Selenitic Age Mechanical Age Myst Stoneship Age Channelwood Rime Haven Spire Riven K'veer

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Selenitic Age Mechanical Age Myst Stoneship Age Channelwood Rime Haven Spire Riven K'veer

To the right of this line, any age can link back to Relto. Also, most places to the right of this line can be linked to from Relto via their page in the age book in Relto, even though there are no blue connectors. Relto Gahreesen Kadish Tolesa Eder Gira Eder Kemo Stoneship Age The Cleft Volcano Taghira Kadish Gallery Star Fissure The Great Shaft Direbo Laki’han Baron’s Office Teledahn Channelwood Tay Bahro Cave Riven Noloben Spy Room Todelmer Phil’s Relto Gehn’s 233rd Age Rime Ae’gura Kirel Myst K’veer (D’ni) Neighborhood Bevin Neighborhood The Nexus Great Zero Releeshahn Ahnonay Gallery Selenitic Age Rolep (Watcher’s Sanctuary) Narayan Ahnonay Mechanical Age Created by Marc Berger Completed December, 2006 Haven Bahro Cave Original game design by Cyan Worlds Inc. All copyrights owned by Cyan Worlds Inc. (http://www.cyanworlds.com) Ages included are only ones from the games (Myst, Riven, Exile, Revelation, Uru, and End of Ages), not the ages from the novels or ages mentioned in books within the games. Legend Tomahna Uru craziness: I had a difficult time with Uru and all the different links that work with Relto. I decided to only add connectors Er’cana to the main ages; Any links that you pick up via Bahro stones, etc. are not on this map, but can be linked to by using their Book link Edanna page in the age book on your Relto shelf. For example, the Baron’s office can be reached by using the Ae’gura book in Spire J’nanin Relto. Bahro links: I assumed that links to the Bahro caves from the initial four Uru ages were Bahro linking stones like the ones Yeesha or unexplained link you see in Path of the Shell. Also, I assumed the linking that takes place in EoA is similar to a Bahro stone link. Ae’Gura Testing For more information or to see more of my projects go to: http://www.zephire.net/projects Physical link Station Questions or comments: email me at projects (at) zephire (dot) net. Amateria - References - Bahro stone link Wikipedia D’ni Ages entry - http://en.wikipedia.org/wiki/D'ni_Ages Uru Locations - http://www.fisicx.com/uru/linkingbooks.htm Serenia Game screenshots - Google Images and Uru Locations (http://www.fisicx.com/uru/linkingbooks.htm) Initial link Parchment texture - http://www.clearlypixelated.com D’ni script, numbers, and translation - Interactive Pocket D’ni Encyclopedia - http://www.geocities.com/tayganyavo/ipde/ This project was for fun, not for sale! Work licensed under Creative Commons – you are free to share this work, non- commercially, as long as original credit is given. For more, see http://creativecommons.org/licenses/by-nc-sa/2.5/deed.en Link, Live, and Learn! Voltaic Z..

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DESIGN-DRIVEN APPROACHES TOWARD MORE EXPRESSIVE STORYGAMES a Dissertation Submitted in Partial Satisfaction of the Requirements for the Degree Of
UNIVERSITY OF CALIFORNIA SANTA CRUZ CHANGEFUL TALES: DESIGN-DRIVEN APPROACHES TOWARD MORE EXPRESSIVE STORYGAMES A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in COMPUTER SCIENCE by Aaron A. Reed June 2017 The Dissertation of Aaron A. Reed is approved: Noah Wardrip-Fruin, Chair Michael Mateas Michael Chemers Dean Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright c by Aaron A. Reed 2017 Table of Contents List of Figures viii List of Tables xii Abstract xiii Acknowledgments xv Introduction 1 1 Framework 15 1.1 Vocabulary . 15 1.1.1 Foundational terms . 15 1.1.2 Storygames . 18 1.1.2.1 Adventure as prototypical storygame . 19 1.1.2.2 What Isn't a Storygame? . 21 1.1.3 Expressive Input . 24 1.1.4 Why Fiction? . 27 1.2 A Framework for Storygame Discussion . 30 1.2.1 The Slipperiness of Genre . 30 1.2.2 Inputs, Events, and Actions . 31 1.2.3 Mechanics and Dynamics . 32 1.2.4 Operational Logics . 33 1.2.5 Narrative Mechanics . 34 1.2.6 Narrative Logics . 36 1.2.7 The Choice Graph: A Standard Narrative Logic . 38 2 The Adventure Game: An Existing Storygame Mode 44 2.1 Deﬁnition . 46 2.2 Eureka Stories . 56 2.3 The Adventure Triangle and its Flaws . 60 2.3.1 Instability . 65 iii 2.4 Blue Lacuna ................................. 66 2.5 Three Design Solutions . 69 2.5.1 The Witness ............................. 70 2.5.2 Firewatch ............................... 78 2.5.3 Her Story ............................... 86 2.6 A Technological Fix? .
