DOCSLIB.ORG

Cgcopyright 2013 Alexander Jaffe

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cgcopyright 2013 Alexander Jaffe c Copyright 2013 Alexander Jaffe Understanding Game Balance with Quantitative Methods Alexander Jaffe A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: James R. Lee, Chair Zoran Popovi´c,Chair Anna Karlin Program Authorized to Offer Degree: UW Computer Science & Engineering University of Washington Abstract Understanding Game Balance with Quantitative Methods Alexander Jaffe Co-Chairs of the Supervisory Committee: Professor James R. Lee CSE Professor Zoran Popovi´c CSE Game balancing is the fine-tuning phase in which a functioning game is adjusted to be deep, fair, and interesting. Balancing is difficult and time-consuming, as designers must repeatedly tweak parameters and run lengthy playtests to evaluate the effects of these changes. Only recently has computer science played a role in balancing, through quantitative balance analysis. Such methods take two forms: analytics for repositories of real gameplay, and the study of simulated players. In this work I rectify a deficiency of prior work: largely ignoring the players themselves. I argue that variety among players is the main source of depth in many games, and that analysis should be contextualized by the behavioral properties of players. Concretely, I present a formalization of diverse forms of game balance. This formulation, called `restricted play', reveals the connection between balancing concerns, by effectively reducing them to the fairness of games with restricted players. Using restricted play as a foundation, I contribute four novel methods of quantitative balance analysis. I first show how game balance be estimated without players, using sim- ulated agents under algorithmic restrictions. I then present a set of guidelines for using domain-specific models to guide data exploration, with a case study of my design work on a major competitive video game. I extend my work on this game with novel data visualization techniques, which overcome limitations of existing work by decomposing data in terms of player skill. I finally present an advanced formulation of fairness in games - the first to take into account a game's metagame, or player community. These contributions are supported by a detailed exploration of common understandings of game balance, a survey of prior work in quantitative balance analysis, a discussion of the social benefit of this work, and a vision of future games that quantitative balance analysis might one day make possible. TABLE OF CONTENTS Page List of Figures . iii Chapter 1: Introduction . 1 1.1 The Problem of Balancing . 1 1.2 Introducing Quantitative Balance Analysis . 2 1.3 The Challenge of Competitive Games . 3 1.4 Restricted Play . 5 1.5 Contributions . 5 1.6 Overview . 9 Part I: Characterizing Game Balance . 10 Chapter 2: Game Balancing Background . 11 2.1 Three Perspectives on Game Balance . 11 2.2 Game Balance and Society . 20 Chapter 3: Related Work in Quantitative Balance Analysis . 31 3.1 Instrumented Gameplay . 31 3.2 Automated Analysis . 35 Chapter 4: Introducing Restricted Play . 40 4.1 The Problem with Observational Quantitative Balance Analysis . 40 4.2 The Alternative: Restricted Play . 41 4.3 Restricted Play Balance Measures . 43 4.4 Applying Restricted Play . 45 Part II: Measuring Game Balance . 46 Chapter 5: Evaluating Game Balance without Players . 47 5.1 The Potential of AI-Based Balance Evaluation . 48 i 5.2 Exploratory Study . 49 5.3 Monte-Carlo Tree Search and Heuristic-Free AI . 54 5.4 Benefits of MCTS for Balancing . 58 5.5 A Balancing System using Human-Calibrated MCTS . 62 5.6 Wrapping Up Automated Analysis . 65 Chapter 6: Analyzing Human Gameplay with Domain-Specific Causal Models . 67 6.1 Retroactive Restrictions . 68 6.2 Overview of Playstation All-Stars Battle Royale . 70 6.3 Data-Guided Design at SuperBot Entertainment . 72 6.4 Case Study Part 1: Measuring Character Strength . 73 6.5 Case Study Part 2: Building Causal Models . 78 6.6 Case Study Part 3: Extending Models for Prediction . 91 6.7 Wrapping Up Causal Models . 102 Chapter 7: Contextualizing Gameplay with Player Skill . 103 7.1 Background: Elo Ratings . 104 7.2 Plotting by Skill . 106 7.3 Filtering by Skill . 108 7.4 Sorting by Skill . 110 7.5 Alternate Formulations of Skill . 117 7.6 Wrapping Up Skill Analysis . 130 Chapter 8: A Formulation of Metagame Balance . 131 8.1 Examples of Metagame . 132 8.2 Reasoning about Metagame with Zero-Sum Game Theory . 133 8.3 Estimating Fairness in a Metagame . 