{TEXTBOOK} Getting Started with Dwarf Fortress: Learn to Play The
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Game-Designer Interviews
Appendix A Game-designer interviews To complement the technical content of the chapters, all written by academics (though some of the chapter authors also design and develop games), we performed five interviews with the creators of well-known PCG-heavy games. We selected the interviewees mostly because the games they had been part of had either introduced new interesting PCG techniques, or because they had integrated them in game de- sign in some novel way. The interviews were performed in 2013 and 2014 over email, and are reproduced in their entirety here (except for corrected typos). We asked most of the interviewees the same set of questions, focusing on the role of PCG in game design and the limits of generative methods. The interviewees are: • Andrew Doull, creator of UnAngband and UnBrogue, founder of RogueLikeRa- dio. • Ed Key, creator of Proteus. • Michael Toy, co-creator of Rogue. • Richard Evans, AI lead programmer on The Sims 3, co-creator of Versu. • Tarn Adams, creator of Dwarf Fortress. A.1 Andrew Doull Was there anything you wanted to do in a game you worked on that you could not do because of algorithmic or computational limitations? My thinking about game design has changed significantly over the years, since writing the original Death of the Level Designer series of articles. One of the key changes—guided a lot by games like Michael Brough’s 868-HACK—is that a game should embrace limitations, rather than attempt to design around them. So rather than creating procedural systems which can model everything a` la Dwarf Fortress, Ó Springer International Publishing Switzerland 2016 225 N. -
On the Evolution of Narrative Mechanics in Open-World Games
On the Evolution of Narrative Mechanics in Open-World Games Ulrich Götz SAME MESSAGE, DIFFERENT BOTTLE Experiencing and propagating narratives is an essential component of cultural history. Although this process has changed over the course of centuries, its basic principles persist. Regardless of eras or means of transmission, it is a primordial human instinct to want to communicate real or imagined experiences, and expe- rience them oneself. How deeply rooted this can be is reflected in a wide variety of social endeavors, demands and circumstances, which underscore the central importance of storytelling to our social fabric. The value of narrative and per- formative acts manifests itself in the layout of human settlements, which are ori- ented towards meaningful landmarks. New narrative styles intertwine them- selves closely with the most advanced technologies, which they either advance as a driving force, or rapidly incorporate. The communication of narrative content may have altered its external ap- pearance, but its essence has been preserved. Printing made it possible to repli- cate texts, replacing the oral transmission of poems, songs or performances. Contemporary technological innovations further expanded narrative possibili- ties: today, these range from audiovisual compositions and three-dimensional projections to hybrid performances that fuse real and virtual space. This change of narrative modes distills existing methods down to their core and creates new genres, until they, too, are subject to this process of reduction. At the heart of these continuing cyclical mechanisms lies the moment of narrative transfer. What was once conveyed through interpersonal contact is now amplified by highly diverse forms of media and performative practices. -
Applied Design to Feature Fourteen Recently Acquired Video Games on View for the First Time
