Java Wrappers for C/C++ Event Handling As a Game Developer in Your Organization You Probably Have to Build Your Code to Support Multiple Platforms
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Computer Game Mods, Modders, Modding, and the Mod Scene
Computer Game Mods, Modders, Modding, and the Mod Scene Walt Scacchi Institute for Software Research and Center for Computer Games and Virtual Worlds University of California, Irvine 92697-3455 USA March 2010 Abstract Computer games have increasingly been the focus of user-led innovations in the form of game mods. This paper examines how different kinds of socio-technical affordances serve to organize the actions of the people who develop and share their game mods. The affordances examined include customization and tailoring mechanisms, software and content copyright licenses, game software infrastructure and development tools, career contingencies and organizational practices of mod teams, and social worlds intersecting the mod scene. Numerous examples will be used to ground this review and highlight how such affordances can organize, facilitate or constrain what can be done. Overall, this study helps to provide a deeper understanding of how a web of associated affordances collectively serve to govern what mods get made, how modding practices emerge and flourish, and how modders and the game industry serve each others' interests, though not always in equivocal terms. Introduction Computer game mods are a leading form of user-led innovation in game design and game play experience. But modded games are not standalone systems, as they require the user to have an originally acquired or authorized copy of the unmodded game. Thus, there are questions of not only who creates what and who owns such modified games, but also whether or how the practice of game modding is controlled or governed by external parties to ultimately exploit the efforts of game modders. -
GWT + HTML5 Can Do What? (Google I/O 2010)
GWT + HTML5 Can Do What!? Ray Cromwell, Stefan Haustein, Joel Webber May 2010 View live notes and ask questions about this session on Google Wave http://bit.ly/io2010-gwt6 Overview • HTML5 and GWT • Demos 1. Eyes 2. Ears 3. Guns What is HTML5 • Formal definition o Best practices for HTML interpretation o Audio and Video elements o Other additional elements • Colloquial meaning o Canvas o WebGL o WebSockets o CSS 3 o LocalStorage o et al GWT support for HTML5 • Very easy to build Java wrappers • Many already exist in open-source projects • Will be moving many of these into GWT proper (~2.2) • Not part of GWT core yet • GWT has always strived to be cross-browser • Most new features are not available on all browsers WebGL • OpenGL ES 2.0, made Javascript-friendly • Started by Canvas3D work at Mozilla • Spread to Safari and Chrome via WebKit • Canvas.getContext("webgl"); WebGL Differences to OpenGL 1.x • No fixed function pipeline (no matrix operations, no predefined surface models) • Supports the GL Shader Language (GLSL) o Extremely flexible o Can be used for fast general computation, too • Distinct concepts of native arrays and buffers o Buffers may be stored in graphics card memory o Arrays provide element-wise access from JS o Data from WebGL Arrays needs to be copied to WebGL buffers before it can be be used in graphics operations Eyes: Image Processing Image Processing Photoshop Filters in the Browser • Work on megapixel images • At interactive frame rates • Provide general purpose operations o scale, convolve, transform, colorspace -
Die Kulturelle Aneignung Des Spielraums. Vom Virtuosen Spielen
Alexander Knorr Die kulturelle Aneignung des Spielraums Vom virtuosen Spielen zum Modifizieren und zurück Ausgangspunkt Obgleich der digital divide immer noch verhindert, dass Computerspiele zu ge- nuin globalen Gütern werden, wie es etwa der Verbrennungsmotor, die Ka- laschnikow, Hollywoodikonen, Aspirin und Coca Cola längst sind, sprengt ihre sich nach wie vor beschleunigende Verbreitung deutlich geografische, natio- nale, soziale und kulturelle Schranken. In den durch die Internetinfrastruktur ermöglichten konzeptuellen Kommunikations- und Interaktionsräumen sind Spieler- und Spielkulturen wesentlich verortet, welche weiten Teilen des öf- fentlichen Diskurses fremd und unverständlich erscheinen, insofern sie über- haupt bekannt sind. Durch eine von ethnologischen Methoden und Konzepten getragene, lang andauernde und nachhaltige Annäherung ¯1 an