Valve Handbook for New Employees
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Now We Are All Sons of Bitches
Now We Are All Sons of Bitches MICHAEL BONTATIBUS “Wake up, Mr. Freeman. Wake up and smell the ashes,” the enigmat- ic G-Man murmurs as he leers into the camera, finishing an eerie opening monologue—and so begins Half-Life 2, Valve Corporation’s flagship game. The last time we saw Gordon Freeman, the protagonist, the same rigid and mysterious (though more poorly animated, since the prequel was released six years earlier) G-Man was handing him a job offer after witnessing the former scientist transform into a warrior, bent on escaping from the besieged Black Mesa Research Facility alive. Now, suddenly, Freeman finds himself on a train. No context.1 Is it a prison train? The three other individuals on it wear uniforms like those the inmates wore in Cool Hand Luke. The train soon stops at its destination, and we realize that it is a prison train, in a way—Freeman has arrived at the Orwellian “City 17,” where the ironically named Civil Protection abuses and oppresses, where antagonist Dr. Breen preaches poet- ic propaganda from large monitors hung high above the town. In the years since scientists at the facility accidentally opened a gateway between dimen- sions and allowed a bevy of grotesque creatures to spill into our universe, Earth has been taken over by the Combine, an alien multiplanetary empire. Breen is merely Earth’s administrator—and we realize that the ashes the G- Man spoke of were the ashes of the prelapsarian world. It’s classic dystopia, complete with a Resistance, of which Freeman soon finds himself the “mes- sianic” leader (HL2). -
EA Opens up the Orange Box for PLAYSTATION 3
EA Opens up The Orange Box for PLAYSTATION 3 Critically-Acclaimed PC and Xbox 360 Game is Now Available for PLAYSTATION 3 in North America and Europe REDWOOD CITY, Calif.--(BUSINESS WIRE)--Dec. 14, 2007--2007's best reviewed PC and Xbox 360™ game is now available for the PLAYSTATION®3 computer entertainment system. Praised by many publications as the best value in the history of the video game industry, The Orange Box was originally developed by Valve and gives players five innovative action games for the price of one. Now Electronic Arts Inc. (NASDAQ:ERTS) brings this amazing collection to the PLAYSTATION 3 in North America and most of Europe, with French and German versions expected in early 2008. The Orange Box was released earlier this year on the Xbox 360 and PC to wide critical acclaim - both versions have averaged a 96 based on Metacritic.com and are tied for the highest rated games on each respective platforms, including 17 perfect scores. The five-games-in-one-package includes the highest-rated first person shooter of all time Half-Life® 2, Half-Life 2: Episode One, and three all-new games: -- Half Life 2: Episode Two - Episode 2 is the latest chapter in the best-selling, highest-rated action game franchise of all time, taking gamers outside the walls of City 17 for the first time as Gordon and Alyx race across the White Forest in race to save mankind from the Combine. -- Portal™ - A groundbreaking new kind of action game that will forever change the way gamers interact with their environment, Portal gives players mastery over 3D space with the mind-bending new Portal gun. -
Shading in Valve's Source Engine
Advanced Real-Time Rendering in 3D Graphics and Games Course – SIGGRAPH 2006 Chapter 8 Shading in Valve’s Source Engine Jason Mitchell9, Gary McTaggart10 and Chris Green11 8.1 Introduction Starting with the release of Half-Life 2 in November 2004, Valve has been shipping games based upon its Source game engine. Other Valve titles using this engine include Counter-Strike: Source, Lost Coast, Day of Defeat: Source and the recent Half-Life 2: Episode 1. At the time that Half-Life 2 shipped, the key innovation of the Source engine’s rendering system was a novel world lighting system called Radiosity Normal Mapping. This technique uses a novel basis to economically combine the soft realistic 9 [email protected] 10 [email protected] 11 [email protected] 8 - 1 © 2007 Valve Corporation. All Rights Reserved Chapter 8: Shading in Valve’s Source Engine lighting of radiosity with the reusable high frequency detail provided by normal mapping. In order for our characters to integrate naturally with our radiosity normal mapped scenes, we used an irradiance volume to provide directional ambient illumination in addition to a small number of local lights for our characters. With Valve’s recent shift to episodic content development, we have focused on incremental technology updates to the Source engine. For example, in the fall of 2005, we shipped an additional free Half- Life 2 game level called Lost Coast and the multiplayer game Day of Defeat: Source. Both of these titles featured real-time High Dynamic Range (HDR) rendering and the latter also showcased the addition of real-time color correction to the engine. -
New Developments in Pneumatic Valve Technology for Packaging Applications