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Cyanbill Administrator
Excerpts from UBI’s Forum (Reference) CyanBill posted Wed February 04 2004 02:58 PM Wed February 04 2004 02:58 PM Just to clarify: Uru continues to sell very well, garner accolades and wonderful reviews. It's currently Ubisoft's best-selling PC Game. Administrator The decision to switch from online broadband-only content delivery to expansion packs really IS about the small proportion of people who signed up to try Uru Live. The overwhelming majority of people apparently bought the game solely for the singleplayer experience. It's possible a proportion of people have been waiting for one reason or another to sign up for live, but there's no way to know what those numbers are. There were certainly other challenges. But we were on track and on schedule to overcome them until a few weeks ago when the decisions were made and we started to transition to the expansion pack production. Sincere apologies for the lack of attention we've been able to give to Live over the last few weeks. It's really been a skeleton crew manning the ship. The positive side of that is that the first expansion pack in the form of a free download will be available next month. Bill Slease Content Director Cyan Worlds, Inc. CyanBill posted Wed February 04 2004 03:13 PM Wed February 04 2004 03:13 PM The folks who decide where money goes believed that the number of people who would pay to play would be less than the number of people who signed up to try it free.
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Amy Clary: "Digital Nature: Uru and the Representation of Wilderness in Computer Games"
Digital Nature: Uru and the Representation of Wilderness in Computer Games Amy Clary The desert is intense. The parched red earth bakes under the relentless glare of the afternoon sun. Thirsty-looking clumps of sage, too squat and sere to cast much shadow, dot the dry, cracked land. On the barbed wire fence is a sign, sunbleached and wind- scoured, that reads “No Trespassing” and “New Mexico.” A rusty Airstream trailer blends into the unforgiving landscape like the shell of a desert tortoise. Two oases of shade beckon: one under the awning of the vintage Airstream, another cast by a distant red rock butte. I head toward the butte, eager to explore its alluringly steep slopes and jagged profile. I climb up the slope and realize that it is not a butte at all but the entrance to a sort of canyon, a cleft, with a seductive assortment of shapes and shade inside it. I take anoth- er step and … the whole world dissolves into unintelligible poly- gons of color. All I see is chaos, and try as I might, I can’t get back to the desert. Such are the frustrations of playing Uru: Ages Beyond Myst (Cyan Worlds, 2003) on a computer that barely meets the game’s mini- mum system requirements. Reviewer Darryl Vassar writes, “Uru will make even the beefiest video card sweat at the highest detail settings…” (“Incomparable beauty” section: para. 4). I had hoped that by turning the game’s graphics settings down to the bare-bones level, my processor, video card, and memory would be sufficient to the task, but they were not.