139 8.4 Wrapping Up Metagame Analysis . 145 Chapter 9: Conclusion . 146 9.1 Contributions . 147 9.2 Future Work . 148 9.3 Final Words . 156 Bibliography . 161 ii LIST OF FIGURES Figure Number Page 5.1 A basic analysis using our tool. The results show the performance of varieties of restricted play against a restriction-exploiting player. Players who never play Red 1/1, for example, win 11.54% of the time. 52 5.2 Screenshot from Monsters Divided. G1=1 and B5=6 are played, with +3=2 and +1=3 power cards applied to them, respectively. G's rule is in play: closest to 1/2 wins. 5=6 + 1=3 beats 1=1 + 3=2, so P2 wins a B trophy. 53 5.3 Balance parameters across variations. The gaps between Greedy and Random convey the relative roles of long-term strategy and short-term tactics. The designer can easily discover trends such as the power gap between G1/2 and R1/1 due to a 1/2 power card. 55 6.1 Placement percentages of each character. Each column represents one of the twenty characters; the four colors indicate the percentage of games in which they achieve first, second, third, or fourth place. The characters are ordered by their combined probability of getting first or second place. Observe that some characters are better at others than securing at least second place, even when another character may be better at getting first place. (This holds beyond the margin of error.) . 76 6.2 The average `win rate' of each character, defined by Wc = E[1 − (Rc − 1)=3], where Rc is c's placement in a given match. This aggregate statistic captures the probability that a character places a higher than a random given opponent. 77 6.3 Scatter plot of all each of the 20 characters according to two statistics. The y-axis specifies a character's actual win rate. The x-axis specifies their mean score per game. The linear regression is somewhat accurate. 81 6.4 Extension of Figure 6.3, in which x-axis is now a modified score, adjusted by the average score difference this character's presence effects on each opponent. The best linear model is substantially more accurate than it is on raw scores. 83 6.5 Plot of the relationship between average opponent scores for a character and estimated average opponent scores, solely as a function of a character's kills and deaths. 85 iii 6.6 Extension of Figure 6.4, in which the x-axis is no longer shifted by actual opponent score differences, but by the estimated differences accounted for by this character's unique pattern of kills and deaths. It is potentially more interpretively useful as a `direct' statistic of fundamental gameplay. 86 6.7 Slightly improved extension of Figure 6.6, with the addition of one more feature into the estimation. A character's effect on opponents' AP generation is factored into the predicted opponent score, by estimating opponents extra kills on each other through supers paid for with this AP. 89 6.8 Comparison of linear model of win rate to Poisson model. Each pair of lines represents the prediction value of win rate as a function of kill rate, for some fixed value of the death rate. The five pairs of line represents death rates (from top to bottom) 1.5, 3.0, 4.5, 6.0, and 7.5 mean deaths per game. 96 6.9 Range of kill and death rates at which a player can achieve between a 45% and 55% win rate, for κ = 2; δ = 1. The x-axis represents the death rate, and the y-axis represents the kill rate. The space between the two lines represents the valid range of kill and death rates. 99 6.10 Range of kill and death rates at which a player can achieve between a 45% and 55% win rate, for κ = 5; δ = 1. The x-axis represents the death rate, and the y-axis represents the kill rate. The space between the two lines represents the valid range of kill and death rates. 100 6.11 Range of kill and death rates at which a player can achieve between a 45% and 55% win rate, for κ = 0:5; δ = 1. The x-axis represents the death rate, and the y-axis represents the kill rate. The space between the two lines represents the valid range of kill and death rates. 101 7.1 Average number of kills by each character. 107 7.2 Average kills by a character for players of each Elo. 107 7.3 Average kills per game by players of each Elo. Orange show all games, and blue shows only games in which all players are within 100 Elo of each other. 109 7.4 Average difference in kills between two players of varying Elo differences. Note that the graph is necessarily symmetrical. 109 7.5 An example of Nariko's Level 1 Super Attack. 111 7.6 An example of Kratos's Level 2 Super Attack. 112 7.7 An example of Big Daddy's Level 3 Super Attack.
