Age of Empires
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Deconstructing the Pc Free-To-Play Market
DECONSTRUCTING THE PC FREE-TO-PLAY MARKET 2015 FREE REPORT This version of the report focuses on the MOBA market For more, contact Cooper Waddell at [email protected] TERMS OF USE DECONSTRUCTING THE PC F2P MARKET - 2015 FREE REPORT THIS REPORT IS PROVIDED ON AN “AS IS” BASIS WITHOUT WARRANTIES OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE, OTHER THAN THOSE WARRANTIES WHICH ARE IMPLIED BY AND INCAPABLE OF EXCLUSION, RESTRICTION OR MODIFICATION UNDER THE LAWS APPLICABLE TO THE MASTER AGREEMENT FOR SERVICES. THE FOLLOWING DISCLAIMER OF LIABILITY APPLIES TO ANY DAMAGES OR INJURY CAUSED BY ANY ERROR, OMISSION, DELETION, DEFECT OR USE OF, WHETHER FOR BREACH OF CONTRACT, TORTUOUS BEHAVIOR, NEGLIGENCE, OR UNDER ANY OTHER CAUSE OF ACTION: IN NO EVENT WILL ELECTRONIC ENTERTAINMENT DESIGN AND RESEARCH OR ANY PERSON OR ENTITY INVOLVED IN CREATING, PRODUCING OR DISTRIBUTING THIS REPORT BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OF OR INABILITY TO USE THE REPORT OR OUT OF THE BREACH OF ANY WARRANTY; YOU HEREBY ACKNOWLEDGE THAT THIS DISCLAIMER OF LIABILITY SHALL APPLY TO ALL CONTENT CONTAINED IN THIS REPORT. ELECTRONIC ENTERTAINMENT DESIGN AND RESEARCH’S LIABILITY TO YOU, IF ANY, SHALL IN NO EVENT EXCEED THE TOTAL AMOUNT PAID TO ELECTRONIC ENTERTAINMENT DESIGN AND RESEARCH FOR THE REPORT. IT IS YOUR RESPONSIBILITY TO EVALUATE THE ACCURACY, COMPLETENESS OR USEFULNESS OF ANY INFORMATION, OPINION, ADVICE OR OTHER CONTENT AVAILABLE IN THIS REPORT. YOU SHOULD USE YOUR BEST JUDGMENT AND EXERCISE CAUTION WHERE APPROPRIATE. -
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? . -
Folha De Rosto ICS.Cdr
“For when established identities become outworn or unfinished ones threaten to remain incomplete, special crises compel men to wage holy wars, by the cruellest means, against those who seem to question or threaten their unsafe ideological bases.” Erik Erikson (1956), “The Problem of Ego Identity”, p. 114 “In games it’s very difficult to portray complex human relationships. Likewise, in movies you often flit between action in various scenes. That’s very difficult to do in games, as you generally play a single character: if you switch, it breaks immersion. The fact that most games are first-person shooters today makes that clear. Stories in which the player doesn’t inhabit the main character are difficult for games to handle.” Hideo Kojima Simon Parkin (2014), “Hideo Kojima: ‘Metal Gear questions US dominance of the world”, The Guardian iii AGRADECIMENTOS Por começar quero desde já agradecer o constante e imprescindível apoio, compreensão, atenção e orientação dos Professores Jean Rabot e Clara Simães, sem os quais este trabalho não teria a fruição completa e correta. Um enorme obrigado pelos meses de trabalho, reuniões, telefonemas, emails, conversas e oportunidades. Quero agradecer o apoio de família e amigos, em especial, Tia Bela, João, Teté, Ângela, Verxka, Elma, Silvana, Noëmie, Kalashnikov, Madrinha, Gaivota, Chacal, Rita, Lina, Tri, Bia, Quelinha, Fi, TS, Cinco de Sete, Daniel, Catarina, Professor Albertino, Professora Marques e Professora Abranches, tanto pelas forças de apoio moral e psicológico, pelas recomendações e conselhos de vida, e principalmente pela amizade e memórias ao longo desta batalha. Por último, mas não menos importante, quero agradecer a incessante confiança, companhia e aceitação do bom e do mau pela minha Twin, Safira, que nunca me abandonou em todo o processo desta investigação, do meu caminho académico e da conquista da vida e sonhos. -
ABSTRACT LOHMEYER, EDWIN LLOYD. Unstable Aesthetics
ABSTRACT LOHMEYER, EDWIN LLOYD. Unstable Aesthetics: The Game Engine and Art Modifications (Under the direction of Dr. Andrew Johnston). This dissertation examines episodes in the history of video game modding between 1995 and 2010, situated around the introduction of the game engine as a software framework for developing three-dimensional gamespaces. These modifications made to existing software and hardware were an aesthetic practice used by programmers and artists to explore the relationship between abstraction, the materiality of game systems, and our phenomenal engagement with digital media. The contemporary artists that I highlight—JODI, Cory Arcangel, Orhan Kipcak, Julian Oliver, and Tom Betts—gravitated toward modding because it allowed them to unveil the technical processes of the engine underneath layers of the game’s familiar interface, in turn, recalibrating conventional play into sensual experiences of difference, uncertainty, and the new. From an engagement with abstract forms, they employed modding techniques to articulate new modes of aesthetic participation through an affective encounter with altered game systems. Furthermore, they used abstraction, the very strangeness of the mod’s formal elements, to reveal our habitual interactions with video games by destabilizing conventional gamespaces through sensory modalities of apperception and proprioception. In considering the imbrication of technics and aesthetics in game engines, this work aims to resituate modding practices within a dynamic and more inclusive understanding -
