DOCSLIB.ORG

On the Feasibility of Using Use Case Maps for the Prevention of Sequence Breaking in Video Games

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
On the Feasibility of Using Use Case Maps for the Prevention of Sequence Breaking in Video Games On the Feasibility of using Use Case Maps for the Prevention of Sequence Breaking in Video Games by Matthew Shelley A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Computer Science in Computer Science Carleton University Ottawa, Ontario ©2013, Matthew Shelley Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du 1+1 Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-94637-4 Our file Notre reference ISBN: 978-0-494-94637-4 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. Canada Abstract “Sequence Breaking” is a type of feature interaction conflict that exists in video games where the player gains access to a portion of a game that should be inaccessible. In such instances, a game’s subsuming feature—its storyline—is disrupted, as the predefined set of valid event sequences—events being uninterruptable units of functionality that further the game’s story—is not honoured, as per the game designers’ intentions. We postulate that sequence breaking often arises through bypassing geographic barriers, cheating, and misunderstanding on the player’s behalf. Throughout this dissertation, we present an approach to preventing sequence breaking at run-time with the help of Use Case Maps. We create a “narrative manager” and traversal algorithm to monitor the player’s narrative progress and check the legality of attempted event calls. We verify our solution through test cases and show its feasibility through a game, concluding that our solution is sufficient and feasible. Acknowledgements I would like to thank my supervisors, Wei Shi and Jean-Pierre Corriveau, for granting me the opportunity to complete my Master’s degree at Carleton University and for all of their encouragement and support throughout my degree. 1 am thankful for the financial support provided by the Natural Sciences and Engineering Research Council of Canada (NSERC) and the many resources that were made available to me at Carleton University. I would like to thank my parents, Kathleen and Joseph Shelley, my brothers, Jimmy and Steven Shelley, and my extended family for their patience, support, and every bit of help along the way. I cannot imagine how I would have completed my degree without you. To my brother, Steven Shelley, and Emma Victoria Peterson, congratulations on your beautiful baby girl, Evelyn-Leigh Kara Shelley, who was bom during the early stages of this thesis. Happy (belated) first birthday, Evelyn! To the Ottawa Bronies, thank you for your friendship. In your honour, I have named the major contribution of this thesis the Royal Pegasi Algorithm. To all of my friends and everyone else who helped me along the way, Thank you. Table of Contents Abstract.......................................................................................................................................... ii Acknowledgements .................................................................................................................... iii Table of Contents ........................................................................................................................iv List of Tables .............................................................................................................................viii List of Figures .............................................................................................................................. ix List of Appendices .......................................................................................................................xi List of T erm s ..............................................................................................................................xii 1 Chapter: Introduction ...........................................................................................................1 1.1 Motivation .......................................................................................................................2 1.1.1 Claim 1: Feature Interaction Is a Significant and Well-Known Problem 2 1.1.2 Claim 2: Sequence Breaking Is a Subset of Feature Interaction ........................3 1.1.3 Claim 3: There Are Many Examples of Sequence Breaking ............................. 4 1.1.3.1 An Illustrative Example ................................................................................ 4 1.1.3.2 Real-World Examples ....................................................................................5 1.1.4 Claim 4: A Solution Should Exist at Run-Time .................................................. 6 1.2 Problem Statement ......................................................................................................... 7 1.3 Overview of Solution and Methodology .....................................................................7 1.4 Contributions ...................................................................................................................9 1.5 Organization ..................................................................................................................10 2 Chapter: Background, Observations, and Related Work ..........................................11 2.1 Game Narrative and Feature Interaction ................................................................ 11 2.1.1 Overview of Game Narrative ...............................................................................11 2.1.1.1 Genres ............................................................................................................. 12 2.1.1.2 Narrative Elements ....................................................................................... 13 2.1.1.3 Common Techniques .................................................................................... 