Load more

Recommended publications
  • Flexible Games by Which I Mean Digital Game Systems That Can Accommodate Rule-Changing and Rule-Bending
    Let’s Play Our Way: Designing Flexibility into Card Game Systems Gifford Cheung A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: David Hendry, Chair David McDonald Nicolas Ducheneaut Jennifer Turns Program Authorized to Offer Degree: Information School ©Copyright 2013 Gifford Cheung 2 University of Washington Abstract Let’s Play Our Way: Designing Flexibility into Card Game Systems Gifford Cheung Chair of the Supervisory Committee: Associate Professor David Hendry Information School In this dissertation, I explore the idea of designing “flexible game systems”. A flexible game system allows players (not software designers) to decide on what rules to enforce, who enforces them, and when. I explore this in the context of digital card games and introduce two design strategies for promoting flexibility. The first strategy is “robustness”. When players want to change the rules of a game, a robust system is able to resist extreme breakdowns that the new rule would provoke. The second is “versatility”. A versatile system can accommodate multiple use-scenarios and can support them very well. To investigate these concepts, first, I engage in reflective design inquiry through the design and implementation of Card Board, a highly flexible digital card game system. Second, via a user study of Card Board, I analyze how players negotiate the rules of play, take ownership of the game experience, and communicate in the course of play. Through a thematic and grounded qualitative analysis, I derive rich descriptions of negotiation, play, and communication. I offer contributions that include criteria for flexibility with sub-principles of robustness and versatility, design recommendations for flexible systems, 3 novel dimensions of design for gameplay and communications, and rich description of game play and rule-negotiation over flexible systems.
    [Show full text]
  • Street Fighter
    STREET FIGHTER by Luis Filipe Based on Capcom's videogame "Street Fighter II" Copyright © 2019 This is a fan script [email protected] OVER BLACK. All we hear is the excited CHEER of a crowd. Hundreds of voices roaring in unison, teasing something to come. Under those voices, there is also the rhythmic sound of TRAMPLES on the floor that sound like drums. CUT TO: INT. CORRIDOR - NIGHT A dirty, dimly lit corridor. A few meters ahead, a beam of light leaks through a door that gives access to another scenario. Standing in the corridor hidden in total shadow, a barefoot MAN attired in a white karate gi uniform tightens a black martial arts BELT. We do not see his face. The cheer continues, seeming to be coming from beyond that door in the hallway. After putting on the belt, the man takes a pair of RED GLOVES from his duffel bag, which is on a bench beside him. He wears them calmly. Finally, he also grabs a RED HEADBAND from the bag and ties it around his head. All this is almost ritualistic for him. When completed, the mysterious man walks toward the corridor door where comes the intense light. INT. STREET FIGHTER ARENA - NIGHT A large warehouse-like room. Wooden boxes surround the boundaries of the fighting area. And behind these boxes are the spectators, some sit in stands and others stand on feet. Our mysterious man comes in, revealing his face for the first time: RYU. A Japanese experienced martial artist. The audience goes wild to see him there.