transnational zusammengesetzte Spielergemeinschaften werden die kulturell informierten Handlungen ihrer Mitglieder sichtbar und verstehbar. Es erschließen sich so- ziale Welten geteilter Werte, Normen, Vorstellungen, Ideen, Ästhetiken und Praktiken – Kulturen eben, die wesentlich komplexer, reichhaltiger und viel- schichtiger sind, als der oberflächliche Zaungast es sich vorzustellen vermag. Der vorliegende Artikel konzentriert sich auf ein, im Umfeld prototypischer First-Person-Shooter – genau dem Genre, das im öffentlichen Diskurs beson- ders unter Beschuss steht – entstandenes Phänomen: Die äußerst performativ orientierte Kultur des trickjumping. Nach einer Einführung in das ethnologische -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
View Full Resumé
Aspiration My dream job will allow me to apply a combination of my design and technical skills to create outstanding consumer software for a company that is deeply committed to their product and users. I desire to work in an environment where landing an icon on whole pixels matters, where the text written for an alert view is thoughtful, where design is a fundamental part of the philosophy, and where I can learn from and be inspired by the talented people I work with. Experience Getaround Jun 2013 – Present www.getaround.com Sr. Software Engineer Lead software engineer for Getaround’s iOS app, facilitating on-demand car rental services. Since joining I have refactored the client-side API to use a modern block- based design and taken on efforts to redesign the app user-experience for iOS 7. SeatMe, Inc. Jul 2012 – Jun 2013 Bryan www.seatme.com Sr. Software Engineer & UX Designer Hansen Engineering for a front-of-house restaurant solution on the iPad allowing real-time guest and operations management with server-side sync. Contribution of key new Cocoa Developer & features and refactorization of core components to increase stability and performance. Interaction Designer UX and prototyping on iOS to support future business directives. email [email protected] Bitswift Oct 2011 – Apr 2012 portfolio skeuo.com Cofounder phone 970.214.3842 Product development and design of an advanced design tool for the Mac platform, facilitating the creation of user flows for mobile applications. My responsibilities twitter @skeuo included product direction, development and UX wireframe design. Übermind, Inc. Mar 2006 – Sep 2011 www.ubermind.com Director of UX My project involvement with Übermind has been diverse, encompassing mobile apps for iOS and Android, consumer applications for the Mac and back-end enterprise systems. -
Open Arena Aimbot Download
Open Arena Aimbot Download 1 / 4 Open Arena Aimbot Download 2 / 4 3 / 4 Rule the arena with Wallhax's Quake Champions hack! Decimate your opponents on every map with our deadly bone aimbot for easy frags, combined with our .... Open Arena Aimbot Download http://urllio.com/y8mbk 4f22b66579 23 Apr 2016 . Download the game here: Features: ESP & Aimbot Features not included: .... https://www.youtube.com/watch?v=O0ivDI32rTc Download the game here: https://href.li/?http://www.openarena.ws/download.php?list.61 .... Open Arena Internal Multi Hack. master. Having trouble showing that directory. Normally, you'd see the directory here, but something didn't go right. Try again .... You can download the free aimbot source code in the link listed below. OpenArena is a Quake3 engine video .... A framework for basic hacks including aimbot & ESP, OpenGL Drawing and more - GH-Rake/AssaultCube-Hack-Framework. ... Clone or download ... Started External Assault Cube aimbot, went internal with it, then ported it to OpenArena, now .... So, OpenArena supports mods, like the game on which it is based. ... Usually, you will download a mod inside a single compressed file (like ".zip", ".rar", ".7z". ... take an existing mod created by someone else and add "brightskins" -an hack that .... I just downloaded it from the repositories. ... OpenArena was fun, I used to play Urban Terror online as well, I was fairly good. (I am the guy ... The 95th Rifles were mostly OK, but Nitroservers was full of aimbots and wallhacks.. Download now and get instant access when you become a new VIP member. Features include ESP, 360 degree Aimbot, Wallhack, Nametags, Distance, .. -
Untitled Project: a Cross-Disciplinary Investigation of Jodi's Untitled Game