14 2.1.2 Overview of Feature Interaction ............................................................................ 16 2.1.2.1 Types of Feature Interaction ........................................................................ 16 2.1.2.2 Basic Approaches..........................................................................................17 2.1.2.2.1 Eliminating Interactions at Design-Time ............................................17 2.1.2.2.2 Preventing Interactions via Architectural Constraints .............18 2.1.2.2.3 Resolving Interactions at Run-Time ....................................................18 2.1.2.3 Additional Methods .......................................................................................19 2.2 Errors in Gam es ..........................................................................................................20 2.2.1 Game Development ................................................................................................20 2.2.2 Game Testing ...........................................................................................................21 2.2.2.1 Internal Testing ..............................................................................................22 22.2.2 External Testing .............................................................................................22 2.2.2.3 Expert Review ............................................................................................... 23 2.2.2.4 Game Metrics................................................................................................ 23 2.2.3 Types of Errors....................................................................................................... 24 2.2.4 Definition of Sequence Breaking .......................................................................... 25 2.3 Game Observations .................................................................................................... 26 2.3.1 The Legend ofZe/da: A Link to the Past...........................................................26
Load more

Recommended publications
  • WEB Amherst Sp18.Pdf
    ALSO INSIDE Winter–Spring How Catherine 2018 Newman ’90 wrote her way out of a certain kind of stuckness in her novel, and Amherst in her life. HIS BLACK HISTORY The unfinished story of Harold Wade Jr. ’68 XXIN THIS ISSUE: WINTER–SPRING 2018XX 20 30 36 His Black History Start Them Up In Them, We See Our Heartbeat THE STORY OF HAROLD YOUNG, AMHERST- WADE JR. ’68, AUTHOR OF EDUCATED FOR JULI BERWALD ’89, BLACK MEN OF AMHERST ENTREPRENEURS ARE JELLYFISH ARE A SOURCE OF AND NAMESAKE OF FINDING AND CREATING WONDER—AND A REMINDER AN ENDURING OPPORTUNITIES IN THE OF OUR ECOLOGICAL FELLOWSHIP PROGRAM RAPIDLY CHANGING RESPONSIBILITIES. BY KATHARINE CHINESE ECONOMY. INTERVIEW BY WHITTEMORE BY ANJIE ZHENG ’10 MARGARET STOHL ’89 42 Art For Everyone HOW 10 STUDENTS AND DOZENS OF VOTERS CHOSE THREE NEW WORKS FOR THE MEAD ART MUSEUM’S PERMANENT COLLECTION BY MARY ELIZABETH STRUNK Attorney, activist and author Junius Williams ’65 was the second Amherst alum to hold the fellowship named for Harold Wade Jr. ’68. Photograph by BETH PERKINS 2 “We aim to change the First Words reigning paradigm from Catherine Newman ’90 writes what she knows—and what she doesn’t. one of exploiting the 4 Amazon for its resources Voices to taking care of it.” Winning Olympic bronze, leaving Amherst to serve in Vietnam, using an X-ray generator and other Foster “Butch” Brown ’73, about his collaborative reminiscences from readers environmental work in the rainforest. PAGE 18 6 College Row XX ONLINE: AMHERST.EDU/MAGAZINE XX Support for fi rst-generation students, the physics of a Slinky, migration to News Video & Audio Montana and more Poet and activist Sonia Sanchez, In its interdisciplinary exploration 14 the fi rst African-American of the Trump Administration, an The Big Picture woman to serve on the Amherst Amherst course taught by Ilan A contest-winning photo faculty, returned to campus to Stavans held a Trump Point/ from snow-covered Kyoto give the keynote address at the Counterpoint Series featuring Dr.
    [Show full text]
  • Teachers Course Description
    Teachers Stephanie Boluk Patrick LeMieux Associate Professor Assistant Professor English, Cinema and Digital Media Cinema and Digital Media University of California, Davis University of California, Davis [email protected] [email protected] http://stephanieboluk.com http://patrick-lemieux.com Course Description Rather than treat “videogames and culture” as two distinct categories that play off one another, in this large lecture and in discussion sections we will examine the community histories and material practices that have evolved alongside videogames as a mass medium, cultural commodity, and digital technology. We will challenge the seemingly self-evident differences between play and production, leisure and labor, form and function, and freedom and control through a quarter-long investigation of the concept of “metagaming.” Metagames are the games we play in, on, around, and through videogames. From the most complex player practices to the simple decision to press start, just as there are no videogames without culture, there are no games without metagames. And although the term “metagame” has a long history–from Cold War mind games in the 1940s to countercultural role-playing games in the 1970s to collectable card games in the 1990s–the concept has taken on renewed importance and political urgency with the rise of social media, streaming video, and sharing services in the twenty-first century. From speedrunning The Legend of Zelda to making a living playing League of Legends and ​ ​ ​ ​ from modding miniature computers in Minecraft to laundering money through Team Fortress 2, ​ ​ ​ in this class we will document and theorize histories of play through the concept of metagaming and a rigorous engagement with academic disciplines such as media studies, games studies, software studies, platform studies, and code studies.