    [Show full text]
  • Game Design 2 Game Balance
    CE810 - Game Design 2 Game Balance Joseph Walton-Rivers & Piers Williams Friday, 18 May 2018 University of Essex 1 What is Balance? Game Balance Question What is balance? 2 Game Balance “All players have an equal chance of winning” – Richard Bartle Richard covered a combat example in the first part of the module. 3 On Strategies Game Balance • What about higher level strategies? • Zerg rush? • Dominant strategies • Metagaming 4 Metagaming - Rock Paper Scissors • A beats B, B beats C, C beats A • If there are lots of A players, people will play C • Then there are a lot of C players, so people play B • and so on... 5 Metagaming - Dominant Strategies • What if A is significantly stronger? • No one will use the other two strategies • We want to encourage variety in play 6 Can we detect this? • Can we detect strategies which are overpowered? • Try to punish strategies we don’t want to see • We did this earlier in the week with rotate and shoot! • Can we measure this? 7 Automated Game Tuning • Academics seem to think so... • Ryan Leigh et al (2008) - Co-evolution for game balancing • Alexander Jaffe et al (2012) - Restricted-Play balance framework • Mihail Morosan - GAs for tuning parameters 8 Game Curves First Move Advantage First Move Advantage • Typically affects turn based games • Going first in tac tac toe means either a win or adraw • White has > 50% win rate over all games • Worse effects if you have resources • We need a way of dealing with this 9 First Move Advantage Magic Second player gets an extra card Go Second player gets 7.5 bonus
    [Show full text]
  • The Order 1886 Full Game Pc Download the Order: 1886
    the order 1886 full game pc download The Order: 1886. While Killzone: Shadow Fall and inFAMOUS: Second Son have given us a glimpse of how Sony's popular franchises can be enhanced and expanded on the PlayStation 4, The Order: 1886 is exciting for a completely different reason. This isn't something familiar given a facelift-- this is a totally new project, one whose core ideas and gameplay were born on next-generation hardware. It's interesting, then, that this also serves as the first original game for developer Ready at Dawn. Ideas for The Order originally began forming in 2006 as a project that crafted fiction from real-life history and legends. Indeed, one of the game's more intriguing elements is that mix of fantasy and reality. This alternate-timeline Victorian London is covered in a layer of grit and grime true to that era, contrasted by dirigibles flying through the sky and fantastical weapons used by the game's protagonists, four members of a high-tech (for the times) incarnation of the Knights of the Round Table. That idea of blending different aspects together may be what's most compelling about The Order: 1886 beyond just its premise. The first thing you notice is the game's visual style. There's a cinematic, film-like look to everything, and not only are the overall graphical qualities and camera angles tweaked to reflect that, but The Order also runs in widescreen the entire time--not just during cutscenes like in other games. It's a decision that some have bemoaned, since those top and bottom areas of the screen are now "missing" during game-play.
    [Show full text]
  • UPC Platform Publisher Title Price Available 730865001347
    UPC Platform Publisher Title Price Available 730865001347 PlayStation 3 Atlus 3D Dot Game Heroes PS3 $16.00 52 722674110402 PlayStation 3 Namco Bandai Ace Combat: Assault Horizon PS3 $21.00 2 Other 853490002678 PlayStation 3 Air Conflicts: Secret Wars PS3 $14.00 37 Publishers 014633098587 PlayStation 3 Electronic Arts Alice: Madness Returns PS3 $16.50 60 Aliens Colonial Marines 010086690682 PlayStation 3 Sega $47.50 100+ (Portuguese) PS3 Aliens Colonial Marines (Spanish) 010086690675 PlayStation 3 Sega $47.50 100+ PS3 Aliens Colonial Marines Collector's 010086690637 PlayStation 3 Sega $76.00 9 Edition PS3 010086690170 PlayStation 3 Sega Aliens Colonial Marines PS3 $50.00 92 010086690194 PlayStation 3 Sega Alpha Protocol PS3 $14.00 14 047875843479 PlayStation 3 Activision Amazing Spider-Man PS3 $39.00 100+ 010086690545 PlayStation 3 Sega Anarchy Reigns PS3 $24.00 100+ 722674110525 