the role of fireworks in games can best be pursued through through a threefold aesthetic perspective that focuses on the senses, on art, and on the aesthetic experience that gives pleasure through the player’s participation in the simulation, gameplay and narrative potentials of fireworks. In games ranging from Wii Sports and Fantavision, to Okami and Assassin’s Creed II, digital fireworks are employed as a light effect, and are also the site for gameplay pleasures that include design and performance, timing and rhythm, and power and awe. Fireworks also gain narrative significance in game forms through association with specific sequences and characters. Ultimately, understanding the role of fireworks in games provokes us to reverse the scrutiny, and to consider games as fireworks, through which we experience ludic festivity and voluptuous panic. Keywords: Fireworks, Pyrotechnics, Digital Games, Game Aesthetics 1. Introduction: On March 9th, 2000, Sony released the fireworks-themed Fantavision (Sony Computer Entertainment 2000) in Japan as one of the very first titles for its then new Playstation 2. Fantavision exhibits many of the desirable qualities for good launch title: simulation properties that show off new graphic capabilities, established gameplay that is quick to grasp, a broad appeal. Though the critical reception for the game was ultimately lukewarm (a 72 rating from Metacritic.com), it is notable that Sony launched its new console with a fireworks game. -
The Videogame Style Guide and Reference Manual
The International Game Journalists Association and Games Press Present THE VIDEOGAME STYLE GUIDE AND REFERENCE MANUAL DAVID THOMAS KYLE ORLAND SCOTT STEINBERG EDITED BY SCOTT JONES AND SHANA HERTZ THE VIDEOGAME STYLE GUIDE AND REFERENCE MANUAL All Rights Reserved © 2007 by Power Play Publishing—ISBN 978-1-4303-1305-2 No part of this book may be reproduced or transmitted in any form or by any means – graphic, electronic or mechanical – including photocopying, recording, taping or by any information storage retrieval system, without the written permission of the publisher. Disclaimer The authors of this book have made every reasonable effort to ensure the accuracy and completeness of the information contained in the guide. Due to the nature of this work, editorial decisions about proper usage may not reflect specific business or legal uses. Neither the authors nor the publisher shall be liable or responsible to any person or entity with respects to any loss or damages arising from use of this manuscript. FOR WORK-RELATED DISCUSSION, OR TO CONTRIBUTE TO FUTURE STYLE GUIDE UPDATES: WWW.IGJA.ORG TO INSTANTLY REACH 22,000+ GAME JOURNALISTS, OR CUSTOM ONLINE PRESSROOMS: WWW.GAMESPRESS.COM TO ORDER ADDITIONAL COPIES OF THE VIDEOGAME STYLE GUIDE AND REFERENCE MANUAL PLEASE VISIT: WWW.GAMESTYLEGUIDE.COM ACKNOWLEDGEMENTS Our thanks go out to the following people, without whom this book would not be possible: Matteo Bittanti, Brian Crecente, Mia Consalvo, John Davison, Libe Goad, Marc Saltzman, and Dean Takahashi for editorial review and input. Dan Hsu for the foreword. James Brightman for his support. Meghan Gallery for the front cover design. -
Sony Corporation Announces Signing of a Definitive Agreement for the Acquisition of Equity Interest in Insomniac Games, Inc
August 19, 2019 Sony Corporation Sony Corporation Announces Signing of a Definitive Agreement for the Acquisition of Equity Interest in Insomniac Games, Inc. by its Wholly-owned Subsidiary August 19, 2019 (Pacific Standard Time) – Sony Interactive Entertainment LLC (“SIE”), a wholly-owned subsidiary of Sony Corporation (“Sony”), today announced that SIE has entered into definitive agreements to acquire the entire equity interest in Insomniac Games, Inc. Completion of the acquisition is subject to regulatory approvals and certain other closing conditions. Financial terms of this transaction are not disclosed due to contractual commitments. For further details, please refer to the attached press release. This transaction is not anticipated to have a material impact on Sony's forecast for its consolidated financial results for the fiscal year ending March 31, 2020. SONY INTERACTIVE ENTERTAINMENT TO ACQUIRE INSOMNIAC GAMES, DEVELOPER OF PLAYSTATION®4 TOP-SELLING MARVEL’S SPIDER-MAN, RATCHET & CLANK ~Highly-acclaimed Game Creators to Join Sony Interactive Entertainment’s Worldwide Studios to Deliver Extraordinary Gaming Experiences~ SAN MATEO, Calif., August 19, 2019 - Sony Interactive Entertainment (“SIE”) announced today that SIE has entered into definitive agreements to acquire Insomniac Games, Inc. (“Insomniac Games”), a leading game developer and long-time partner of SIE, in its entirety. Insomniac Games is the developer of PlayStation®4’s (PS4™) top-selling Marvel’s Spider-Man and the hugely popular PlayStation® Ratchet & Clank franchise. Upon completion of the acquisition, Insomniac Games will join the global development operation of Sony Interactive Entertainment Worldwide Studios (“SIE WWS”). Insomniac Games is the 14th studio to join the SIE WWS family. -
Noroff University College Interactive Media Games Beak and Plunder