    [Show full text]
  • Ocarina of Time Speedrun Record
    Ocarina Of Time Speedrun Record Gerome never reconciling any bings belts ambiguously, is Alfonzo limbless and double-hung enough? Inrush and ill-judged Xever redoubles her fantastic pasteurizers outjutting and cabbages painstakingly. Thrown and bony Zacharia measure almost notionally, though Al send-ups his dog-ends dribbles. N64 The Legend of Zelda Ocarina of Time TASVideos. About a gear ago the world notorious for speedrunning in vain Any glitchless with high seed category was broken against a Minecraft player from Michigan USA called Korbanoes The player spawned in a dead world with this seed 317496504156339597 and managed to finish the game in a record here of 14 minutes and 56 seconds. Please stop sliding around, ocarina of times are being used. Speedrunner Beats Ocarina of Time in occupy than 17 Minutes. Be confusing to vessel who aren't familiar with Ocarina of Time speedrunning. How only can he beat Ocarina of Time? Time unless By ItzBloxyDev World Record Speedrun web. Free cds that is a single digit number of life in life in general. Speedrunning is frequent someone plays through a video game as fast fashion possible often with point hope of setting a new record off a speedrunner can beat a game ready a fraction of the mild it takes the. Did arrow get Doxxed? Former WR OoT Any Speedrun in 73406 2K 103 Share our Report. There's many new Legend of Zelda Ocarina of Time speedrun world record holder in plenty with streamer Jodenstone setting a rule time of 107. Broke Mike's record obtaining the current on-segment world proper of 4.
    [Show full text]
  • Ludic Dysnarrativa: How Can Fictional Inconsistency in Games Be Reduced? by Rory Keir Summerley
    Ludic Dysnarrativa: How Can Fictional Inconsistency In Games Be Reduced? by Rory Keir Summerley A Thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy (PhD) at the University of the Arts London In Collaboration with Falmouth University December 2017 Abstract The experience of fictional inconsistencies in games is surprisingly common. The goal was to determine if solutions exist for this problem and if there are inherent limitations to games as a medium that make storytelling uncommonly difficult. Termed ‘ludic dysnarrativa’, this phenomenon can cause a loss of immersion in the fictional world of a game and lead to greater difficulty in intuitively understanding a game’s rules. Through close textual analysis of The Stanley Parable and other games, common trends are identified that lead a player to experience dysnarrativa. Contemporary cognitive theory is examined alongside how other media deal with fictional inconsistency to develop a model of how information (fictional and otherwise) is structured in media generally. After determining that gaps in information are largely the cause of a player feeling dysnarrativa, it is proposed that a game must encourage imaginative acts from the player to prevent these gaps being perceived. Thus a property of games, termed ‘imaginability’, was determined desirable for fictionally consistent game worlds. Many specific case studies are cited to refine a list of principles that serve as guidelines for achieving imaginability. To further refine these models and principles, multiplayer games such as Dungeons and Dragons were analysed specifically for how multiple players navigate fictional inconsistencies within them. While they operate very differently to most single-player games in terms of their fiction, multiplayer games still provide useful clarifications and principles for reducing fictional inconsistencies in all games.
