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THE ART of Puzzle Game Design
THE ART OF Puzzle Design Scott Kim & Alexey Pajitnov with Bob Bates, Gary Rosenzweig, Michael Wyman March 8, 2000 Game Developers Conference These are presentation slides from an all-day tutorial given at the 2000 Game Developers Conference in San Jose, California (www.gdconf.com). After the conference, the slides will be available at www.scottkim.com. Puzzles Part of many games. Adventure, education, action, web But how do you create them? Puzzles are an important part of many computer games. Cartridge-based action puzzle gamse, CD-ROM puzzle anthologies, adventure game, and educational game all need good puzzles. Good News / Bad News Mental challenge Marketable? Nonviolent Dramatic? Easy to program Hard to invent? Growing market Small market? The good news is that puzzles appeal widely to both males and females of all ages. Although the market is small, it is rapidly expanding, as computers become a mass market commodity and the internet shifts computer games toward familiar, quick, easy-to-learn games. Outline MORNING AFTERNOON What is a puzzle? Guest Speakers Examples Exercise Case studies Question & Design process Answer We’ll start by discussing genres of puzzle games. We’ll study some classic puzzle games, and current projects. We’ll cover the eight steps of the puzzle design process. We’ll hear from guest speakers. Finally we’ll do hands-on projects, with time for question and answer. What is a Puzzle? Five ways of defining puzzle games First, let’s map out the basic genres of puzzle games. Scott Kim 1. Definition of “Puzzle” A puzzle is fun and has a right answer. -
Solving Pictorial Jigsaw Puzzle by Stigmergy-Inspired Internet-Based Human Collective Intelligence
Solving Pictorial Jigsaw Puzzle by Stigmergy-inspired Internet-based Human Collective Intelligence Bo Shen Wei Zhang Haiyan Zhao Peking University, Beijing, China Peking University, Beijing, China Peking University, Beijing, China Beijing, China Beijing, China Beijing, China [email protected] [email protected] [email protected] Zhi Jin Yanhong Wu Peking University, Beijing, China Peking University, Beijing, China Beijing, China Beijing, China [email protected] [email protected] ABSTRACT 1 INTRODUCTION The pictorial jigsaw (PJ) puzzle is a well-known leisure game for hu- Pictorial jigsaw (PJ) puzzle is a well-known leisure game for people mans. Usually, a PJ puzzle game is played by one or several human from children to adults. In a PJ puzzle game, the goal is to recover an players face-to-face in the physical space. In this paper, we focus on image with human-sensitive contents from n different pieces of the how to solve PJ puzzles in the cyberspace by a group of physically image, as fast as possible. Besides the appearance of a leisure game, distributed human players. We propose an approach to solving PJ PJ puzzle has a deep metaphorical meaning. It embodies perfectly puzzle by stigmergy-inspired Internet-based human collective intel- a kind of complex problems that can not be resolved in a top-down ligence. The core of the approach is a continuously executing loop, manner, but only in a bottom-up, exploring and growing manner. named the EIF loop, which consists of three activities: exploration, That is, such a problem usually can not be pre-decomposed into a integration, and feedback. -
Art Worlds for Art Games Edited
Loading… The Journal of the Canadian Game Studies Association Vol 7(11): 41-60 http://loading.gamestudies.ca An Art World for Artgames Felan Parker York University [email protected] Abstract Drawing together the insights of game studies, aesthetics, and the sociology of art, this article examines the legitimation of ‘artgames’ as a category of indie games with particularly high cultural and artistic status. Passage (PC, Mac, Linux, iOS, 2007) serves as a case study, demonstrating how a diverse range of factors and processes, including a conducive ‘opportunity space’, changes in independent game production, distribution, and reception, and the emergence of a critical discourse, collectively produce an assemblage or ‘art world’ (Baumann, 2007a; 2007b) that constitutes artgames as legitimate art. Author Keywords Artgames; legitimation; art world; indie games; critical discourse; authorship; Passage; Rohrer Introduction The seemingly meteoric rise to widespread recognition of ‘indie’ digital games in recent years is the product of a much longer process made up of many diverse elements. It is generally accepted as a given that indie games now play an important role in the industry and culture of digital games, but just over a decade ago there was no such category in popular discourse – independent game production went by other names (freeware, shareware, amateur, bedroom) and took place in insular, autonomous communities of practice focused on particular game-creation tools or genres, with their own distribution networks, audiences, and systems of evaluation, only occasionally connected with a larger marketplace. Even five years ago, the idea of indie games was still burgeoning and becoming stable, and it is the historical moment around 2007 that I will address in this article. -