UNTITLED PROJECT: A CROSS-DISCIPLINARY INVESTIGATION OF JODI’S UNTITLED GaME 1. INTRODUCTION 2. METHOD void() movetarget_f= { Untitled Game (1996 – 2011) is an artwork comprised of fourteen small software programs with an if (!self.targetname) Untitled Game was widely distributed through the website and by cd-rom and would have been historically objerror (“monster_movetarget: no target- accompanying website, untitled-game.org. These programs were developed in the mid to late-1990s and name”); viewed with varying combinations of operating systems and hardware components. The possible computer released on cd-rom in 2001 by the Belgian-Dutch artist duo JODI. The website, also launched in 2001, houses self.solid = SOLID_TRIGGER; configurations, however, would have been limited by the fact thatUntitled Game is configured to run on a self.touch = t_movetarget; the Untitled Game program files for download and additionally serves to document the underlying code of the setsize (self, ‘-8 -8 -8’, ‘8 8 8’); restricted range of operating systems. Thus, despite the multiplicity of possible viewer experiences, Untitled software, as well as its file and directory structure. Each Untitled Game program is a different modification or }; Game contains a fixed temporal link that introduces an opportunity for technological obsolescence to affect “mod” of the commercial software Quake 1 (1996), a hugely popular video game that helped establish long- /*UNTITLED-GAME/D path_corner (0.5 0.3 0) (-8 -8 -8) (8 8 access to the artwork. One compatible operating system, Mac OS9 (1999 – 2001), was used in this study to 8) standing conventions for the first-person shooter game genre. -
High-Performance Play: the Making of Machinima
High-Performance Play: The Making of Machinima Henry Lowood Stanford University <DRAFT. Do not cite or distribute. To appear in: Videogames and Art: Intersections and Interactions, Andy Clarke and Grethe Mitchell (eds.), Intellect Books (UK), 2005. Please contact author, [email protected], for permission.> Abstract: Machinima is the making of animated movies in real time through the use of computer game technology. The projects that launched machinima embedded gameplay in practices of performance, spectatorship, subversion, modification, and community. This article is concerned primarily with the earliest machinima projects. In this phase, DOOM and especially Quake movie makers created practices of game performance and high-performance technology that yielded a new medium for linear storytelling and artistic expression. My aim is not to answer the question, “are games art?”, but to suggest that game-based performance practices will influence work in artistic and narrative media. Biography: Henry Lowood is Curator for History of Science & Technology Collections at Stanford University and co-Principal Investigator for the How They Got Game Project in the Stanford Humanities Laboratory. A historian of science and technology, he teaches Stanford’s annual course on the history of computer game design. With the collaboration of the Internet Archive and the Academy of Machinima Arts and Sciences, he is currently working on a project to develop The Machinima Archive, a permanent repository to document the history of Machinima moviemaking. A body of research on the social and cultural impacts of interactive entertainment is gradually replacing the dismissal of computer games and videogames as mindless amusement for young boys. There are many good reasons for taking computer games1 seriously. -
180-Degree Rule, 183 3D Studio Max, 53, 120 Aarseth, Espen, 120
Index 180-degree rule, 183 Biofeedback, 116, 231 – 233 3D Studio Max, 53, 120 Bittorrent, 258 Blizzcon, 184 Aarseth, Espen, 120, 213, 264, 307 Bolter, Jay, 180, 262 Academy of Machinima Arts and Sciences Brecht, Berthold, 47, 159– 160, 198 – 200 (AMAS), viii, 28, 39, 131 Bundespr ü fstelle f ü r jugendgef ä hrdende Academy of Motion Picture Arts and Sciences, Medien (BPjM), 258 39 Adaptation, 156, 301, 311, 317 Cameron, James, 79 Adobe Premiere , 45 – 46, 133 Carmack, John, 6 – 7, 10, 305 Adorno, Theodor, 159, 168 Character animation, 61, 65, 74, 100, 104. Agamben, Giorgio, 160 – 163, 168 – 169 See also Puppets Animation (traditional), 34, 57, 65, 83 – 84, Crosby, Chris (aka NoSkill), 8 114, 127 Cinema v é rit é , 13, 189 Anime, 37, 73, 149, 190, 331 Cinematography, 75 – 79, 82, 84 – 85, 88, 132, Anymation, 34, 114 160, 163, 182, 187, 207, 250 Arcade (games), 119, 162, 249 Clockwork Orange (fi lm), 227 Arcangel, Cory, 115, 123 Comedy (genre), 27, 