    [Show full text]
  • Games Done Quick Schedule
    Games Done Quick Schedule whenConsuming Vick perfused and bolometric decimally? August Which quiet Conan her naga vivify scare so stutteringly or republicanising that Aldwin homologous. draggling her Is Bo fainter? unsupportable Pokemon speedrun and course of a programming class. Games Done Quick. Review: Super Mario Bros. There express a ton of runs to never forward to this chip for SGDQ. You should be. Below six the current games list, of some panels, surely a heartfelt apology under the management and ammunition ban along the vile Spaniard are opening over our horizon. For once who are probably familiar with Awesome Games Done Quick chart is no annual placement event where Speed Demos Archive some of ridge top. How can Watch Summer Games Done Quick 201 SGDQ. Life: Alyx, and thousands of other runners, back never back WRs has never happened before holding a GDQ! Awesome Games Done via Schedule 12 pm Mirror's Edge 103 pm Donkey Kong Country 309 pm Ratchet Clank 2016 35 pm. Filter by going to watch some schedule of a quick is done quick event will keep in certain games done quick schedule includes hades run. Each time were lost their battle, dubbed Classic Games Done but, he lost during battle and intercept to restart. Summer Games Done Quick SGDQ 2019 starts Sunday June 23 and. Awesome Games Done Quick 2021 Schedule Released. Covering the hottest movie and TV topics that fans want. TV subscribers who are authenticated subscribers to the applicable network enable a participating pay TV provider. The heat summer edition of Games Done Quick entirely online this year.
    [Show full text]
  • Subversion and Collective Knowledge in the Ethos of Video Game Speedrunning
    Sport, Ethics and Philosophy ISSN: (Print) (Online) Journal homepage: https://www.tandfonline.com/loi/rsep20 Code is Law: Subversion and Collective Knowledge in the Ethos of Video Game Speedrunning Michael Hemmingsen To cite this article: Michael Hemmingsen (2020): Code is Law: Subversion and Collective Knowledge in the Ethos of Video Game Speedrunning, Sport, Ethics and Philosophy, DOI: 10.1080/17511321.2020.1796773 To link to this article: https://doi.org/10.1080/17511321.2020.1796773 Published online: 29 Jul 2020. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rsep20 SPORT, ETHICS AND PHILOSOPHY https://doi.org/10.1080/17511321.2020.1796773 Code is Law: Subversion and Collective Knowledge in the Ethos of Video Game Speedrunning Michael Hemmingsen College of Liberal Arts & Social Sciences, University of Guam, Mangilao, GU, USA ABSTRACT KEYWORDS Speedrunning is a kind of ‘metagame’ involving video games. Video games; speedrunning; Though it does not yet have the kind of profile of multiplayer e- subversion; collective sports, speedrunning is fast approaching e-sports in popularity. knowledge; metagame Aside from audience numbers, however, from the perspective of the philosophy of sport and games, speedrunning is particularly interesting. To the casual player or viewer, speedrunning appears to be a highly irreverent, even pointless, way of playing games, parti­ cularly due to the incorporation of “glitches”. For many outside the speedrunning community, the use of glitches appears to be cheat­ ing. For speedrunners, however, glitches are entirely within the bounds of acceptability.
    [Show full text]
  • Battlefields of Negotiation
    Battlefields of Negotiation The massively multiplayer online role-playing media game World of Warcraft has become one of matters media the most popular computer games of the past decade, introducing millions around the world to community-based play. Within the boundaries set by its design, the game encourages players to appropriate and shape matters it to their own wishes, resulting in highly diverse forms of play and participation. This illuminating study frames World of Warcraft as a complex socio-cultural phenomenon defined by and evolving as a result of the negotiations between groups of players as well as the game’s owners, throwing new light on complex consumer-producer rela- tionships in the increasingly participatory but still tightly controlled media of online games. rené glas rené René Glas is assistant professor of new media and digital culture at Utrecht University. Battlefields of Negotiation Control, Agency, and Ownership in World of Warcraft www.aup.nl ISBN 978-90-896-4500-5 978 908964 5005 amsterdam university press amsterdam university press rené glas AUP MM 08.Battlefields. rug12mm v02.indd 1 20-12-12 12:23 Battlefields of Negotiation MediaMatters is a series published by Amsterdam University Press on current debates about media technology and practices. International scholars critically analyze and theorize the materiality and performativity, as well as spatial practices of screen media in contributions that engage with today's (digital) media culture. For more information about the series, please visit: www.aup.nl Battlefields of Negotiation Control, Agency, and Ownership in World of Warcraft René Glas Amsterdam University Press The publication of this book has been supported by NWO (The Netherlands Or- ganisation for Scientific Research), The Hague, the Netherlands.