TechnicalPaper New developments in pneumatic valve technology for packaging applications Pneumatics is widely used in many packaging machines to drive motion and actuate machine sequences. It is a clean, reliable, compact and lightweight technology that provides a cost-effective solution to help packaging machine designers create innovative systems while staying competitive. Advances in pneumatic valves enable packaging machines like this Manifold valve technology plays a central role in the performance and cartoner to use pneumatics more efficiently and help machine builders effectiveness of pneumatic systems. Recent developments in this create innovative folding configurations to satisfy market needs. technology have increased their flexibility, their modularity and their ability to integrate with and be controlled by the advanced communication bus architectures that are preferred by leading Several factors continue to make pneumatics broadly appealing to packaging machine OEMs and end users, enhancing the application machine builders in the packaging industry. One is cost of ownership: value pneumatic technology supplies. Not only are most pneumatic components relatively low-cost to begin Pneumatics-driven packaging applications Pneumatics can be particularly effective for any kind of machine motion that combines or includes high-speed, point-to-point movement AVENTICS AV valve system – of the types of products with the weight and size dimensions typically found in packaging machines. This includes indexing, sorting and advantages at -
Navigating the Videogame
From above, from below: navigating the videogame A thesis presented by Daniel Golding 228306 to The School of Culture and Communication in partial fulfilment of the requirements for the degree of Bachelor of Arts (Honours) in the field of Cultural Studies in the School of Culture and Communication The University of Melbourne Supervisor: Dr. Fran Martin October 2008 ABSTRACT The study of videogames is still evolving. While many theorists have accurately described aspects of the medium, this thesis seeks to move the study of videogames away from previously formal approaches and towards a holistic method of engagement with the experience of playing videogames. Therefore, I propose that videogames are best conceptualised as navigable, spatial texts. This approach, based on Michel de Certeau’s concept of strategies and tactics, illuminates both the textual structure of videogames and the immediate experience of playing them. I also regard videogame space as paramount. My close analysis of Portal (Valve Corporation, 2007) demonstrates that a designer can choose to communicate rules and fiction, and attempt to influence the behaviour of players through strategies of space. Therefore, I aim to plot the relationship between designer and player through the power structures of the videogame, as conceived through this new lens. ii TABLE OF CONTENTS ABSTRACT ii ACKNOWLEDGEMENTS iv CHAPTER ONE: Introduction 1 AN EVOLVING FIELD 2 LUDOLOGY AND NARRATOLOGY 3 DEFINITIONS, AND THE NAVIGABLE TEXT 6 PLAYER EXPERIENCE AND VIDEOGAME SPACE 11 MARGINS OF DISCUSSION 13 CHAPTER TWO: The videogame from above: the designer as strategist 18 PSYCHOGEOGRAPHY 18 PORTAL AND THE STRATEGIES OF DESIGN 20 STRUCTURES OF POWER 27 RAILS 29 CHAPTER THREE: The videogame from below: the player as tactician 34 THE PLAYER AS NAVIGATOR 36 THE PLAYER AS SUBJECT 38 THE PLAYER AS BRICOLEUR 40 THE PLAYER AS GUERRILLA 43 CHAPTER FOUR: Conclusion 48 BIBLIOGRAPHY 50 iii ACKNOWLEDGEMENTS I would like to thank my supervisor, Dr. -
Esports High Impact and Investable
Needham Insights: Thought Leader Series Laura A. Martin, CFA & CMT – [email protected] / (917) 373-3066 September 5, 2019 Dan Medina – [email protected] / (626) 893-2925 eSports High Impact and Investable For the past decade, eSports has been growing on the main stage in Asia and in stealth mode in the US. This report addresses questions we get most often from investors about eSports: ➢ What is eSports? Definitions differ. Our definition of eSports is “players competing at a video game in front of a live audience while being live-streamed.” By implication, viewing, attendance, and playing time are linked, and each creates revenue streams for eSports. ➢ How big is eSports? Globally, one out of every three (ie, 33%) 18-25 year olds spent more than an hour a day playing video games, 395mm people watched eSports, and 250mm people played Fortnite in 2018. eSports revenue will be $1.1B in 2019, up 26% y/y. ➢ Should investors care about eSports? We would argue “yes”, owing to: a) global scale; b) time spent playing and viewing; c) compelling demographics; d) eSports vs traditional sports trends; e) revenue growth; and, f) sports betting should supercharge US eSports. ➢ Is eSports a fad? We would argue “no”, owing to: a) many US Universities now offer Varsity eSports scholarships; b) new special purpose eSports stadiums are proliferating; c) billionaires are investing to make eSports successful; d) audience growth; and, e) Olympics potential. ➢ Why have you never heard of eSports? Because zero of the top 30 earning players in the world were from the US in 2018. -
Poppet Valve