MoMA’S CONTEMPORARY DESIGN GALLERY INSTALLATION FOCUSES ON THE VITALITY AND DIVERSITY OF DESIGN Applied Design to Feature Fourteen Recently Acquired Video Games on View for the First Time Applied Design The Philip Johnson Architecture and Design Galleries March 2, 2013–January 31, 2014 NEW YORK, February 14, 2013–The Museum of Modern Art presents Applied Design, an installation in The Philip Johnson Architecture and Design Galleries showcasing approximately 100 objects from the Museum’s collection. Representing the new directions of contemporary design, the exhibition features outstanding examples of interface and interaction design, dynamic visualizations, products, furniture, 3D printed chairs and bowls, emergency equipment, and biodesign. A testament to this vitality and diversity, the objects on display range from a mine detonator by the young Dutch/Afghani designer Massoud Hassani to a bowl made by transforming desert sand into glass using only the energy of the sun. Also on display are the first 14 video games to enter MoMA’s collection as part of ongoing research on interaction design. The exhibition is organized by Paola Antonelli, Senior Curator, and Kate Carmody, Curatorial Assistant, Department of Architecture and Design, The Museum of Modern Art, and is on view from March 2, 2013 until January 31, 2014. In the past twenty years, design has branched out in new directions that have galvanized young practitioners, sparked business models, and attracted worldwide public attention. Mine Kafon for example, Massoud Hassani’s dandelion-shaped mine detonator, is equipped with a GPS to record a safe path and designed to roll through mine fields. If the object, made from bamboo and biodegradable plastics, encounters a mine and detonates it, it will only partially destruct and can be salvaged and reassembled into a new specimen ready for deployment. -
Creativity and Learning in Digital Entertainment Games Thesis
Open Research Online The Open University’s repository of research publications and other research outputs Creativity and Learning in Digital Entertainment Games Thesis How to cite: Hall, Johanna (2021). Creativity and Learning in Digital Entertainment Games. PhD thesis The Open University. For guidance on citations see FAQs. c 2020 Johanna Kathryn Hall https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0001248e Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Creativity and Learning in Digital Entertainment Games Johanna Hall Thesis submitted to The Open University for the degree of Doctor of Philosophy Institute of Educational Technology (IET) The Leverhulme Trust June 2020 Johanna Hall The Open University Abstract Creativity has been investigated in areas such as education, the workplace and psychology. However, there remains little in the way of a unanimous definition of what it means to be creative – with various conceptualisations illuminating different aspects of this multifaceted phenomenon. However, it is for the most part agreed that creativity contributes to a wealth of positive outcomes such as openness to experience, cognitive flexibility and emotional wellbeing. Furthermore, creativity is instrumental in facilitating a meaningful learning experience as learners can actively formulate and experiment with ideas in an authentic context. In this way, the creative process leads to ultimately the creative expression itself and subsequent positive effects such as learning. -
Beyond the Author: Collaborative Authorship in Video Games
Beyond the Author: Collaborative Authorship in Video Games Research Thesis Presented in partial fulfillment of the requirements for graduation with research distinction in English Studies in the undergraduate colleges of The Ohio State University by Kim Lemon The Ohio State University April 2018 Project Advisor: Professor Robert Hughes, Department of English Lemon 1 Introduction: In recent years, video games have become part of mainstream American society – references to games appear in conversation almost as frequently (and in some cases more frequently) as references to movies, the rise of smartphones and mobile gaming allows many to game on the go, and the stigma around playing video games has largely disappeared. However, despite such developments, video games are rarely taken as objects of critical and academic analysis. Though a critical theory and study of the video game medium has slowly begun to make its way into some academic and analytical circles under the name of ‘Game Studies,’ and though researchers and critical thinkers in this field apply the same analytical theories used for literature and film to video games (Cășvean 51), the majority of academics have continued to ignore the medium as a subject for critical analysis in favor of more established media. There are several reasons why this may be the case: a lack of time or interest on the part of critics to devote to the study of a new medium, a (misguided) notion that new methods of analysis must be formed to examine these new objects, or simply the outdated prejudices held by many critics and embodied by film critic Roger Ebert's remark that "video games can never be art.” Whatever the reason, the lack of critical analysis being done on video games is a missed opportunity for critical and academic fields to engage in a new medium demonstrating new and alternative modes of expression. -