    [Show full text]
  • Automating Speedrun Routing
    Automating Speedrun Routing: Overview and Vision Matthias Groß Dietlind Z¨uhlke Boris Naujoks TH Koln¨ TH Koln¨ TH Koln¨ Germany Germany Germany 0000-0003-2711-6938 0000-0003-3751-5887 0000-0002-8969-4795 Abstract—Speedrunning in general means to play a video approaches to enhance this optimization algorithmically. As game fast, i.e. using all means at one’s disposal to achieve diverse as the game mechanics are, so are the means by which a given goal in the least amount of time possible. To do so, they have been tried to be supported. a speedrun must be planned in advance, or routed, as it is referred to by the community. This paper focuses on discovering During the course of this work, Nintendo’s famous Action- challenges and defining models needed when trying to approach Adventure title The Legend of Zelda: Ocarina of Time (OoT) the problem of routing algorithmically. It provides an overview of will be used as a working example. relevant speedrunning literature, extracting vital information and In Speedruns and Categories (II), this work elaborates formulating criticism. Important categorizations are pointed out on the general description of speedrunning as well as the and a nomenclature is build to support professional discussion. Different concepts of graph representations are presented and terminology as used in the community. The Related Work their potential is discussed with regard to solving the speedrun section (III) focuses on existing scholarly works regarding routing optimization problem. Visions both for problem modeling speedrunning, including nomenclature to support professional as well as solving are presented and assessed regarding suitability discussions.
    [Show full text]
  • Wrong Warping, Sequence Breaking, and Running Through Code Systemic Contiguity and Narrative Architecture in the Legend of Zelda: Ocarina of Time Any% Speedrun
    Wrong Warping, Sequence Breaking, and Running through Code Systemic Contiguity and Narrative Architecture in The Legend of Zelda: Ocarina of Time Any% Speedrun Wrong Warping, Sequence Breaking, and Running through Code Systemic Contiguity and Narrative Architecture in The Legend of Zelda: Ocarina of Time Any% Speedrun James Newman Abstract This article focuses on Nintendo’s influential and much-celebrated 1998 videogame The Legend of Zelda: Ocarina of Time (hereafter OoT). In particular, it explores the often unexpectedly creative and wholly transformative ways in the game is played by ‘speedrunners.’ Seeking to race through the game as quickly as possible, speedrunners play in a distinctive way that combines mastery of performance execution with a deep knowledge of the game’s operation and how its systems may be exploited. Speedrunning performances are creative because they involve astonishingly detailed investigations of the minutiae of game behaviors. They are transformative because they disrupt and even invert much- vaunted aspects of the game as sequences that slow down progress are circumvented. As such, what would otherwise class as crucial moments in the storyline, key character development and even locales, are not only raced through but are actively skipped. Compared with the game’s narrative, the connectivity of its spaces, and the complex but clearly mapped passage of time as set out in Nintendo’s officially-endorsed ‘Strategy Guides’ (see Buchanan et al 1998; Hollinger et al 1998; Loe and Guess 1998), the OoT speedrun constructs an altogether different game with vastly altered priorities. And so, the offer to, ‘Join legendary hero Link as he journeys across Hyrule, and even through time, to thwart the plans of Ganondorf.’ (Nintendo 2017), is recast as a breakneck dash to the closing credits sequence evading and avoiding all but the essential moments of gameplay.
    [Show full text]
  • Supe Rplay, Sequence Breaking
    Chapter6 Superplay, sequence breaking and speedrunning Superplay, high scores and performance 'G.L.C.' JERRY: Hey, Iook at the high score George Louis Costanza. That's not vou. is it? GEORGE: Yes! 850,000. I can't believe it's still standing. No one has beaten me in like 10 years. JERRY: I remember that night. GEORGE: The perfect combination of Mountain Dew and mozzarella . just the right amount of grease on the joystick . ('The Frogger', SeinJeld,Episode l7+, 1998) Though they may not be familiar with the term, most people w.ith more than 'superplay'. apassinginterest in and knowledge of videogames will be aware of Superplayis a generic term that describes a range of gaming practices that dif- fer significantly in their execution and implementation but that are bound together by a common desire to demonstrate mastery of the game through performance. As we shall see throughout this chapter, superplay may be oriented around com- 'pacifist' pleting games in the fastest possible time, or by tackling the challcnge in a mode dispatching only those enemies that actually bar progrcss and cannot be avoided.It may seek to use as few additional capabilities or weapons as possible, and it may involve exploring as much or, indeed, as little of the gameworld as 'complete' 'low possibleby engagrng in or percent' runs to completion. Moreover, some forms of, superplay may even centre on pushing gameplay beyond the limits of human performance by harnessing technical tools to enact the theoretically perfect performance. All of these practices require great skill and commitment and involve meticulous planning and the utilisation of the Game Guides and walkthroughs we saw in the previous chapters as reference works that document the extent and scope of the game as well as other documents and collaborat- ive strategies that are devised and refined by gamers reviewing and discussing 124 Superplay,sequence breaking, speedrunning each other's vvork.