POPPET VALVE A poppet valve is a valve consisting of a hole, usually round or oval, and a tapered plug, usually a disk shape on the end of a shaft also called a valve stem. The shaft guides the plug portion by sliding through a valve guide. In most applications a pressure differential helps to seal the valve and in some applications also open it. Other types Presta and Schrader valves used on tires are examples of poppet valves. The Presta valve has no spring and relies on a pressure differential for opening and closing while being inflated. Uses Poppet valves are used in most piston engines to open and close the intake and exhaust ports. Poppet valves are also used in many industrial process from controlling the flow of rocket fuel to controlling the flow of milk[[1]]. The poppet valve was also used in a limited fashion in steam engines, particularly steam locomotives. Most steam locomotives used slide valves or piston valves, but these designs, although mechanically simpler and very rugged, were significantly less efficient than the poppet valve. A number of designs of locomotive poppet valve system were tried, the most popular being the Italian Caprotti valve gear[[2]], the British Caprotti valve gear[[3]] (an improvement of the Italian one), the German Lentz rotary-cam valve gear, and two American versions by Franklin, their oscillating-cam valve gear and rotary-cam valve gear. They were used with some success, but they were less ruggedly reliable than traditional valve gear and did not see widespread adoption. In internal combustion engine poppet valve The valve is usually a flat disk of metal with a long rod known as the valve stem out one end. -
Day of Defeat : Official Strategy Guide Kindle
DAY OF DEFEAT : OFFICIAL STRATEGY GUIDE PDF, EPUB, EBOOK Prima Development | 160 pages | 01 Jun 2003 | Prima Publishing,U.S. | 9780761543503 | English | Rocklin, United States Day of Defeat : Official Strategy Guide PDF Book Paladin Anima Powers. Playing online is fundamentally different from playing offline, as greater amounts of interactivity and chaos often push you to new limits as a general and a soldier. When playing a sniper, find a spot and start sniping; trying to be mobile may be more fun, but sticking to a good perch that overlooks a high-traffic area is far more helpful if you're into mobile sniping, try the Rifleman class. Don't know how effective this is for small games, but there is a marked difference in large games. While there is always a raging debate over whether the recoils are too hard or too soft, dealing with recoil is the same across the board. A large clip allowed for agile attacks on fortified positions. Follow the sound of the ringing phone through the little office and down the corridor. Thanks to anybody who still believes in acting civil online! You can get there easily by going to the flag 3 sewers, then taking a left down to the area under the church. The graphics aren't the best, but this game was tons of fun back in the day! There's a door on the right side that leads directly in. Finally, if you're in need of a defensive location, enter the left path out of your spawn. Errors and other gremlins squashed. -
Portal Prima Official Mini Eguide.Pdf 2008-05-31 12:20 3.1 MB
PRIMA OFFICIAL GAME GUIDE DAVID SJ HODGSON STEPHEN STRATTON MIGUEL LOPEZ Prima Games David SJ Hodgson A Division of Random House, Inc. Originally hailing from the United Kingdom, David left his role as a writer of numerous 3000 Lava Ridge Court, Suite 100 British video game magazines (including Mean Machines, Computer & Video Games, Roseville, CA 95661 and the Offi cial Nintendo and Sega Saturn magazines) and a bohemian lifestyle on a dry-docked German fi shing trawler to work on the infamous GameFan magazine in www.primagames.com 1996. David helped to launch the fl edgling GameFan Books and helped form Gamers’ The Prima Games logo is a registered trademark of Random House, Inc., Republic in 1998, authoring many strategy guides for Millennium Publications, registered in the United States and other countries. Primagames.com is including The Offi cial Metal Gear Solid Mission Handbook. After launching the wildly a registered trademark of Random House, Inc., registered in the United unsuccessful incite Video Gaming and Gamers.com, David found his calling, and States. began authoring guides for Prima Games. He has written over 30 Prima strategy guides, including The Godfather: The Game, Knights of the Old Republic, Perfect Dark © 2007 by Prima Games. All rights reserved. No part of this book may be Zero, Half-Life 2, and Burnout Revenge. He lives in the Pacifi c Northwest with his reproduced or transmitted in any form or by any means, electronic or mechanical, wife, Melanie, and an eight-foot statue of Great Cthulhu. including photocopying, recording, or by any information storage or retrieval system without written permission from Prima Games. -
Module 2 Roleplaying Games