Algorithmic Combinatorial Game Theory∗
Playing Games with Algorithms: Algorithmic Combinatorial Game Theory∗ Erik D. Demaine† Robert A. Hearn‡ Abstract Combinatorial games lead to several interesting, clean problems in algorithms and complexity theory, many of which remain open. The purpose of this paper is to provide an overview of the area to encourage further research. In particular, we begin with general background in Combinatorial Game Theory, which analyzes ideal play in perfect-information games, and Constraint Logic, which provides a framework for showing hardness. Then we survey results about the complexity of determining ideal play in these games, and the related problems of solving puzzles, in terms of both polynomial-time algorithms and computational intractability results. Our review of background and survey of algorithmic results are by no means complete, but should serve as a useful primer. 1 Introduction Many classic games are known to be computationally intractable (assuming P 6= NP): one-player puzzles are often NP-complete (as in Minesweeper) or PSPACE-complete (as in Rush Hour), and two-player games are often PSPACE-complete (as in Othello) or EXPTIME-complete (as in Check- ers, Chess, and Go). Surprisingly, many seemingly simple puzzles and games are also hard. Other results are positive, proving that some games can be played optimally in polynomial time. In some cases, particularly with one-player puzzles, the computationally tractable games are still interesting for humans to play. We begin by reviewing some basics of Combinatorial Game Theory in Section 2, which gives tools for designing algorithms, followed by reviewing the relatively new theory of Constraint Logic in Section 3, which gives tools for proving hardness. -
Jigsaw Puzzles, Edge Matching, and Polyomino Packing: Connections and Complexity∗
Jigsaw Puzzles, Edge Matching, and Polyomino Packing: Connections and Complexity∗ Erik D. Demaine, Martin L. Demaine MIT Computer Science and Artificial Intelligence Laboratory, 32 Vassar St., Cambridge, MA 02139, USA, {edemaine,mdemaine}@mit.edu Dedicated to Jin Akiyama in honor of his 60th birthday. Abstract. We show that jigsaw puzzles, edge-matching puzzles, and polyomino packing puzzles are all NP-complete. Furthermore, we show direct equivalences between these three types of puzzles: any puzzle of one type can be converted into an equivalent puzzle of any other type. 1. Introduction Jigsaw puzzles [37,38] are perhaps the most popular form of puzzle. The original jigsaw puzzles of the 1760s were cut from wood sheets using a hand woodworking tool called a jig saw, which is where the puzzles get their name. The images on the puzzles were European maps, and the jigsaw puzzles were used as educational toys, an idea still used in some schools today. Handmade wooden jigsaw puzzles for adults took off around 1900. Today, jigsaw puzzles are usually cut from cardboard with a die, a technology that became practical in the 1930s. Nonetheless, true addicts can still find craftsmen who hand-make wooden jigsaw puzzles. Most jigsaw puzzles have a guiding image and each side of a piece has only one “mate”, although a few harder variations have blank pieces and/or pieces with ambiguous mates. Edge-matching puzzles [21] are another popular puzzle with a similar spirit to jigsaw puzzles, first appearing in the 1890s. In an edge-matching puzzle, the goal is to arrange a given collection of several identically shaped but differently patterned tiles (typically squares) so that the patterns match up along the edges of adjacent tiles. -
The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism
The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism by Sarah E. Thorne A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2018, Sarah E. Thorne Abstract The past decade has seen an increase in the availability of user-friendly game development software, the result of which has been the emergence of a genre of reflexive and experimental games. Pippin Barr, La Molleindustria’s Paolo Pedercini, and Davey Wreden are exemplary in their thoughtful engagement with an ever-expanding list of subjects, including analyses and critiques of game development, popular culture, and capitalism. These works demonstrate the power of games as a site for critical media theory. This potential, however, is hindered by the player-centric trends in the game industry that limit the creative freedom of developers whose work is their livelihood. In the era of communicative capitalism, Jodi Dean argues that the commodification of communication has suspended narrative in favour of the circulation of fragmented and digestible opinions, which not only facilitates the distribution and consumption of communication, but also safeguards communicative capitalism against critique. Ultimately, the very same impulse that drives communicative capitalism is responsible for the player-centric trends that some developers view as an obstacle to their art. Critical game studies has traditionally fallen into two categories: those that emphasize the player as the locus of critique, such as McKenzie Wark’s trifler or Mary Flanagan’s critical play, and those that emphasize design, as in Alexander Galloway’s countergaming, Ian Bogost’s procedural rhetoric, and Gonzalo Frasca’s theory of simulation. -
ARTICLE Usage Requests to the ALA Office of Rights and Permissions
All materials in this journal subject to copyright by the American Library Association may be used for the noncommercial purpose of scientific or educational advancement granted by Sections 107 and 108 of the Copyright Revision Act of 1976. Address ARTICLE usage requests to the ALA Office of Rights and Permissions. The Clock Is Ticking: Library Orientation as Puzzle Room 48 Knowledge Quest | Preservice School Librarian Voices All materials in this journal subject to copyright by the American Library Association may be used for the noncommercial purpose of scientific or educational advancement granted by Sections 107 and 108 of the Copyright Revision Act of 1976. Address usage requests to the ALA Office of Rights and Permissions. Tripp Reade [email protected] retend for a moment you’re in ing characteristics of the escape room ink—each of which contributes to Pninth grade, two weeks into variant known as a puzzle room: the the story. They differ from escape high school and visiting the library clock, the clue, the narrative. (Film rooms in objective: not literal escape with your classmates for orientation. buffs might additionally recognize but some other victory condition, The library staff tells you and your in the thief’s M.O. a reference to stipulated within the narrative. The team of detectives—yes, they call you one of the plot twists in The Thomas objective might be solving a murder, detectives—that a priceless statuette Crown Affair.) Though the first escape committing espionage, or carrying (i.e., action figure) from the library’s room is often traced to Japan in 2007 out a heist (Nicholson 2015, 2, 13, 15). -
Surprising Ways Puzzles Are Good for Your Brain Besides Being Fun, Working on Puzzles Gives You a Real Mental Workout
7 Surprising Ways Puzzles Are Good for Your Brain Besides being fun, working on puzzles gives you a real mental workout. Puzzles are a great family activity or solo pastime. Whether your puzzle of choice is a 1,000-piece jigsaw, the New York Times Sunday crossword puzzle, a wood brain teaser, or a 3D mechanical puzzle, doesn’t really matter because all puzzles share one key element, they power your brain. The types and varieties of puzzles are almost endless. There are seven specific ways that puzzles are good for your brain. So, clear off your coffee table, sharpen your pencils and get ready to boost your mind. Issue #31 1 ANALYTICAL CREATIVE Puzzles The two hemispheres of your brain control different functions. The left side of your brain Exercise controls analytic and logical thinking and the Both right-side controls creativity. When you are Sides of working on puzzles, you are engaging both sides 1 Your Brain and giving your brain a real mental workout. Improve Working on puzzles reinforce the connections between our brain Your cells—and form new ones—so they 2 Memory are a great way to improve short- term memory. We use memory in the process of completing a jigsaw puzzle when we remember shapes, sizes, and pieces and visualize where they fit in. Studies have shown that the growth of new brain connections that are formed to help reduce the amount of brain damage in Alzheimer’s patients. Improve Your Problem-Solving Skills The ability to solve problems and think critically is 3useful in almost any life situation and puzzles help us develop these skills. -
The 3D Jigsaw Puzzle: Mapping Large Indoor Spaces