292843-Sample.Pdf
Sample file Foreword I've been wanting to write my own Dungeons And Dragons setting for a while now, and I inally got the resources and motivation to do so. I also got inspiration, from one Kruggsmash, and his Dwarf Fortress videos (artwork of which is on the cover). Big thanks to him, you have inspired my journey to this point. There is art from mister Kruggsmash himself, some art from the Dwarf Fortress Wiki, and to balance it out some, there's also oficial WotC art from miscellaneous editions decorating the pages. This book goes over the world of Tar'En, translated from Dwarvish to the Land Of Legends (inspired heavily by Kruggsmash's latest videos). It is a world of high adventures, epic beasts, mighty citadels, and wars against the pesky goblins who serve the dark ruinous powers that are the demons from the dark chasms of the Abyss. In this world it's never certain who will live, and who will die, what fortress falls, and what will lourish. It's truly a mystery how this world is so happy, yet so dangerous and deadly. But, you can ind that out yourselves you bearded bastards! Whistle - Viktor, the almighty author Sample file 3 The Land Of Legends ar'En is Dwarvish for the Land of Legends, and it Present Day, the last 200 years of Tar'En is a world that houses many stories, prophesies This is the part of history where important igures are told of, and legends, hence its name. Every day it seems artifacts are created and lost, Primordials are rediscovered, someone gets thrown in the spotlight by the wars are fought, and Tar'En's real story begins, told by you, and gods, and then they're showered with legends your dice. -
Modelagem De Jogos De Adventure Através De Machinations
Laiza Costa Camurugy Modelagem de jogos de adventure através de Machinations Salvador 2017 Laiza Costa Camurugy Modelagem de jogos de adventure através de Machinations Monografia apresentada ao Curso de gradu- ação em Ciência da Computação, Departa- mento de Ciência da Computação, Instituto de Matemática e Estatística, Universidade Federal da Bahia, como requisito parcial para obtenção do grau de Bacharel em Ciência da Computação. Universidade Federal da Bahia – UFBA Instituto de Matemática e Estatística Departamento de Ciência da Computação Orientador: Rodrigo Rocha Gomes e Souza Salvador 2017 Laiza Costa Camurugy Modelagem de jogos de adventure através de Machinations/ Laiza Costa Camurugy. – Salvador, 2017- 67 p. : il. (algumas color.) ; 30 cm. Orientador: Rodrigo Rocha Gomes e Souza Monografia – Universidade Federal da Bahia – UFBA Instituto de Matemática e Estatística Departamento de Ciência da Computação, 2017. 1. design de jogos. 2. diagramas. 3. desenvolvimento de jogos. 4. ferramenta. 5. jogos de adventure. I. Rodrigo Rocha Gomes e Souza. II. Universidade Federal da Bahia. III. Instituto de Matemática e Estatística. IV. Departamento de Ciência da Computação V. Modelagem de jogos de adventure através de Machinations Laiza Costa Camurugy Modelagem de jogos de adventure através de Machinations Monografia apresentada ao Curso de gradu- ação em Ciência da Computação, Departa- mento de Ciência da Computação, Instituto de Matemática e Estatística, Universidade Federal da Bahia, como requisito parcial para obtenção do grau de Bacharel em Ciência da Computação. Trabalho aprovado. Salvador, 7 de abril de 2017: Rodrigo Rocha Gomes e Souza Supervisor Professor Christina Von Flach Garcia Chavez Professor Filipe Tiago Lima Pereira Salvador 2017 Agradecimentos Ao meu orientador Rodrigo Rocha Gomes e Souza por ter sido sempre presente em sua orientação me dando forças para que enfim pudesse concluir esta etapa, minha família, meus amigos e meu namorado que sempre me apoiaram e ofereceram suporte das diversas maneiras possíveis. -
Crawl Survey Results