Module 3 Media Perspectives through Computer Games Staffan Björk Module 3 Learning Objectives ■ Describe digital and electronic games using academic game terms ■ Analyze how games are defined by technological affordances and constraints ■ Make use of and combine theoretical concepts of time, space, genre, aesthetics, fiction and gender Focuses for Module 3 ■ Computer Games ■ Affect on gameplay and experience due to the medium used to mediate the game ■ Noticeable things not focused upon ■ Boundaries of games ■ Other uses of games and gameplay ■ Experimental game genres First: schedule change ■ Lecture moved from Monday to Friday ■ Since literature is presented in it Literature ■ Arsenault, Dominic and Audrey Larochelle. From Euclidian Space to Albertian Gaze: Traditions of Visual Representation in Games Beyond the Surface. Proceedings of DiGRA 2013: DeFragging Game Studies. 2014. http://www.digra.org/digital- library/publications/from-euclidean-space-to-albertian-gaze-traditions-of-visual- representation-in-games-beyond-the-surface/ ■ Gazzard, Alison. Unlocking the Gameworld: The Rewards of Space and Time in Videogames. Game Studies, Volume 11 Issue 1 2011. http://gamestudies.org/1101/articles/gazzard_alison ■ Linderoth, J. (2012). The Effort of Being in a Fictional World: Upkeyings and Laminated Frames in MMORPGs. Symbolic Interaction, 35(4), 474-492. ■ MacCallum-Stewart, Esther. “Take That, Bitches!” Refiguring Lara Croft in Feminist Game Narratives. Game Studies, Volume 14 Issue 2 2014. http://gamestudies.org/1402/articles/maccallumstewart ■ Nitsche, M. (2008). Combining Interaction and Narrative, chapter 5 in Video Game Spaces : Image, Play, and Structure in 3D Worlds, MIT Press, 2008. ProQuest Ebook Central. https://chalmers.instructure.com/files/738674 ■ Vella, Daniel. Modelling the Semiotic Structure of Game Characters. -
Designing Organizations for Dynamic Capabilities
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Oxford University, Saïd Business School: Eureka Designing Organizations for Dynamic Capabilities Teppo Felin University of Oxford Park End Street Oxford, UK [email protected] +44 1865 288912 Thomas C. Powell University of Oxford Park End Street Oxford, UK [email protected] Manuscript for California Management Review Special Issue on Dynamic Capabilities Editors David Teece and Sunyoung Leih Designing Organizations for Dynamic Capabilities Abstract How can organizations put dynamic capabilities into practice? We focus on the power of organizational design, showing how managers can harness new organizational forms to build a capacity for sensing, shaping and seizing opportunities. Fast-moving environments favor open organization and self- organizing processes that quickly convert individual capabilities into actionable collective intellect. We argue that self-organizing processes do not organize themselves but require managers to design and execute them. We examine new design principles – such as polyarchy, social proofs, and new forms of open organization – that allow organizations to build dynamic capabilities for sustained innovation in dynamic environments. Key words: organizational design, dynamic capabilities, sensing, seizing, crowds 2 Introduction Valve Corporation was founded in 1996 by Gabe Newell and Mike Harrington, former Microsoft employees. Valve began as a video game company, producing best sellers such as Half Life and Portal. Later the company evolved into a digital distribution platform, known for products such as Steam and SourceForge. Their self-reported revenues per employee and profit per employee exceed those of Facebook and Google. -
The Future Past: Intertextuality in Contemporary Dystopian Video Games
The Future Past: Intertextuality in Contemporary Dystopian Video Games By Matthew Warren CUNY Baccalaureate for Unique and Interdisciplinary Studies Submitted to: Timothy Portlock, Advisor Hunter College Lee Quinby, Director Macaulay Honors College Thesis Colloquium 9 May 2012 Contents I. Introduction: Designing Digital Spaces II. Theoretical Framework a. Intertextuality in the visual design of video games and other media b. Examining the established visual iconography of dystopian setting II. Textual Evidence a. Retrofuturism and the Decay of Civilization in Bioshock and Fallout b. Innocence, Iteration, and Nostalgia in Team Fortress and Limbo III. Conclusion 2 “Games help those in a polarized world take a position and play out the consequences.” The Twelve Propositions from a Critical Play Perspective Mary Flanagan, 2009 3 Designing Digital Spaces In everyday life, physical space serves a primary role in orientation — it is a “container or framework where things exist” (Mark 1991) and as a concept, it can be viewed through the lense of a multitude of disciplines that often overlap, including physics, architecture, geography, and theatre. We see the function of space in visual media — in film, where the concept of physical setting can be highly choreographed and largely an unchanging variable that comprises a final static shot, and in video games, where space can be implemented in a far more complex, less linear manner that underlines participation and system-level response. The artistry behind the fields of production design and visual design, in film and in video games respectively, are exemplified in works that engage the viewer or player in a profound or novel manner.