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Framework for Developing Interactive 360-Degree Video Adventure Games
FACULDADE DE ENGENHARIA DA UNIVERSIDADE DO PORTO Framework for Developing Interactive 360-Degree Video Adventure Games Francisco Pinho Mestrado Integrado em Engenharia Informática e Computação Supervisor: Rui Rodrigues Co-Supervisor: Rui Nóbrega July 20, 2019 Framework for Developing Interactive 360-Degree Video Adventure Games Francisco Pinho Mestrado Integrado em Engenharia Informática e Computação July 20, 2019 Abstract Making game environments, be it in 2D or 3D is an extremely laborious and skill intensive task. 360o content is a visual medium known for its increased spatial immersion and potential enhance- ment of the users’ emotional response to content [EEW18]. The possibility of using interactive 360o video or images as the game environments will allow talent to invest their creativity into other crucial aspects of game design such as narrative, sound and game mechanics. Adventure games belong in a diverse genre comprising many different types of experiences and sub-genres, from text-based adventures to puzzle-oriented point-and-click games, a cinematic experience with player choices or even a mixture of crime investigation with courtroom drama. In essence, games with simpler means of user input and a bigger focus on interactive narratives and storytelling - a very relevant field at the cutting edge of virtual reality research [RTGG17]. Further- more these games feature entirely non reflex based mechanics making the genre of "Adventure" the most fitting for integration with 360-degree visual media. This dissertation presents a framework that will allow the streamlining of the creative process of these experiences by giving creators the tools to make a fully-fledged virtual reality adventure game with 360 visual media as an interactive setting.
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Myst V: End of Ages Is Something People Will Want to Be a Part Of, Something Memorable That Will Resound with Players for a Lifetime.“
UBISOFT ANNOUNCES THE FINALE OF THE GREATEST ADVENTURE SERIES EVER: MYST ® V: END OF AGES Cyan Worlds Develops the Last Installment of the Myst Franchise Paris, FRANCE – January 12 2004 – Ubisoft, one of the world‘s largest videogame publishers, today revealed that Cyan Worlds, Inc., creators of the critically acclaimed and best-selling Myst ® franchise will launch its final adventure, Myst ® V: End of Ages , in fall 2005 (PC and Mac ® hybrid disk format). Rand Miller, co-creator of Myst and founder of Cyan Worlds, leads the Spokane-based development team in creating this final episode, bringing closure to the Myst storyline via its most dramatic and immersive experience to date. —Myst is more than a game, it‘s an experience, and in many cases, a lifestyle,“ said Laurent Detoc, president of Ubisoft‘s North American division. —Cyan Worlds will deliver the final chapter in what has been a phenomenal run of success, both critically and commercially. We know that Myst V: End of Ages is something people will want to be a part of, something memorable that will resound with players for a lifetime.“ Picking up immediately where the original Myst ended, players are presented the privilege, challenge and responsibility of restoring the lost empire of the D‘ni™ œ an ancient civilization of people who thrived for thousands of years but later met with a great catastrophe. Like each previous Myst title, Myst V: End of Ages advances the graphical beauty and detail of its worlds with a fully immersive 3D environment. Cyan carefully crafted and combined elements of adventure, puzzles, storyline and gameplay innovation creating a worthy ending to the one game to which millions will forever compare any adventure title œ Myst.
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Table of Contents Take a Deep Breath
Table of Contents Take a Deep Breath ... Begin. 2 System Requirements . 2 Installation Instructions . 3 Playing Myst® V: End of Ages . 5 Just the Basics . 5 Explore . 5 Controls -- Movement and Interaction . 5 Classic Mouse-Click Mode . 5 Free-Move (Advanced) Mode . 6 Know Your Options . 8 Save Your Journey . 8 Journals . 9 Beyond the Basics . 10 Slates and Pedestals . 10 Menus . 10 Troubleshooting . 13 Sound and Video Cards . 13 Microsoft DirectX 9 Setup . 13 Copy Protection . 14 GameShadow® . 14 Warranty . inside front cover Technical Support . inside back cover 1 *Supported Video Cards at Time of Release: ATI® RADEON® 7000/8000/9000/X families NVIDIA® GeForce™ 256/2/3/4/FX/6000 families Laptop versions of these chipsets may work but are not supported. These chipsets are the only ones that will run this game. Additional chipsets may be supported after release. For an up-to-date list of supported chipsets, please visit the FAQ for this Take a Deep Breath ... Begin. game on our support website at: http://www.ubi.com/us/support. The End of Ages should not be thought of as an ending, but rather as the In addition, your monitor and chipset must be able to support an 800x600 resolution. conclusion to a very long journey. Some years have now passed since we first unveiled Myst and took you to worlds NOTICE: This game contains technology intended to prevent copying that may like no others; fantastic places that could be experienced and explored. Together we conflict with some DVD-RW and virtual drives. have traveled to these worlds and followed a family and the immense challenges that confronted them.