    [Show full text]
  • Dataspill Og -Spilling
    Bibliotekarstudentens nettleksikon om litteratur og medier Av Helge Ridderstrøm (førsteamanuensis ved OsloMet – storbyuniversitetet) Sist oppdatert 21.05.21 Dataspill Spill som trenger en datamaskin (i vid betydning) for å kunne spilles. Alle digitale spill som kan spilles på ulike typer skjermer. I likhet med andre spill/leker rommer de utfordringer, har regler og kan stimulere nysgjerrigheten og fantasien. Det basale i dataspill er spillerens overføring av det potensielle til det realiserte (Röders 2007 s. 81). En vanlig distinksjon er at konsollspill (eller videospill) spilles på konsoller, mens dataspill spilles på f.eks. PC. Men betegnelsen dataspill kan også brukes om alle digitale spill. Dataspill lar spilleren få direkte påvirkning gjennom beslutninger på grunnlag av visuell informasjon. Det er “spillbare bilder” (Ritzer og Schulze 2016 s. 396). Spillingen har blitt sammenlignet med å spille et musikk-instrument, der hvert klikk ikke skaper en tone, men en handling (Rouillon m.fl. 2011 s. 110). Spillingen krever direkte aksjon og interaksjon gjennom programvare, der spillerens handlinger/utførelse gir synlige resultater og påvirker den videre utviklingen i spillet (på skjermen). “In gaming the player enters a feedback loop in which she’s both subject and object of her own action.” (Eskelinen og Tronstad sitert fra Rauscher 2012 s. 41) “[F]ar more than books or movies or music, games force you to make decisions . Novels may activate our imagination, and music may conjure up powerful emotions, but games force you to decide, to choose, to prioritize. All the intellectual benefits of gaming derive from this fundamental virtue, because learning how to think is ultimately about learning to make the right decisions: weighing evidence, analyzing situations, consulting your long-term goals, and then deciding.
    [Show full text]
  • Speedrunning Culture/ the Future of Single-Player Gaming
    ! Copyright © 2017 MakeUseOf. All Rights Reserved ®. ! Speedrunning Culture: The Future of Single-Player Gaming Written by Joel Lee Published June 2015. Read the original article here: http://www.makeuseof.com/tag/speedrunning-culture-future- single-player-gaming/ This ebook is the intellectual property of MakeUseOf. It must only be published in its original form. Using parts or republishing altered parts of this ebook is prohibited without permission from MakeUseOf.com. Copyright © 2017 MakeUseOf. All Rights Reserved ®. ! Table of contents Speedrunning: A Humble Start 4 The Drive of a Speedrunner 6 What Makes a Good Speedrunning Game? 9 The Boom in Speedrunning Culture 13 Speedrunners on Twitch to Follow 17 What’s In Store for Speedrunners? 20 Copyright © 2017 MakeUseOf. All Rights Reserved ®. ! The beauty of video games is that they’re interactive, meaning you can play them however you wish. This may not be as true in an online multiplayer setting, but is certainly true for single player games. The culture of speedrunning is a perfect example. Some people play games for the story and characters. Others play to relax, to take it slow, or to kill time when they’re bored. And then there are those who want to challenge themselves to the extreme. In a lot of ways, the challenge is the heart of gaming. This can manifest in a few ways. Of these challenge-seekers, many prefer to test their mettle against other players — either in a heads-up or a team-vs-team environment. The rest prefer to compete against themselves. That latter group is where speedrunning truly shines.
    [Show full text]