Graph-Based Generation of Action-Adventure Dungeon Levels Using Answer Set Programming
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Links to the Past User Research Rage 2
ALL FORMATS LIFTING THE LID ON VIDEO GAMES User Research Links to Game design’s the past best-kept secret? The art of making great Zelda-likes Issue 9 £3 wfmag.cc 09 Rage 2 72000 Playtesting the 16 neon apocalypse 7263 97 Sea Change Rhianna Pratchett rewrites the adventure game in Lost Words Subscribe today 12 weeks for £12* Visit: wfmag.cc/12weeks to order UK Price. 6 issue introductory offer The future of games: subscription-based? ow many subscription services are you upfront, would be devastating for video games. Triple-A shelling out for each month? Spotify and titles still dominate the market in terms of raw sales and Apple Music provide the tunes while we player numbers, so while the largest publishers may H work; perhaps a bit of TV drama on the prosper in a Spotify world, all your favourite indie and lunch break via Now TV or ITV Player; then back home mid-tier developers would no doubt ounder. to watch a movie in the evening, courtesy of etix, MIKE ROSE Put it this way: if Spotify is currently paying artists 1 Amazon Video, Hulu… per 20,000 listens, what sort of terrible deal are game Mike Rose is the The way we consume entertainment has shifted developers working from their bedroom going to get? founder of No More dramatically in the last several years, and it’s becoming Robots, the publishing And before you think to yourself, “This would never increasingly the case that the average person doesn’t label behind titles happen – it already is. -
EXTENDED FICTION in GAME DESIGN Austin Anderson (Michael Young) Department of Computer Science
University of Utah UNDERGRADUATE RESEARCH JOURNAL UNMASKING THE PLAYER: EXTENDED FICTION IN GAME DESIGN Austin Anderson (Michael Young) Department of Computer Science INTRODUCTION In any story, an element being diegetic means that it is an element of the story that the characters of the fiction can sense. The simplest example is that of music in a movie; if there is a radio playing music in the scene, that music is diegetic. If a musical soundtrack plays over the scene but is something the characters cannot hear, it is non-diegetic(DIEGETIC). The border between the diegetic and non-diegetic is most commonly referred to as “the fourth wall” (Webster), in reference to the imaginary fourth wall of a play set, where the sides and back of the room that events are taking place in are fully represented on the theater stage, but the opening through which the audience observes the events of the play is an imaginary barrier. This barrier isn’t just literally a completion of the four walls in a traditional room of a building, but also metaphorically separates the reality from the fiction, quarantining both from each other as to not interfere. The problem with this boundary is that it can’t fully encompass the medium of video games. Video games, at their very essence, are an interactive medium. They require some breach of the fourth wall for them to function, as the game could not proceed to tell its story without a player’s input, which is an addressing of the audience due to the necessity of their action. -
Vulnerability and Growth in Video Game Narratives 2019
Master's thesis Thomas Fusdahl Vulnerability and Growth in Video Game Narratives 2019 Master's thesis Approaches to Storytelling in Dark Souls 3 and Thomas Fusdahl Hellblade: Senua's Sacrifice NTNU May 2019 Faculty of Humanities Department of Design Norwegian University of Science and Technology Vulnerability and Growth in Video Game Narratives Approaches to Storytelling in Dark Souls 3 and Hellblade: Senua's Sacrifice Thomas Fusdahl Medievitenskap Submission date: May 2019 Supervisor: Sara Brinch Norwegian University of Science and Technology Thomas Fusdahl Vulnerability and Growth in Video Game Narratives Approaches to Storytelling in Dark Souls 3 and Hellblade: Senua's Sacrifice Master’s thesis in Medievitenskap Master’s thesis Master’s Supervisor: Sara Brinch May 2019 NTNU Faculty of Humanities Faculty of Humanities Faculty