Crawl survey results Survey questions 1. What is your age? 2. What is your country? 3. Do you play locally, on a server, or both? 4. Do you play Tiles, ASCII, or both? 5. OS(es) at home? 6. Roguelikes played before? 7. Where did you learn about Crawl? 8. And when? 9. How many Crawl wins? (If none, you may specify your best game.) 10.If you take part in the tournament, where did you hear about it? 11.Ever recommend Crawl? 12.Which computer game have you played most in the last month? (July) Presentation structure ● Who are our players? ● How do they play? ● How did they arrive at Crawl? ● What is their overall win rate? ● What else are they playing? Who are our players? age distribution 90 83 80 70 64 60 50 49 40 32 30 25 20 10 8 3 4 4 0 14 15-19 20-24 25-29 30-34 35-39 40-44 45-49 50+ Minimum: 14 Maximum: 57 Median: 26 Average: 27.3 most common: 25 (23 times!) Who are our players? Gender 26% 94% N/A 4% 6% 70% Male Female Who are our players? USA 147 Canada UK Germany Finland Russia Poland France Italy Sweden Norway 19 Australia 2 New Zealand 21 22 4 Japan 12 17 2 Thailand 5 3 3 12 9 8 6 Brazil others* * other countries: Argentina, Belgium, China, Croatia, Czech republic, Denmark, Hungary, Iceland, India, Ireland, Israel, Lithuania, Moldova, Mongolia, Netherlands, Singapore, Switzerland, Ukraine, United arab emirates Who are our players? Continents players/populaton 61% 1,6 1,51 1,4 1,2 1 1% North America Europe 0,8 Australia 0,57 0,6 0,5 Asia 0,45 South America 0,4 4% 0,23 0,2 0,12 0,06 6% 0 Canada USA Germany 28% Finland Australia UK -
Secret Identities in Dwarf Fortress
The AIIDE-17 Workshop on Experimental AI in Games WS-17-19 Secret Identities in Dwarf Fortress Tarn Adams Bay 12 Games Silverdale, Washington [email protected] Abstract Chairs’ Note: In this invited industry case study, Tarn Adams discusses recent extensions to Dwarf Fortress’s sys- tems for character deception. A noted opus in the history of videogames, Dwarf Fortress is a roguelike set in procedu- rally generated fantasy universes. It has been shown at the Museum of Modern Art and has been featured in The New York Times, The New Yorker, Wired, and many other press publications. Currently, Tarn and his brother, Zach Adams, are roughly midway through its famous 30-year development cycle. As Tarn explains in this paper, an upcoming update centered around artifacts—and what characters know about them—has had the fun consequence of necessitating that a certain class of non-player characters cultivate secret iden- tities. This major extension has brought both technical and design challenges, as this paper illustrates. —James Ryan Figure 1: Tinker Tailor Soldier Spy (1979) sparked an early Introduction interest in espionage methods and how they might be trans- The 2017 update to Dwarf Fortress (Adams and Adams ferred to video games. 2006) centers around named items, and in particular, claims upon the items as well as conflict, theft, diplomacy and rec- onciliation involving the transfer of these objects.1 As crea- it involved plenty of spies, it wasn’t a superhuman action ad- tures in the game are not omniscient, rumors passed among venture, but rather an intricate yet reasonable tale of trade- civilizations and individuals regarding current item locations craft, derived we later learned from actual events and prac- are key to preventing this whole process from grinding to tices. -
Vgarchive : My Video Game Collection 2021
VGArchive : My Video Game Collection 2021 Nintendo Entertainment System 8 Eyes USA | L Thinking Rabbit 1988 Adventures in the Magic Kingdom SCN | L Capcom 1990 Astérix FRA | L New Frontier / Bit Managers 1993 Astyanax USA | L Jaleco 1989 Batman – The Video Game EEC | L Sunsoft 1989 The Battle of Olympus NOE | CiB Infinity 1988 Bionic Commando EEC | L Capcom 1988 Blades of Steel SCN | L Konami 1988 Blue Shadow UKV | L Natsume 1990 Bubble Bobble UKV | CiB Taito 1987 Castlevania USA | L Konami 1986 Castlevania II: Simon's Quest EEC | L Konami 1987 Castlevania III: Dracula's Curse FRA | L Konami 1989 Chip 'n Dale – Rescue Rangers NOE | L Capcom 1990 Darkwing Duck NOE | L Capcom 1992 Donkey Kong Classics FRA | L Nintendo 1988 • Donkey Kong (1981) • Donkey Kong Jr. (1982) Double Dragon USA | L Technōs Japan 1988 Double Dragon II: The Revenge USA | L Technōs Japan 1989 Double Dribble EEC | L Konami 1987 Dragon Warrior USA | L Chunsoft 1986 Faxanadu FRA | L Nihon Falcom / Hudson Soft 1987 Final Fantasy III (UNLICENSED