The Impact of Video Game Interactivity on the Narrative
THE IMPACT OF VIDEO GAME INTERACTIVITY ON THE NARRATIVE CAMERON EDMOND (BA) MACQUARIE UNIVERSITY FACULTY OF ARTS DEPARTMENT OF ENGLISH OCTOBER 2015 This thesis is presented in partial fulfilment of the requirements of the degree of Master of Research at Macquarie University. I certify that this thesis is entirely my own work and that I have given fully documented reference to the work of others. The thesis has not previously, in part or in whole, been submitted for assessment in any formal course of study. Signed: (Cameron Edmond) Contents Summary...................................................................................................................................7 Acknowledgements...................................................................................................................9 Introduction............................................................................................................................11 Chapter 1 – The Player-Hero: A Hollow Sphere................................................................25 Chapter 2 – The NPC Goddess: A Bridge Between Spheres..............................................43 Chapter 3 – The Game World: The Ultimate Controller of Interactivity........................59 Conclusion...............................................................................................................................75 Works Cited............................................................................................................................79 Appendix…….........................................................................................................................87 -
Technology Trees and Tools: Constructing Development Graphs for Digital Games
Tampereen teknillinen yliopisto. Julkaisu 1349 Tampere University of Technology. Publication 1349 Teemu J. Heinimäki Technology Trees and Tools: Constructing Development Graphs for Digital Games Thesis for the degree of Doctor of Science in Technology to be presented with due permission for public examination and criticism in Tietotalo Building, Auditorium TB224, at Tampere University of Technology, on the 27th of November 2015, at 12 noon. Tampereen teknillinen yliopisto – Tampere University of Technology Tampere 2015 ISBN 978-952-15-3633-5 (printed) ISBN 978-952-15-3647-2 (PDF) ISSN 1459-2045 Abstract In the recent years, digital games have solidified their role as important parts of life for a considerable portion of the population. Game development has become an extremely important industrial branch with a great deal of com- petition between developers and publishers. There is only a limited amount of resources to put in the development of a game, but the modern customers expect high quality. Taking these constraints into account, this dissertation focuses on devel- oping implementations of a structure that is used widely in different games: technology trees (TTs). This term covers here also so-called skill trees, talent trees, perk trees, and other such structures used to limit and guide in-game development and define development possibilities. The aim is to propose methods and usage of tools helping to achieve high TT quality, simultane- ously facilitating the actual development process and reducing human work- load. The main contributions of this dissertation consist of ideas, models, meth- ods, and software tool prototypes constructed during the research work. The significance of the thesis is amplified by the fact that there are only very few previous academic studies focusing on TTs. -
A Doom Legendája Hogyan Változtatta Meg John Carmack És John Romero a Világot