Norwegian University of Science and Technology of Science University Norwegian Thomas Fusdahl Vulnerability and Growth in Video Game Narratives Approaches to Storytelling in Dark Souls 3 and Hellblade: Senua's Sacrifice Master’s thesis in Medievitenskap Supervisor: Sara Brinch May 2019 Norwegian University of Science and Technology Faculty of Humanities Faculty of Humanities Acknowledgments: After finally finishing I want to thank the people who believed in me when I didn’t. Most of all my parents for both financial and moral support. I couldn’t have done it without you. Additionally, I want to thank my supervisor Sara Brinch for her understanding and support and helping me believe in the project. Lastly, I want to give a shout out to the Easy Allies, an online media outlet that has made it fun to stay engaged in both the culture and business of video games. -
Sony Computer Entertainment Inc. Introduces Playstation®4 (Ps4™)
FOR IMMEDIATE RELEASE SONY COMPUTER ENTERTAINMENT INC. INTRODUCES PLAYSTATION®4 (PS4™) PS4’s Powerful System Architecture, Social Integration and Intelligent Personalization, Combined with PlayStation Network with Cloud Technology, Delivers Breakthrough Gaming Experiences and Completely New Ways to Play New York City, New York, February 20, 2013 –Sony Computer Entertainment Inc. (SCEI) today introduced PlayStation®4 (PS4™), its next generation computer entertainment system that redefines rich and immersive gameplay with powerful graphics and speed, intelligent personalization, deeply integrated social capabilities, and innovative second-screen features. Combined with PlayStation®Network with cloud technology, PS4 offers an expansive gaming ecosystem that is centered on gamers, enabling them to play when, where and how they want. PS4 will be available this holiday season. Gamer Focused, Developer Inspired PS4 was designed from the ground up to ensure that the very best games and the most immersive experiences reach PlayStation gamers. PS4 accomplishes this by enabling the greatest game developers in the world to unlock their creativity and push the boundaries of play through a system that is tuned specifically to their needs. PS4 also fluidly connects players to the larger world of experiences offered by PlayStation, across the console and mobile spaces, and PlayStation® Network (PSN). The PS4 system architecture is distinguished by its high performance and ease of development. PS4 is centered around a powerful custom chip that contains eight x86-64 cores and a state of the art graphics processor. The Graphics Processing Unit (GPU) has been enhanced in a number of ways, principally to allow for easier use of the GPU for general purpose computing (GPGPU) such as physics simulation. -
Pixelated Nature: Ecocriticism, Animals, Moral Consideration, And
Pixelated nature: ecocriticism, animals, moral consideration, and degrowth in videogames Natureza pixelada: ecocrítica, animais, consideração moral e decrescimento nos videogames RESUMO ABSTRACT O campo dos game studies eco- The field of ecocritical game stud- críticos cresceu significativamente ies has grown significantly in re- nos últimos anos. O entendimento cent years. Reading videogames dos videogames através das de- through the demands of the cli- mandas da crise climática e dos mate crisis and the social debates debates sociais sobre o que signi- around what ecology and nature ficam ecologia e natureza nos aju- mean helps us assess their role in da a avaliar seu papel na cultura e culture and as culture. This paper como cultura. Este artigo combina combines the analysis of game a análise de conteúdo do jogo e content and of the ways of play- das maneiras de jogar oferecidas ing afforded by that content to de- por esse conteúdo para delinear lineate a draft of a map of games um rascunho de um mapa de jogos about and in defense of nature. sobre e em defesa da natureza. As The guiding questions are how questões norteadoras são: como they create their discourses and esses jogos criam seus discursos what strategies they use for that, e quais estratégias eles usam em distinguishing between represen- prol de seus objetivos, fazendo tation (or how nature appears) and a distinção entre representação ecocriticism (or what is said about (ou como a natureza aparece) e the relationship between people ecocrítica (ou o que é dito sobre and their environment), as well as a relação entre as pessoas e seu what type of player behaviour they ambiente), bem como que tipo de allow and favour. -