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Obduction by Cyan, Inc
Obduction by Cyan, Inc. • Home • Updates 19 • Backers 15,407 • Comments 5,790 • Spokane, WA • Video Games Leave a comment (for backers only) Show 15 newer comments 1. Paul Melampy 1 minute ago Damn! That's 12K in the last 3 hours! 2. Mat 'Cubase' Van Rhoon 1 minute ago @Frank Ah, you spotted my nickname yes? Well done, and Indeed I am! I write film/game scores, and am also a sound designer. 3. Frank den Blaauwen 5 minutes ago @Mat: Interested in music writing/playing/producing? 4. Mat 'Cubase' Van Rhoon 8 minutes ago Greetings from the Tex Murphy crew! I am pretty darn confident you guys are not only going to make the funding goal, but will release a totally phenomenal game. I followed MYST ever since I borrowed a copy from my school library back when I was 9 years old... and never gave it back! Kudos too Rand and EVERYBODY at Cyan for keeping the adventure genre beating in our hearts! Oh and by the way, major props on a stellar KickStarter campaign! 5. Frank den Blaauwen 8 minutes ago I should type faster 6. Frank den Blaauwen 9 minutes ago @Allan: And the there was one... 7. Allan Børgesen 10 minutes ago 1 Strata Artist left 8. Tai'lahr 10 minutes ago @Jarrod: Okay, it looks like I'm going to have to wait awhile before RAWA's mom comes to the cavern, but what about you? Whatcha waiting on? Come have fun with us. Here's your "how to" - http://www.mystonline.com/forums/viewtopic.php… 9.
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Myst IV Revelation Prima Official Eguide
PRIMA GAMES A DIVISION OF RANDOM HOUSE, INC. 3000 LAVA RIDGE COURT ROSEVILLE, CA 95661 BRYAN STRATTON AND MARY DEMARLE 1-800-733-3000 The Prima Games logo is a registered trademark of Random House, Inc., registered in the United States and other countries. Primagames.com is a registered trademark of Random House, Inc., registered in the United States. ©2004 by Prima Games. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system without written permission from Prima Games. Prima Games is a division of Random House, Inc. Product Manager: Damien Waples Project Editor: Fernando Bueno Design: Kari Keating Prima would like to send a very special thanks to Alexandre Dessaint at Ubisoft for all of his help on this project. ©2004 Ubisoft Entertainment. All Rights Reserved. Ubisoft, ubi.com, and the Ubisoft logo are trademarks of Ubisoft Entertainment in the U.S. and/or other countries. D’ni (TM), Cyan®, and Myst® are trademarks of Cyan, Inc. and Cyan Worlds, Inc. under license to Ubisoft Entertainment. All products and characters mentioned in this book are trademarks of their respective companies. Please be advised that the ESRB rating icons, “EC”, “K-A”, “E”, “T”, “M”, “AO” and “RP” are copyrighted works and certification marks owned by the Entertainment Software Association and the Entertainment Software Rating Board and may only be used with their permission and authority. Under no circumstances may the rating icons be self-applied or used in connection with any product that has not been rated Contents by the ESRB.
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The Art of Video Games Voting Results
The Art of Video Games Voting Results The Art of Video Games exhibition will explore the 40‐year evolution of video games as an artistic medium, with a focus on striking visual effects, the creative use of new technologies, and the most influential artists and designers. A website (www.artofvideogames.org) offered participants a chance to vote for 80 games from a pool of 240 proposed choices in various categories, divided by era, game type and platform. Voting took place between February 14, 2011 and April 17, 2011. The exhibition will be on display at the Smithsonian American Art Museum from March 16, 2012 through September 30, 2012 (www.americanart.si.edu/taovg). Visit www.artofvideogames.org to sign up to receive updates about this exhibition. Era 1: Start! System Image Genre Winning Game Other Nominees Atari VCS Action Pac‐Man , 1981, Toru Iwatani /Tod Haunted House Frye. ™ and © NAMCO BANDAI Tunnel Runner Games Inc. Adventure Pitfall! , 1982, David Crane. Adventure Activision Blizzard. All trade names E.T. The Extra‐Terrestrial and trademarks are properties of their respective parties. All rights reserved. Target Space Invaders , 1980, Rick Maurer. Missile Command® Yars’ Revenge® Combat/StrategyCombat/Strategy CombatCombat ®, 1977, SteveSteve MayerMayer, JoeJoe StarStar Raiders®Raiders® Decuir, Larry Kaplan, Larry Wagner. Video Chess® © 1978 Atari Interactive, Inc. ColecoVision Action Donkey Kong ™, 1982, Created by Jungle Hunt Shigeru Miyamoto. Smurf: Rescue in Gargamel’s Castle Adventure Pitfall II: Lost Caverns , 1984, David Alcazar: The Forgotten Crane, adapted by Robert Fortress Rutkowski. Activision Blizzard. All Gateway to Apshai trade names and trademarks are properties of their respective parties.