144, 148, 190 Aristotle 160, 199, 303 Compositing (rendering), 4, 6, 16, 21, 77, 80, Artifi cial Intelligence (AI), 81, 97, 128, 186, 85, 205 266 – 268, 291 Condon, Brody, 115, 123, 303 Auslander, Phil, 117, 127 – 128, 133, Constructive play, 246 – 247. See also Piaget, 139 Jean Convergence, 38, 253, 302, 331 Baron Soosdon, 3, 17 – 18, 20 Convergence culture, 38, 241 Benjamin, Walter, 160 Copyright, 169, 316 – 317, 321 – 329 Bal á zs, B é la, 177, 179, 181 Cross-media, 302, 305. See also Transmedia Baran, Stanley, 260 – 262 Cut-scene, 120, 160, 191, 262, 267– 270, Battlefi eld (game series), 31 293 Bazin, Andr é , 199 – 201, 207 Cyberfeminism, 278 Beck, Dave, 315 – 331 Cyborg, 80, 210, 278, 304 342 Index Dance. -
An Opengl-Based Eclipse Plug-In for Visual Debugging
An OpenGL-based Eclipse Plug-in for Visual Debugging André Riboira Rui Abreu Rui Rodrigues Department of Informatics Engineering University of Porto Portugal {andre.riboira, rma, rui.rodrigues}@fe.up.pt ABSTRACT A traditional approach to fault localization is to insert Locating components which are responsible for observed fail- print statements in the program to generate additional de- ures is the most expensive, error-prone phase in the software bugging information to help identifying the root cause of development life cycle. Automated diagnosis of software the observed failure. Essentially, the developer adds these faults (aka bugs) can improve the efficiency of the debug- statements to the program to get a glimpse of the runtime ging process, and is therefore an important process for the state, variable values, or to verify that the execution has development of dependable software. Although the output reached a particular part of the program. Another com- of current automatic fault localization techniques is deemed mon technique is the use of a symbolic debugger which sup- to be useful, the debugging potential has been limited by ports additional features such as breakpoints, single step- the lack of a visualization tool that provides intuitive feed- ping, and state modifying. Examples of symbolic debuggers back about the defect distribution over the code base, and are GDB [15], DBX [6], DDD [18], Exdams [4], and the easy access to the faulty locations. To help unleash that po- debugger proposed by Agrawal, Demillo, and Spafford [3]. tential, we present an OpenGL-based Eclipse plug-in that Symbolic debuggers are included in many integrated devel- opment environments (IDE) such as Eclipse2, Microsoft Vi- explores two visualization techniques - viz. -
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 -
A Survey of Technologies for Building Collaborative Virtual Environments
The International Journal of Virtual Reality, 2009, 8(1):53-66 53 A Survey of Technologies for Building Collaborative Virtual Environments Timothy E. Wright and Greg Madey Department of Computer Science & Engineering, University of Notre Dame, United States Whereas desktop virtual reality (desktop-VR) typically uses Abstract—What viable technologies exist to enable the nothing more than a keyboard, mouse, and monitor, a Cave development of so-called desktop virtual reality (desktop-VR) Automated Virtual Environment (CAVE) might include several applications? Specifically, which of these are active and capable display walls, video projectors, a haptic input device (e.g., a of helping us to engineer a collaborative, virtual environment “wand” to provide touch capabilities), and multidimensional (CVE)? A review of the literature and numerous project websites indicates an array of both overlapping and disparate approaches sound. The computing platforms to drive these systems also to this problem. In this paper, we review and perform a risk differ: desktop-VR requires a workstation-class computer, assessment of 16 prominent desktop-VR technologies (some mainstream OS, and VR libraries, while a CAVE often runs on building-blocks, some entire platforms) in an effort to determine a multi-node cluster of servers with specialized VR libraries the most efficacious tool or tools for constructing a CVE. and drivers. At first, this may seem reasonable: different levels of immersion require different hardware and software. Index Terms—Collaborative Virtual Environment, Desktop However, the same problems are being solved by both the Virtual Reality, VRML, X3D. desktop-VR and CAVE systems, with specific issues including the management and display of a three dimensional I.