''My Soul Got a Little Bit Cleaner'': Art Experience in Videogames
”My Soul Got a Litle Bit Cleaner”: Art Experience in Videogames JULIA A. BOPP∗, JAN B. VORNHAGEN∗, and ELISA D. MEKLER, Aalto University Videogames receive increasing acclaim as a medium capable of artistic expression, emotional resonance, and even transformative potential. Yet while discussions concerning the status of games as art have a long history in games research, little is known about the player experience (PX) of games as art, their emotional characteristics, and what impact they may have on players. Drawing from Empirical Aesthetics, we surveyed 174 people about whether they had an art experience with videogames and what emotions they experienced. Our fndings showcase the prominence of epistemic emotions for videogame art experiences, beyond the negative and mixed emotional responses previously examined, as well as the range of personal impacts such experiences may have. These fndings are consistent with art experience phenomena characteristic of other art forms. Moreover, we discuss how our study relates to prior research on emotions and refection in PX, the importance of games’ representational qualities in art experiences, and identify lines of further inquiry. All data, study materials, and analyses are available at https://osf.io/ryvt6/. CCS Concepts: • Human-centered computing ! Empirical studies in HCI; • Applied computing ! Psychology; Arts and humanities. Additional Key Words and Phrases: player experience, emotion, art experience, videogames, empirical aesthetics ACM Reference Format: Julia A. Bopp, Jan B. Vornhagen, and Elisa D. Mekler. 2021. ”My Soul Got a Little Bit Cleaner”: Art Experience in Videogames. Proc. ACM Hum.-Comput. Interact. 5, CHIPLAY, Article 237 (September 2021), 19 pages. https://doi.org/10.1145/3474664 1 INTRODUCTION Art holds a special role in the human experience [21]: It wields the power to astonish, move, or disturb us [66] – or leave us indiferent [58]. -
Hellblade's Depiction of Mental Illness and Its Impact
To Hell and Back: Hellblade’s Depiction of Mental Illness and Its Impact Joseph Fordham Michigan State University Department of Media and Information 404 Wilson Road East Lansing, MI 48917, USA [email protected] Christopher Ball Michigan State University Department of Media and Information The United States [email protected] Keywords Hellblade, Mental Health, Controversy INTRODUCTION Hellblade: Senua’s Sacrifice is a digital game developed and independently published by Ninja Theory. In Hellblade, players take on the role of Senua, a female Pict warrior on a quest that quite literally tests her sanity. Hellblade’s presentation of Senua’s psychosis provides interesting insights into how games can depict challenging, controversial topics (Mortensen, Linderoth & Brown, 2015; Shapiro & Rotter, 2016) and the effect that these sorts of serious portrayals can have on those who play (Papoutsi & Drigas, 2016). As a result, Hellblade is a game that could contribute to numerous conversations across various fields in game studies. This paper approaches the topic of Hellblade in two ways. First, it serves as an exploration of the game’s potentially-controversial depiction of psychosis. Specifically, we examine how various frames and design choices were used to create a compelling experience related to mental illness while alleviating concerns of trivializing such a serious topic. Secondly, this paper also investigates the various reactions to Hellblade’s depiction of mental illness. Particularly, we analyze reviews and popular press coverage of the game as well as conversational threads within a Hellblade subReddit that acts as a place for players to share information and experiences related to mental illness. -
Nintendo Switch?