REPRODUCTION) USA | CiB Square 1990 The Flintstones: The Rescue of Dino & Hoppy SCN | B Taito 1991 Ghost'n Goblins EEC | L Capcom / Micronics 1986 The Goonies II NOE | L Konami 1987 Gremlins 2: The New Batch – The Video Game ITA | L Sunsoft 1990 High Speed ESP | L Rare 1991 IronSword – Wizards & Warriors II USA | L Zippo Games 1989 Ivan ”Ironman” Stewart's Super Off Road EEC | L Leland / Rare 1990 Journey to Silius EEC | L Sunsoft / Tokai Engineering 1990 Kings of the Beach USA | L EA / Konami 1990 Kirby's Adventure USA | L HAL Laboratory 1993 The Legend of Zelda FRA | L Nintendo 1986 Little Nemo – The Dream Master SCN | L Capcom 1990 Mike Tyson's Punch-Out!! EEC | L Nintendo 1987 Mission: Impossible USA | L Konami 1990 Monster in My Pocket NOE | L Team Murata Keikaku 1992 Ninja Gaiden II: The Dark Sword of Chaos USA | L Tecmo 1990 Rescue: The Embassy Mission EEC | L Infogrames Europe / Kemco 1989 Rygar EEC | L Tecmo 1987 Shadow Warriors FRA | L Tecmo 1988 The Simpsons: Bart vs. -
Hacklikes: Weird Interactions Between Things
Hacklikes: Weird Interactions Between Things Jose Sanchez Assistant Professor, University of Southern California School of Architecture Director, Plethora Project INTRODUCTION universal, player- or non-player-centric, allowing for the cre- While Roguelikes in general could be easily dismissed due ation of vast algorithmic worlds that might never interact to their usually rudimentary graphics composed by ASCII with a human player. characters, most of such games contain an accumulated It is easier to understand Roguelikes by looking at the Screenshot of repository of algorithmic strategies to deal with procedural cellular automata (CA) algorithm by Stephen Wolfram. Rogue – 1980 world generation and interactions between discreet units. The denomination ‘Roguelike’ is attributed to games that follow a series of principles first proposed by the game ‘Rogue’ 1980. In a Roguelike world, every ‘tile’ is an ‘object’ with properties or data. Each of these objects would be represented by the computer by a symbol allowing the player to differentiate a wall tile from a door, for example. The player possesses a limited visibility of the world and of the properties of objects, making exploration the primary objective of the world. Often, the only way of learning about the properties of an object is by trying to interact with it. The properties of the object will define if such interaction is resolved as a positive or negative effect to either of the units involved in it. Every interaction determines a ‘turn,’ allowing the simulation only to move forward once an action is per- formed. While the first games of the genre would focus on the interactions that would involve the player, later games have explored the idea that the relation between units is 6 INFORMATION CONSTRUCTIONS 2013 TxA INTERACTIVE 7 The video game Dwarf Fortress, by Tarn and Zach Adams, operates in a similar framework. -
Poetik Und Politik Der Fantasy Am Medium Videospiel Cinepoetics
Daniel Illger Grüne Sonnen: Poetik und Politik der Fantasy am Medium Videospiel Cinepoetics Poetologien audiovisueller Bilder Herausgegeben von Hermann Kappelhoff und Michael Wedel Band 9 Daniel Illger Grüne Sonnen: Poetik und Politik der Fantasy am Medium Videospiel ISBN 978-3-11-069364-5 e-ISBN (PDF) 978-3-11-069538-0 e-ISBN (EPUB) 978-3-11-069542-7 ISSN 2509-4351 DOI https://doi.org/10.1515/9783110695380 Dieses Werk ist lizenziert unter der Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International Lizenz. Weitere Informationen finden Sie unter http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number: 2020935605 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. © 2020 Daniel Illger, publiziert von Walter de Gruyter GmbH, Berlin/Boston Dieses Buch ist als Open-Access-Publikation verfügbar über www.degruyter.com. Coverabbildung: Screenshot aus „The Elder Scrolls V: Skryrim“ Satz: Integra Software Services Pvt. Ltd. Druck und Bindung: CPI books GmbH, Leck www.degruyter.com Vorwort Soweit ich mich erinnere, war Robert E. Howard der erste Autor, den ich mit aufrichtiger Begeisterung las. Freilich ging es mir zunächst nicht um Howards Werk als solches, sondern um seine bekannteste Schöpfung: Conan den Cimmerier. In den achtziger Jahren erfreuten sich die – damals von Marvel herausgegebe- nen – Comics