PlayStation 3 Namco Bandai Armored Core V PS3 $23.00 100+ 014633157147 PlayStation 3 Electronic Arts Army of Two: The 40th Day PS3 $16.00 61 008888345343 PlayStation 3 Ubisoft Assassin's Creed II PS3 $15.00 100+ Assassin's Creed III Limited Edition 008888397717 PlayStation 3 Ubisoft $116.00 4 PS3 008888347231 PlayStation 3 Ubisoft Assassin's Creed III PS3 $47.50 100+ 008888343394 PlayStation 3 Ubisoft Assassin's Creed PS3 $14.00 100+ 008888346258 PlayStation 3 Ubisoft Assassin's Creed: Brotherhood PS3 $16.00 100+ 008888356844 PlayStation 3 Ubisoft Assassin's Creed: Revelations PS3 $22.50 100+ 013388340446 PlayStation 3 Capcom Asura's Wrath PS3 $16.00 55 008888345435
    [Show full text]
  • The History of Video Games
    The history of video games • Introduction • Arcades • Nintendo • Sega • Sony • Microsoft • PC • Conclusion • Bibliography We are going to talk about the most known gaming systems up until now. We are also going to talk about the major console-producing companies, one by one. Arcade games are coin-operated machines, usually installed in public businesses, such as restaurants. They were most popular from the late 1970s to the mid-1990s. Even though they lost popularity in the western market, they still continue strong in Asian territory such as Japan. Arcades were home to great games like: Mortal Kombat Pac-man And Donkey Kong This is one of the most well-known and prominent video game companies of all time. Although they didn’t start out with video games they had great sucess with the Nintendo Entertainment System and it’s sucessor.Until now they have released the N64, the Gamecube, the Wii and Wii U. They also released various mobile consoles like the Gameboy, Ds, 3Ds and their variants. Nintendo owns great franchises like: Mario Legend of Zelda Metroid And Pokémon SEGA is also a very important company, being the competitor of Nintendo during the 1980s. They achieved this with Sonic, the companie’s mascot. He was a platformer like Nintendo’s Mario, but instead of being an italian plumber he was a fast and “hip” blue hedgehog. In 2001, the Dreamcast (their latest console) failed and forced the company into going third-party. This means they started making games for other consoles instead of their own. They have many iconic franchises like: Crazy Taxi Sonic the Hedgehog And Super Monkey Ball As you know Sony doesn’t only produce games, but they are “big dogs” in the gaming industry.
    [Show full text]
  • Adjustment Description Alterations to V-Shift's
    Adjustment Description Abilities granting invincibility or armor from the 1st frame, as well as low- risk or high-return moves invincible to throws have all been adjusted to have less effective throw invincibility. Alterations to V-Shift's Considering V-Shift's offensive and defensive capabilities, normal throws offensive/defensive should have enough impact to reliably handle V-Shifts, but characters with capabilities the invincible abilities mentioned above had an easy way to deal with throws and strikes. This gave their defense such a strong advantage that offensive opponents struggled against it. These adjustments seek to correct this issue. These general adjustments are a continuation of previous adjustments. Improvements to While V-Skills and V-Triggers have already been adjusted overall, players infrequently used V-Triggers tend to use one V-Skill and V-Trigger over the other, so we have further and V-Skills strengthened the techniques themselves and the moves that rely on their input. Some characters have been rebalanced in light of previous adjustments. We have buffed characters who were lacking in strength or who were Rebalancing of some largely left alone in previous adjustments. characters Characters with downward adjustments have not had their moves altered significantly; rather, the risks and returns of moves have been properly balanced. Balance Change Overview We've adjusted Nash's close-quarters attack, standing light kick, to yield more of an advantage on hit, and we have further improved Nash's impressive mid to long-distance combat. Standing light kick was previously adjusted to have faster start-up and to be easier to land, but we noticed that it didn't grant the same rewards as it did for other characters.