léto 2020 ZDARMA Nové Co je Nintendo Switch? Nintendo Switch je herní konzole, se kterou můžete hrát kdykoliv, kdekoliv, s kýmkoliv K dispozici vám jsou dvě zařízení rodiny Nintendo Switch Nintendo Switch – plně vybavené k hraní doma i na cestách Tři herní módy TV mód Tabletop mód Handheld mód str. 6 - 9 Nintendo Switch Lite – věnováno handheld hraní str. 10 - 11 Kdykoliv, kdekoliv, s kýmkoliv. Tři módy 1 TV mód Nintendo Switch nabízí tři herní módy. Vložte Nintendo Switch do dokovací stanice a vychutnejte si hraní na TV ve vysokém rozlišení. Jednoduché připojení k TV Konzole se při vyjmutí z dokovací stanice AC adaptér okamžitě zapne. konzole Vezměte konzoli s sebou Nintendo Switch a pokračujte v hraní v handheld módu. HDMI kabel Jednoduše zapojte AC adaptér a HDMI kabel (oba jsou součástí balení) do příslušných portů. Kdykoliv, kdekoliv, s kýmkoliv. Tři módy 2 Díky zabudovanému stojánku můžete s ostatními sdílet obrazovku a užít si Tabletop mód tak hraní ve více hráčích. Vsunete-li oba Joy-Con ovladače do Joy-Con gripu, Joy-Con rázem se přemění v jeden tradiční controller. Bez gripu však fungují Po stranách konzole Nintendo jako dva samostatně plně Switch se nachází ovladače, které funkční ovladače. fungují ve vzájemné interakci. Nintendo Switch nabízí tři herní módy. Tři módy 3 Uchopte konzoli s připojenými Joy-Con ovladači a hrajte na Handheld mód cestách. Nintendo Switch Lite – Nintendo Switch Lite je kompaktní, lehká konzole se zabudovaným ovládáním věnováno handheld hraní Nintendo Switch Lite podporuje všechen Nintendo Switch software, který umožňuje hraní v handheld módu. Hodí se pro ty, kteří mají spoustu příležitostí k hraní na cestách nebo pro kohokoliv, kdo by si rád zahrál online či lokální multiplayer s přáteli nebo rodinou, kteří již vlajkovou loď konzoli Nintendo Switch vlastní. -
Independent Video Games and the Games ‘Indiestry’ Spectrum: Dissecting the Online Discourse of Independent Game Developers in Industry Culture By
Independent Video Games and the Games ‘Indiestry’ Spectrum: Dissecting the Online Discourse of Independent Game Developers in Industry Culture by Robin Lillian Haislett, B.S., M.A. A Dissertation In Media and Communication Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Robert Moses Peaslee Chair of Committee Dr. Todd Chambers Dr. Megan Condis Dr. Wyatt Philips Mark Sheridan Dean of the Graduate School December, 2019 Copyright 2019, Robin Lillian Haislett Texas Tech University, Robin Lillian Haislett, December 2019 ACKNOWLEDGMENTS This is the result of the supremely knowledgeable Dr. Robert Moses Peaslee who took me to Fantastic Fest Arcade in 2012 as part of a fandom and fan production class during my doctoral work. This is where I met many of the independent game designers I’ve come to know and respect while feeling this renewed sense of vigor about my academic studies. I came alive when I discovered this area of study and I still have that spark every time I talk about it to others or read someone else’s inquiry into independent game development. For this, I thank Dr. Peaslee for being the catalyst in finding a home for my passions. More pertinent to the pages that follow, Dr. Peaslee also carefully combed through each malformed draft I sent his way, narrowed my range of topics, encouraged me to keep my sense of progress and challenged me to overcome challenges I had not previously faced. I feel honored to have worked with him on this as well as previous projects. -
The Sacred and the Digital. Critical Depictions of Religions in Digital Games
religions Editorial The Sacred and the Digital. Critical Depictions of Religions in Digital Games Frank G. Bosman Department of Systematic Theology and Philosophy, Tilburg University, 5037 AB Tilburg, The Netherlands; [email protected] Received: 17 January 2019; Accepted: 21 February 2019; Published: 22 February 2019 Abstract: In this editorial, guest editor Frank Bosman introduces the theme of the special issue on critical depictions of religion in video games. He does so by giving a tentative oversight of the academic field of religion and video game research up until present day, and by presenting different ways in which game developers critically approach (institutionalized, fictional and non-fictional) religions in-game, of which many are discussed by individual authors later in the special issue. In this