A Doom legendája Hogyan változtatta meg John Carmack és John Romero a világot David Kushner 2012. szeptember 10. 2 Tartalomjegyzék I. A kezdet 5 1. A Rocksztár 9 2. A Rakétamérnök 19 3. Dangerous Dave minden szerzői jogot megsért 27 4. Pizzapénz 43 5. Jobb, mint a való élet 57 6. Zöld és dühös 65 7. Spear of Destiny 77 8. Démonidézés 89 9. A legkirályabb játék 101 II. Külön utakon 111 10.A doom-generáció 113 11.Rengések 129 12.Az Ítélet Napja 141 13.Deathmatch 159 14.Silicon Alamo 173 15.Egyenesen a pokolból 185 16.Virtuális világok 197 3 4 TARTALOMJEGYZÉK I. rész A kezdet 5 Bevezetés: A Két John Két játék létezett. Az egyiket az életben játszották, a másikat játszva élték. Alapvetően már a két szó sem fér meg egymással, ahogy a két John sem. Egy áprilisi délutánon történt 2000-ben, Dallas belvárosának legmélyén. Az összejö- vetel oka egy százezer dollár összdíjazású bajnokság volt a Quake 3 Aréna nevű számítógépes játékban. A versenyt a számítógépes rendezvények legnagyobb le- bonyolítójává vált Cyberatléták Profi Ligájának szervezésében rendezték meg, és HSG-alapú (Hozd a Saját Géped) összejövetel volt. Több száz számítógé- pet kötöttek össze hetvenkét órányi megállás nélküli játékra a Hyatt dallasi felhőkarcolójának alagsorában. Az érdeklődők hatalmas kivetítőn folyamatosan nyomon követhették az éppen zajló izgalmasabb mécseseket és az ide-oda szálló rakétákat. Szivart rágcsáló tengerészgyalogosok, hatalmas mellbőségű női har- cosok és elmebeteg, vértől mocskos bohócok irtották egymást rakétavetőkkel és plazmafegyverekkel. A cél egyszerű volt: a legtöbbet gyilkoló játékos győz! A versenyen résztvevő hardcore játékosokat a távolság sem riaszthatta el. -
Memoria Final.Pdf (972,1Kb)
Títol: Sistema automàtic de bots pel Quake 3 Volum: 1 Alumne: Jaume Palència Fernández Director: Javier Verdú Mulà Ponent: Manuel Alejandro Pajuelo González Departament: Arquitectura de Computadors Data: 27 d'octubre de 2008 DADES DEL PROJECTE Títol del Projecte: Sistema automàtic de bots pel Quake 3 Nom de l'estudiant: Jaume Palència Fernández Titulació: Enginyeria en Informàtica Crèdits: 37,5 Director: Javier Verdú Mulà Ponent: Manuel Alejandro Pajuelo González Departament: Arquitectura de Computadors MEMBRES DEL TRIBUNAL (nom i signatura) President: Jordi Guitart Fernández Vocal: Antonio Cañabate Carmona Secretari: Manuel Alejandro Pajuelo González QUALIFICACIÓ Qualificació numèrica: Qualificació descriptiva: Data: A mons pares, ma germana i la meva família que m'han recolzat en tot moment durant la realització d'aquest projecte. Als peores, especialment en Xavi, per donar-me la motivació que m'ha calgut en els moments més difícils i que m'ha ajudat a tirar endavant. A l'Eva, per ser com és, per donar-me els ànims i el recolzament quan ho he necessitat i, en general, per ser-hi sempre. A en Xavi i l'Àlex per la seva comprensió, atenció i dedicació no només al projecte, si no també a la meva persona. Gràcies a tots i continueu sent així Índex 1 Introducció............................................................... 1 1.1 Introducció................................................................................... 3 1.2 El Videojocs..................................................................................4 1.3 Id Software................................................................................. -
Kingpin Manual
MN-W95-848-GEN www.urbangangsta.com KINGPIN: Life Of Crime ©1999 Xatrix Entertainment. Inc. All rights reserved. This product contains software technology licensed fromfrom idid Software.Software. Inc.Inc. ("Id("Id Technology").Technology"). IdId TechnologyTechnology ©1999,©1999, 1997, 1997, 1998 1998 IdId Software.Software. Inc.Inc. AllAll RightsRights Reserved.Reserved. Kingpin.Kingpin. Kingpin:Kingpin: Life Life OfOf Crime.Crime. Interplay,Interplay, the the InterplayInterplay lologo, and "By Gamers. For Gamers" are trademarks of Interplay Productions. Xatrix and the Xatrix logo are trademarks of Xatrix Entertainment. Inc. All rights reserved. Distributed by Activision. kingpin.C1 5/7/02 11:07 am Page 1 TABLE OF CONTENTS Warning. 2 Getting Started. 3 The Main Menu . 4 Game . 5 Gang Bang . 6 Options . 9 Visuals . 12 Controls . 13 In-Game On-Screen Display . 14 Additional Controls and Hints. 15 Weapons . 19 Credits. 22 Technical Support . 24 Kingpin: Life of Crime ©1999 Xatrix Entertainment, Inc. All rights reserved. This product contains software technology licensed from Id Software, Inc. ("Id Technology"). Id Technology ©1996, 1997, 1998, 1999 Id Software, Inc. All rights reserved. Kingpin, Kingpin: Life of Crime, Interplay, the Interplay logo, and "By Gamers. For Gamers." are trademarks of Interplay Productions. Xatrix and the Xatrix logo are trademarks of Xatrix Entertainment, Inc. All rights reserved. All other trademarks and copyrights are the property of their respective owners. 1 kingpin.C1 5/7/02 11:07 am Page 2 GETTING STA RT E D WA R N I N G TO INSTALL Insert the Kingpin CD into your CD-ROM drive. Double– click on your 'My Computer' icon. -
Delft Integraal