    [Show full text]
  • Game Balancing
    Game Balancing CS 2501 – Intro to Game Programming and Design Credit: Some slide material courtesy Walker White (Cornell) CS 2501 Dungeons and Dragons • D&D is a fantasy roll playing system • Dungeon Masters run (and someCmes create) campaigns for players to experience • These campaigns have several aspects – Roll playing – Skill challenges – Encounters • We will look at some simple balancing of these aspects 2 CS 2501 ProbabiliCes of D&D • Skill Challenge • Example: The player characters (PCs) have come upon a long wall that encompasses a compound they are trying to enter • The wall is 20 feet tall and 1 foot thick • What are some ways to overcome the wall? • How hard should it be for the PCs to overcome the wall? 3 CS 2501 ProbabiliCes of D&D • How hard should it be for the PCs to overcome the wall? • We approximate this in the game world using a Difficulty Class (DC) Level Easy Moderate Hard 7 11 16 23 8 12 16 23 9 12 17 25 10 13 18 26 11 13 19 27 4 CS 2501 ProbabiliCes of D&D • Easy – not trivial, but simple; reasonable challenge for untrained character • Medium – requires training, ability, or luck • Hard – designed to test characters focused on a skill Level Easy Moderate Hard 7 11 16 23 8 12 16 23 9 12 17 25 10 13 18 26 11 13 19 27 5 CS 2501 Balancing • Balancing a game is can be quite the black art • A typical player playing a game involves intuiCon, fantasy, and luck – it’s qualitave • A game designer playing a game… it’s quanCtave – They see the systems behind the game and this can actually “ruin” the game a bit 6 CS 2501 Building Balance • General advice – Build a game for creavity’s sake first – Build a game for parCcular mechanics – Build a game for parCcular aestheCcs • Then, aer all that… – Then balance – Complexity can be added and removed if needed – Other levers can be pulled • Complexity vs.
    [Show full text]
  • The Making of a Conceptual Design for a Balancing Tool
    Södertörns högskola | Institutionen för Institutionen för naturvetenskap, miljö och teknik Kandidatuppsats 15 hp | Medieteknik | höstterminen 2014 The Making of a Conceptual Design for a Balancing Tool Av: Jonas Eriksson Handledare: Inger Ekman Abstract Balancing is usually done in the later phases of creating a game to make sure everything comes together to an enjoyable experience. Most of the time balancing is done with a series of playthroughs by the designers or by outsourced play testers and the imbalances found are corrected followed by more playthroughs. This method occupies a lot of time and might therefore not find everything. In this study I use information gathered from interviews with experienced designers and designer texts along with features from methods frequently used for aiding the designers to make a conceptual design of a tool that is aimed towards simplifying the process of balancing and reducing the amount of work hours having to be spent on this phase. Keywords Balancing, Interviews, Conceptual Design, Game Development, External Tool 2 Sammanfattning Balansering görs framförallt i de senare faserna när man skapar ett spel för att se till att alla delar tillsammans skapar en bra upplevelse. För det mesta utförs balanseringen i form av upprepade speltester genomförda av antingen utvecklaren eller inhyrda testpersoner. Obalanserade saker som upptäcks korrigeras och följs sedan av ytterligare tester. Denna metod tar väldigt lång tid att utföra och på grund av detta är det inte säkert att alla fel upptäcks innan spelet lanseras. I den här studien använder jag information som insamlats från intervjuer med erfarna designers och designtexter sida vid sida med funktioner från metoder som ofta används för att underlätta för utvecklarna.
    [Show full text]
  • Sociality and Materiality in World of Warcraft Nicholas Anthony Gadsby
    Sociality and Materiality in World of Warcraft Nicholas Anthony Gadsby University College London Department of Anthropology A thesis re-submitted for the degree of Doctor of Philosophy May 2016 1 Declaration I, Nicholas Anthony Gadsby, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I conform this has been indicated in the thesis. 2 Abstract The focus of my thesis is the role and status of control in the MMO World of Warcraft where one of the primary motivations for player engagement was to eliminate and marginalise contingency at sites across the game that were perceived to be prone to the negative effects of contingency, a process that its developers were to a significant degree complicit in. My field sites traced the activities and lives of gamers across the physical location of London and the south east of the United Kingdom and their online game locations that constituted World of Warcraft and occasionally other online games which included the guild they were a member of that was called ‘Helkpo’. It examines how the transparency attributed to the game’s code, its ‘architectural rules’, framed the unpredictability of players as problematic and how codified ‘social rules’ attempted to correct this shortcoming. In my thesis I dive into the lives of the members of Helkpo as both guild members and as part of the expansive network that constituted their social lives in London. It demonstrates how the indeterminate nature of information in the relations in their social network contrasted with the modes of accountability that World of Warcraft offered, defined by different forms of information termed ‘knowing’ and ‘knowledge’.