editorial, Bosman will also introduce all articles of the special issue at hand. Keywords: game studies; religion studies; games and religion studies; religion criticism 1. Introduction Video game studies are a relative young but flourishing academic discipline. But within game studies, however, the perspective of religion and spirituality is rather neglected, both by game scholars and religion scholars. Although some fine studies have appeared, like Halos & Avatars (Detweiler 2010), Godwired. Religion, ritual, and virtual reality (Wagner 2012), eGods. Faith versus fantasy in computer gaming (Bainbridge 2013), Of Games and God (Schut 2013), Playing with Religion in digital games (Campbell and Grieve 2014), Methods for Studying Video Games and Religion (Sisler et al. 2018), and Gaming and the Divine (Bosman 2019), still little attention has been given to the depiction of religion, both institutionalized and privatized, both fantasy and non-fictional, deployed by game developers for their games’ stories, aesthetics, and lore. -
21St Annual DICE Awards Finalists.Xlsx
Academy of Interactive Arts and Sciences 21st Annual D.I.C.E. Awards Finalists GAME TITLE PUBLISHER DEVELOPER Outstanding Achievement in Animation Cuphead StudioMDHR StudioMDHR For Honor Ubisoft Entertainment Ubisoft Montreal Hellblade: Senua's Sacrifice Ninja Theory Ninja Theory Horizon Zero Dawn Sony Interactive Entertainment America Guerrilla Games Uncharted: The Lost Legacy Sony Interactive Entertainment America Naughty Dog LLC Outstanding Achievement in Art Direction Cuphead StudioMDHR StudioMDHR Hellblade: Senua's Sacrifice Ninja Theory Ninja Theory Horizon Zero Dawn Sony Interactive Entertainment America Guerrilla Games Little Nightmares BANDAI NAMCO Entertainment America Inc. Tarsier Studios The Legend of Zelda: Breath of the Wild Nintendo Nintendo Outstanding Achievement in Character Assassin's Creed Origins ‐ Bayek Ubisoft Entertainment Ubisoft Entertainment Hellblade: Senua's Sacrifice ‐ Senua Ninja Theory Ninja Theory Horizon Zero Dawn ‐ Aloy Sony Interactive Entertainment America Guerrilla Games Star Wars Battlefront II ‐ Iden Versio Electronic Arts DICE, Motive Studios, and Criterion Games Uncharted: The Lost Legacy ‐ Chloe Fraiser Sony Interactive Entertainment America Naughty Dog LLC Outstanding Achievement in Original Music Composition Call of Duty: WWII Activision Sledgehammer Games Cuphead StudioMDHR StudioMDHR Horizon Zero Dawn Sony Interactive Entertainment America Guerrilla Games RiME Grey Box Tequila Works Wolfenstein II: The New Colossus Bethesda Softworks MachineGames Outstanding Achievement in Sound Design Destiny -
Roles of Female Video Game Characters and Their Impact on Gender Representation
Roles of female video game characters and their impact on gender representation. Author: Paulina Ewa Rajkowska Thesis Supervisor: Else Nygren Master's Thesis Submitted to the Department of Informatics and Media Uppsala University, May 2014 For obtaining the Master's Degree of Social Science In the field of Media and Communication Studies Table of Contents Abstract ...................................................................................................................................... 4 1. Introduction .................................................................................................................... 5 2. Background Information ................................................................................................ 5 What are video games? .................................................................................................. 5 Important terms .............................................................................................................. 7 Evolution of games ......................................................................................................... 8 3. Literature review: ......................................................................................................... 12 Media Effects: .............................................................................................................. 12 The concept of Gender ................................................................................................. 13 Gender in video games ................................................................................................