Delft Integraal Meer wetenschapsnieuws van de TU Delft Colofon DI-Archief Soldaten voor het virtuele slagveld . http://www.delftintegraal.tudelft.nl/info/index564f.html?hoofdstuk=Artikel&ArtID=2534 (1 van 10) [26-11-2009 14:28:45] Delft Integraal DOOR CHRISTIAN JONGENEEL Schermbeeld uit Quake III Arena, een zogenaamd first-person-shoot ’em up (FPS) spel, waarbij de Op de middelbare speler de wereld ziet vanuit het eerste persoons school stak Jan perspectief. Paul van Waveren al meer tijd in computerspelletjes dan in huiswerk. Toch liep het niet slecht met hem af, zelfs niet toen hij aan de universiteit bezig bleef om met wat vrienden computers aan elkaar te koppelen teneinde elkaar in een spelletje Doom Plattegrond uit Doom. In dit spel kan de speler op virtueel overhoop elk moment de plattegrond tevoorschijn halen om te knallen. zich te oriënteren. Hij kan overigens op de kaart Binnenkort alleen dat deel van de wereld zien dat hij al heeft verkend. studeert Van Waveren af op de kunstmatige intelligentie die hij voor het schietspelletje Quake III Arena ontwikkelde. Inmiddels werkt hij al bij de Amerikaanse spelletjesfabrikant id Software. http://www.delftintegraal.tudelft.nl/info/index564f.html?hoofdstuk=Artikel&ArtID=2534 (2 van 10) [26-11-2009 14:28:45] Delft Integraal Meestal heet Jan Paul van Waveren Jan Paul van Waveren, maar soms waart hij rond in duistere kelders, een onwaarschijnlijk groot wapen in zijn handen, schietend op alles wat beweegt. Dan heet hij Mr. Elusive. De laatste tijd heeft Mr. Elusive echter niet zoveel kills meer gemaakt. Dat komt niet alleen doordat hij als zesdejaars zijn studie Technische Informatica aan de TUD DELFT nu maar eens moet afmaken. -
2014-07 EFF Gaming Exempiton Comment
Before the U.S. COPYRIGHT OFFICE, LIBRARY OF CONGRESS In the Matter of Exemption to Prohibition on Circumvention of Copyright Protection Systems for Access Control Technologies Docket No. 2014-07 Comments of the Electronic Frontier Foundation 1. Commenter Information Electronic Frontier Foundation Kendra Albert Mitch Stoltz (203) 424-0382 Corynne McSherry [email protected] Kit Walsh 815 Eddy St San Francisco, CA 94109 (415) 436-9333 [email protected] The Electronic Frontier Foundation (EFF) is a member-supported, nonprofit public interest organization devoted to maintaining the traditional balance that copyright law strikes between the interests of copyright owners and the interests of the public. Founded in 1990, EFF represents over 25,000 dues-paying members, including consumers, hobbyists, artists, writers, computer programmers, entrepreneurs, students, teachers, and researchers, who are united in their reliance on a balanced copyright system that ensures adequate incentives for creative work while facilitating innovation and broad access to information in the digital age. In filing these comments, EFF represents the interests of gaming communities, archivists, and researchers who seek to preserve the functionality of video games abandoned by their manufacturer. 2. Proposed Class Addressed Proposed Class 23: Abandoned Software—video games requiring server communication Literary works in the form of computer programs, where circumvention is undertaken for the purpose of restoring access to single-player or multiplayer video gaming on consoles, personal computers or personal handheld gaming devices when the developer and its agents have ceased to support such gaming. We ask the Librarian to grant an exemption to the ban on circumventing access controls applied to copyrighted works, 17 U.S.C. -
Download Quake III Arena: Official Strategy Guide Free Ebook
QUAKE III ARENA: OFFICIAL STRATEGY GUIDE DOWNLOAD FREE BOOK S. Honeywell | 200 pages | 01 Dec 1999 | Prima Publishing, U.S. | 9780761525882 | English | Roseville, United States Quake III Arena Prima Games Official Strategy Guide Book Each of them is a deadly warrior with his or her own personality and tactics. This means Quake III Arena: Official Strategy Guide the game allows players, whose computers are connected by a network or to the internet, to play against each other in real time. Brand New! The story is that Trinity was going to be Carmack's next engine but he changed his mind and just progressively upgraded the Quake engine. Most of them are fairly self-explanatory. The victorious gladiator advances to a more challenging array of arenas, until, at last, he or she faces Xaero, Lord of the Final Arena. When activated, it instantly transports the user to a random point in the arena. Some are tougher than others, as you'll quickly learn in battle. When you start the game, you'll have to re-enter your CD-Key, but the singleplayer settings will be reset. He may not be smart or brave, but he's brutal as hell. If the player types certain phrases, the bots may respond. Just about everyone has his or her own favorite settings and the sub-menus you pull up here will allow you to adjust almost every aspect of the controls. For example, typing "You bore me" may get them to say something, like one of the bots which says "You should have been here 3 hours ago! Machinegun 3.