Noroff University College Interactive Media Games Beak and Plunder Project Report Ole-Kristian Johannesson Andreas Nordbø IMG3 Studio 3 Bachelor Project Supervisors: Joshua Griffin & Filipe Pais Study year: 2018/19 1 Declaration Noroff University College Academic year 2018-2019 2 Abstract During the span of this project we have created a game called Beak and Plunder, the purpose of this project was to develop a game for our studio 3 course at Noroff University college, while also learning more about the process of making a game. We also wanted to work on something new, that we have not tried before. The project has gone through planning, research and conceptualization phases that are elaborated in this report. Development has consisted of programming, design, testing and distribution phases. Beak and Plunder is a Action Adventure Platformer Game where you play as a fat drunk pirate cat and his sidekick a robot parrot from the future, together these two characters are tasked with saving the world from the future and the past being merged together into one. The final product is a playable game demo of the game that can be found at www.tiny.cc/bnpdemo Acknowledgements Jani Juhani Mattinen Joshua Griffin Filipe Pais Nicolay Celius Gilgamesh Rugsveen Noroff University College Academic year 2018-2019 3 Index Introduction 4 Literature Review / Inspirations & References 5 Ratchet and Clank: 5 Jak and Daxter: 6 Boxi: 6 Spyro: 7 Game Story / Detailed description of project 7 Summarized Game Features: 8 Defining The Audience 8 The Team 8 Andreas -
Folha De Rosto ICS.Cdr
“For when established identities become outworn or unfinished ones threaten to remain incomplete, special crises compel men to wage holy wars, by the cruellest means, against those who seem to question or threaten their unsafe ideological bases.” Erik Erikson (1956), “The Problem of Ego Identity”, p. 114 “In games it’s very difficult to portray complex human relationships. Likewise, in movies you often flit between action in various scenes. That’s very difficult to do in games, as you generally play a single character: if you switch, it breaks immersion. The fact that most games are first-person shooters today makes that clear. Stories in which the player doesn’t inhabit the main character are difficult for games to handle.” Hideo Kojima Simon Parkin (2014), “Hideo Kojima: ‘Metal Gear questions US dominance of the world”, The Guardian iii AGRADECIMENTOS Por começar quero desde já agradecer o constante e imprescindível apoio, compreensão, atenção e orientação dos Professores Jean Rabot e Clara Simães, sem os quais este trabalho não teria a fruição completa e correta. Um enorme obrigado pelos meses de trabalho, reuniões, telefonemas, emails, conversas e oportunidades. Quero agradecer o apoio de família e amigos, em especial, Tia Bela, João, Teté, Ângela, Verxka, Elma, Silvana, Noëmie, Kalashnikov, Madrinha, Gaivota, Chacal, Rita, Lina, Tri, Bia, Quelinha, Fi, TS, Cinco de Sete, Daniel, Catarina, Professor Albertino, Professora Marques e Professora Abranches, tanto pelas forças de apoio moral e psicológico, pelas recomendações e conselhos de vida, e principalmente pela amizade e memórias ao longo desta batalha. Por último, mas não menos importante, quero agradecer a incessante confiança, companhia e aceitação do bom e do mau pela minha Twin, Safira, que nunca me abandonou em todo o processo desta investigação, do meu caminho académico e da conquista da vida e sonhos. -
Magisterarbeit / Master's Thesis
MAGISTERARBEIT / MASTER’S THESIS Titel der Magisterarbeit / Title of the Master‘s Thesis „Player Characters in Plattform-exklusiven Videospielen“ verfasst von / submitted by Christof Strauss Bakk.phil. BA BA MA angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Magister der Philosophie (Mag. phil.) Wien, 2019 / Vienna 2019 Studienkennzahl lt. Studienblatt / UA 066 841 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Magisterstudium Publizistik- und degree programme as it appears on Kommunikationswissenschaft the student record sheet: Betreut von / Supervisor: tit. Univ. Prof. Dr. Wolfgang Duchkowitsch 1. Einleitung ....................................................................................................................... 1 2. Was ist ein Videospiel .................................................................................................... 2 3. Videospiele in der Kommunikationswissenschaft............................................................ 3 4. Methodik ........................................................................................................................ 7 5. Videospiel-Genres .........................................................................................................10 6. Geschichte der Videospiele ...........................................................................................13 6.1. Die Anfänge der Videospiele ..................................................................................13 -
Jack Menhorn
JACK MENHORN address 1300 East Rollingwood Circle Profile Winston-Salem, NC 27105 My name is Jack Menhorn and I am a professional sound designer, tel 336-457-2225 implementer and composer. I have been making music and sounds for mail [email protected] games for over 7 years. I am currently the Editor in Chief of url www.jackmenhorn.com twitter @JackMenhorn DesigningSound.org. I like cats and robots linkedin JackMenhorn My most recent music and sound design demo reels may be found on my website. Experience Composer/Sound Designer, Freelance 2005-Present Projects: Oddworld: New ‘n’ Tasty - PS3, PS4, PS Vita, Wii U, PC, Mac, Linux (Out Spring 2014) -Additional Dialogue Editing and Additional Sound Design Nova-111 - Mac, PC, Linux -Sound Design, Technical Sound Design (FMOD), Music Star Trek Rivals - iOS -Sound Editing/Sound Design Gunhouse - PS Vita -Sound Design Leap Motion - PC -Sound Design/Composition for various projects including New User Orientation tutorial, The Weather Channel, “Volantes” and “Telekinetic”. Offworld- iOS -Sound design (sci-fi), audio implementation using Unity3D with custom animation and scripting plugins, additional music Kyoto - PC -Composer, Sound Design, Implementation (Ambient) Ravensword: Shadowlands - iOS/OSX/Steam -Additional Sound Design. Nominated for G.A.N.G Award 2013 for “Best Handheld Audio.” Hack Slash Loot - PC/Steam/Atari Lynx -Composer (Orchestral) Deep Dungeons of Doom - Ouya/iOS/Android -Sound Design The Haunted: Hells Reach- PC/Steam -Music, sound design (horror, character foley, monster voices,