The 3D jigsaw puzzle: mapping large indoor spaces Ricardo Martin-Brualla1, Yanling He1, Bryan C. Russell2, and Steven M. Seitz1 1University of Washington 2Intel Abstract. We introduce an approach for analyzing annotated maps of a site, together with Internet photos, to reconstruct large indoor spaces of famous tourist sites. While current 3D reconstruction algorithms often produce a set of disconnected components (3D pieces) for indoor scenes due to scene coverage or matching failures, we make use of a provided map to lay out the 3D pieces in a global coordinate system. Our approach leverages position, orientation, and shape cues extracted from the map and 3D pieces and optimizes a global objective to recover the global layout of the pieces. We introduce a novel crowd flow cue that measures how people move across the site to recover 3D geometry orientation. We show compelling results on major tourist sites. Keywords: Indoor scene reconstruction, maps, 3D jigsaw puzzle. 1 Introduction Recent breakthroughs in computer vision now allow us to model our world in 3D with extraordinary accuracy and visual fidelity from just about any set of overlapping photos [1{3]. However, a limitation of state-of-the-art 3D reconstruc- tion techniques from Internet photos is that large scenes tend to break up into a collection of disconnected pieces due to gaps in the depicted scene coverage or matching failures. Rather than a single, fully-connected Vatican model, for instance, we get a collection of smaller 3D pieces for different rooms, such as the Sistine Chapel, the Raphael Rooms, and the Hall of Maps, each having their own 3D coordinate system. -
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. -
Games Worth a Thousand Words: Critical Approaches and Ludonarrative Harmony in Interactive Narratives
University of New Hampshire University of New Hampshire Scholars' Repository Honors Theses and Capstones Student Scholarship Spring 2012 Games Worth a Thousand Words: Critical Approaches and Ludonarrative Harmony in Interactive Narratives Travis Pynenburg University of New Hampshire - Main Campus Follow this and additional works at: https://scholars.unh.edu/honors Part of the Educational Methods Commons, and the Instructional Media Design Commons Recommended Citation Pynenburg, Travis, "Games Worth a Thousand Words: Critical Approaches and Ludonarrative Harmony in Interactive Narratives" (2012). Honors Theses and Capstones. 70. https://scholars.unh.edu/honors/70 This Senior Honors Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Honors Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. Games Worth a Thousand Words: Critical Approaches and Ludonarrative Harmony in Interactive Narratives Travis Pynenburg Thomas Newkirk May 16, 2012 Pynenburg 1 If we are going to reach our potential when innovation dries up, we need to be important. We need to speak to the human condition. We need to make games that people care about so much, they can't not play them. —Jonathan Blow Video games stand on the precipice of artistic legitimacy in the academic community. In 2004, game designer Eric Zimmerman wrote, "Academic journals, conferences, and courses about computer-based storytelling, digital interactivity, and gaming culture have flourished like a species of virulent weed in the manicured garden of the university" (154). -
Delorme Topographical Map Puzzle ~ Centered on Your Home ~ 0 1/8 1/4 1/2 3/4 1 Miles
LUXJIG_insert _cards_Aug2012_MM 12/09/2012 16:21 Page 1 Delorme Topographical Map Puzzle ~ Centered on your home ~ 0 1/8 1/4 1/2 3/4 1 Miles THE CHALLENGE BEGINS HER E! Build on your knowledge of the neighborhood and surrounding community with this specially commissioned Delorme map jigsaw puzzle. Starting with familiar areas, discover and explore new places around your house and hometown. To help get you started, the centrepiece is shaped like a house and is centered on your home! We have deliberately resisted the temptation to include a traditional guide print in the hope that it adds to the challenging fun and makes your jigsaw journey even more rewarding. Your puzzle is individually created from the Delorme North American Topographical map base, which is the most suitable and up to date mapping available to allow us to offer you the best image for your puzzle. Delorme’s latest ground-breaking dataset adds for the first time a subtle hill shading to the contours thus enhancing the mapping with a 3D relief effect. Combine this with over 30 years’ experience of market leading cartography and the result is a fantastic modern & accurate map base. We harness this imagery with a custom-built geolocation tool that allows us to place your chosen address in the centre of your jigsaw. Did you know the first ever jigsaw puzzles were the invention of an Englishman, John Spilsbury, during the late 18th century? Based in London and trained as an apprentice engraver & map maker at the court of King George III, Spilsbury went on to create map-based jigsaws – called ‘dissected maps’ – to help students learn geography.