    [Show full text]
  • Black Characters in the Street Fighter Series |Thezonegamer
    10/10/2016 Black characters in the Street Fighter series |TheZonegamer LOOKING FOR SOMETHING? HOME ABOUT THEZONEGAMER CONTACT US 1.4k TUESDAY BLACK CHARACTERS IN THE STREET FIGHTER SERIES 16 FEBRUARY 2016 RECENT POSTS On Nintendo and Limited Character Customization Nintendo has often been accused of been stuck in the past and this isn't so far from truth when you... Aug­22 ­ 2016 | More ­> Why Sazh deserves a spot in Dissidia Final Fantasy It's been a rocky ride for Sazh Katzroy ever since his debut appearance in Final Fantasy XIII. A... Aug­12 ­ 2016 | More ­> Capcom's first Street Fighter game, which was created by Takashi Nishiyama and Hiroshi Tekken 7: Fated Matsumoto made it's way into arcades from around late August of 1987. It would be the Retribution Adds New Character Master Raven first game in which Capcom's golden boy Ryu would make his debut in, but he wouldn't be Fans of the Tekken series the only Street fighter. noticed the absent of black characters in Tekken 7 since the game's... Jul­18 ­ 2016 | More ­> "The series's first black character was an African American heavyweight 10 Things You Can Do In boxer." Final Fantasy XV Final Fantasy 15 is at long last free from Square Enix's The story was centred around a martial arts tournament featuring fighters from all over the vault and is releasing this world (five countries to be exact) and had 10 contenders in total, all of whom were non­ year on... Jun­21 ­ 2016 | More ­> playable. Each character had unique and authentic fighting styles but in typical fashion, Mirror's Edge Catalyst: the game's first black character was an African American heavyweight boxer.
    [Show full text]
  • Wotlk EU Manual
    Getting Started PC System Requirements OS: Minimum: Windows® XP/Windows Vista®/Windows® 7 (Latest Service Packs) Recommended: 64-bit Windows Vista®/Windows® 7 Processor: Minimum: Intel Pentium® 4 1.3 GHZ or AMD Athlon™ XP 1500+ Recommended: Dual core processor Memory: Minimum: 1 GB RAM Recommended: 2 GB RAM Video: Minimum: NVIDIA® GeForce® FX or ATI Radeon™ 9500 video card or better Recommended: 256 MB NVIDIA® GeForce® 8600 or ATI Radeon™ HD 2600 or better Installation Instructions Place Wrath of the Lich King DVD into your DVD-ROM drive. If your computer has autoplay enabled, an installation window will automatically pop up on your Windows desktop. Click the Install Wrath of the Lich King button and Enter the Next Chapter to follow the onscreen instructions to install Wrath of the Lich King to your hard drive. If the installation window ® does not appear, open the My Computer icon on your desktop and double-click the drive letter corresponding to your DVD-ROM drive to open it. Double-click the Install.exe icon in the DVD-ROM contents and follow the onscreen World of Warcraft ! instructions to install Wrath of the Lich King. Installing DirectX® PC Users Only: You will need to install DirectX 9.0c in order to properly run Wrath of the Lich King. During installation you will be prompted to install DirectX if you do not already have the most up-to-date version installed on your computer Mac System Requirements OS: Minimum: Mac® OS X 10.5.8, 10.6.4 or newer Recommended: Mac® OS X 10.6.4 or newer Processor: Minimum: Intel® Processor Recommended: Intel® Core™ 2 Duo processor Memory: Minimum: 2 GB RAM Recommended: 4 GB RAM Video: Recommended: NVIDIA® GeForce® 9600M GT or ATI Radeon™ HD 4670 or better Installation Instructions Place the Wrath of the Lich King DVD in your DVD-ROM drive.
    [Show full text]