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History of Escape Games Examined Through Real-Life-And Digital Precursors and The
History of Escape Games examined through real-life-and digital precursors and the production of Spygame Katriina Penttilä Master’s Thesis Digital Culture Degree Programme in Cultural Production and Landscape Studies School of History, Culture and Arts Studies University of Turku July 2018 The originality of this thesis has been checked in accordance with the University of Turku quality assurance system using the Turnitin OriginalityCheck service. UNIVERSITY OF TURKU School of History, Culture and Arts Studies/Faculty of Humanities PENTTILÄ, KATRIINA: History of Escape Games examined through real-life- and digital precursors and the production of Spygame Master’s thesis, 97 pages + 10 pages of appendices. Digital Culture July 2018 ______________________________________________________________________ The focus of this master’s thesis is on forming an image of history of modern escape games based on real world-and digital precursors of this genre of games and on recording what escape game phenomenon is like in late 2010s, roughly a decade after these games first started appearing. The research is based on previous work on the topic mostly by Dr. Scott Nicholson, to which I add my own insight and build a broader, more in depth portrayal of the history through presenting examples of each precursor and linking the precursor’s features to features of modern escape games. The most important academic background of this thesis is Dr. Scott Nicholson’s white paper Peeking behind the locked door: A survey of escape room facilities (2015). Other academic background of this thesis comes from research regarding the different precursors and from the field of game design, such as Fundamentals of Game Design (2010) by Dr.
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Mapping Time in Video Games Michael Nitsche Georgia Institute of Technology 686 Cherry Str
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The Outer Worlds: a Stellar Odyssey from the Designers of Fallout UNLOCK YOUR GAME Gmaster.Iiyama.Com
ALL FORMATS LIFTING THE LID ON VIDEO GAMES Predestination The power of Tips for making inescapable fates your first VR game Jacked in FUZE4 Now you can make itch games on Sw Issue 24 £3 wfmag.cc The Outer Worlds: a stellar odyssey from the designers of Fallout UNLOCK YOUR GAME gmaster.iiyama.com JOIN THE PRO SQUAD TM RED EAGLE RED EAGLE GB260HSU I GB270HSU I GB2760QSU GET IN THE GAME TM BLACK HAWK HAWK BLACK GE2288HS I G2530HSU I G2730HSU I GB2530HSU I GB2730HSU IMMERSE YOURSELF IN THE GAME TM GOLD PHOENIX GB2888UHSU ENTER A NEW DIMENSION 2560 x 1440 TM SILVER CROW CROW SILVER GB2783QSU Yes, Tetris is political, too hen we say that all games are political, deeper cultural avour symbolised in the original’s a typical ippant and dismissive functional presentation. response is, “What about Tetris?” Looking at how Tetris has developed since then, W Clearly, Tetris is too abstract to really what stands out is how bare eciency is replaced by represent or symbolise events and social groups in any spectacle and performance. As the game erases its way, so how can it be political? We can also think about JON BAILES past to become a slick global brand, even the Tetris creative media in terms of the kind of ideologies they itself is superseded, by T-spins’ and other ashy tricks. Jon Bailes is the embody, not only in their narrative content or overt author of Ideology The difference between versions is most telling in the themes but also their forms. ames are particularly and the Virtual most recent ones – Tetris 99 and etri Eet.
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