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Blast Off Broken Sword
ALL FORMATS LIFTING THE LID ON VIDEO GAMES Broken Sword blast off Revolution’s fight Create a jetpack in for survival Unreal Engine 4 Issue 15 £3 wfmag.cc TEARAWAYS joyful nostalgia and comic adventure in knights and bikes UPGRADE TO LEGENDARY AG273QCX 2560x1440 A Call For Unionisation hat’s the first thing that comes to mind we’re going to get industry-wide change is collectively, when you think of the games industry by working together to make all companies improve. and its working conditions? So what does collective action look like? It’s workers W Is it something that benefits workers, getting together within their companies to figure out or is it something that benefits the companies? what they want their workplace to be like. It’s workers When I first started working in the games industry, AUSTIN within a region deciding what their slice of the games the way I was treated wasn’t often something I thought KELMORE industry should be like. And it’s game workers uniting about. I was making games and living the dream! Austin Kelmore is across the world to push for the games industry to But after twelve years in the industry and a lot of a programmer and become what we know it can be: an industry that horrible experiences, it’s now hard for me to stop the Chair of Game welcomes everyone, treats its workers well, and thinking about our industry’s working conditions. Workers Unite UK, allows us to make the games we all love. That’s what a a branch of the It’s not a surprise anymore when news comes out Independent Workers unionised games industry would look like. -
Yo Tenía Un Juego
SUPLEMENTO Nº3 - AGOSTO 2015 ▶ YO TENIA UN JUEGO PARTE 2 LaS aventuras25 grAficas DE TU INFANCIA REMEMORA CON NOSOTROS LAS AVENTURAS GRÁFICAS DESDE INDIANA JONES HASTA THE LONGEST JOURNEY SUMARIO LAS 25 AVENTURAS GRÁFICAS DE TU INFANCIA - PARTE 2 01 INDIANA JONES Y LA ÚLTIMA CRUZADA 02 KING’S QUEST -QUEST FOR THE CROWN- 03 CRUISE FOR A CORPSE 04 HEART OF CHINA 05 CURSE OF ENCHANTIA 06 HOOK 07 KGB 08 LAURA BOW -THE DAGGER OF AMON RA- 09 THE LEGEND OF KYRANDIA 10 LURE OF THE TEMPTRESS 11 DAY OF THE TENTACLE 12 GABRIEL KNIGHT -SINS OF THE FATHERS- 13 RETURN TO ZORK 14 SHADOW OF THE COMET 15 BENEATH A STEEL SKY 16 FLIGHT OF THE AMAZON QUEEN 17 MUNDODISCO 18 THE BIG RED ADVENTURE 19 TOUCHÉ -LAS AVENTURAS DEL 5º MOSQUETERO- 20 THE RIDDLE OF MASTER LU 21 ALIEN INCIDENT 22 DRÁSCULA 23 ALFRED PELROCK 24 HOLLYWOOD MONSTERS 25 THE LONGEST JOURNEY 03 » AÑO: 1989 INDIANA JONES » LUCASFILM Y LA ÚLTIMA CRUZADA » EDITOR: LUCASFILM Algunos hemos crecido con los VHS de Indiana Jones, pero en aquellos tiempos, aunque veíamos las cintas en modo bucle, ¡siempre nos quedábamos con ganas de más!; así pues, cuando llegó la aventura gráfica basada en la película, muchos nos llevamos una grata sorpresa al comprobar cómo aquel film cobraba vida en las pantallas de nuestros ordenadores, y es que todo estaba allí: el padre de Indy, el dirigible, las catacumbas, los nazis, la entrada al templo de Petra ¡y hasta el guardián del santo grial! La primera versión en 16 colores (EGA) pintaba muy bien pero la edición en 256 colores (VGA) nos dejó boquiabiertos; además, el juego también apareció en Amiga, Atari ST, FM-Towns, MAC, etc. -
“Lessons Learned, from Games Preserved”
“Lessons Learned, from Games Preserved” James “Ender” Brown Former Project Lead – http://www.scummvm.org/ [email protected] WhoWho AmAm II ● Grew up gaming and learning to code with the BBC Micro/Archimedes, Commodore 16(!) and Amiga – learnt Unix & VMS by doing naughty things to the Tassie VAX cluster (any locals remember davros and typhoon? :) ● Retro-Gaming Enthusiast by night, Systems Admin for a Perth-based Data Centre and Hosting Company by day ● Became Project Lead of ScummVM in Feb 2002, retiring as co-lead (from a team of 3) in Dec 2008 ● 10th linux.conf.au, first talk submission :) WhatWhat isis ScummVM?ScummVM? ● ScummVM is a collection of interpreter implementations for classic adventure games ● Founded by Ludwig ‘ludde’ Strivegus (uTorrent, OpenTTD, now at Spotify) in 2001, along with Vincent ‘yaz0r’ Hamm (now at Oculus), with the goal of building an interpreter for SCUMM-based games by LucasArts/LucasFilm games. ● Designed to be highly portable ● … evolved to become something much much more PortabilityPortability ● ScummVM architecture evolved early on to maximise portability by abstracting backend and common functions (‘Osystem’), with each port supplying a Osystem backend class (with platform specific overrides and subclassing where necessary) Osystem Backend Osystem Common Engine (Platform Specific) ● Carefully developed coding standards to encompass ‘lowest-common- denominator’ C++ implementations. No STL, Exceptions, etc http://wiki.scummvm.org/index.php/Coding_Conventions ● Ssennaidne ● Endianness ● Segment size limits on various platforms ReimplementingReimplementing EnginesEngines ● Most game studios developed their own engines, often used across a family of games. Examples: SCUMM (LucasArts), AGI/SCI (Sierra), Virtual Theatre (Revolution), AGOS (Adventure Soft) ● Reverse engineer: – Container files – Graphics formats (background, actors, sprites) – Audio formats (voice, sfx, music) – Scripting engine (where scripted.. -
Clouds of Xeen
- Not sold in stores Might & .Magic: Clouds of Xeen Drawing on the rules of its three prede high as the 15th level until one of the optional quests. cessors, Jon van Caneghem's latest game's mini-quests, the construction of You may play in Warrior mode, Might and Magic introduces some minor Newcastle, is accomplished. Then you which is combat intensive, or Adventurer yet surprising changes. Lord Xeen, the can go as high as 20th level. This limita mode, in which you won't have to spend undead general of the Darkside's evil tion of levels was disturbing. as much time bashing bad guys. The ruler, has stolen the sixth mirror and has Specials, such as the well in Shangri choice betwe~ the two is responsive to obsessed Lord Burlock with the quest to La and completing the Golem dungeon, the criticisms that many role-playing find the mirror. This sidetracks Burlock endow characters with one additional games depend too heavily on violence while Xeen takes over the land for his permanent level. One area in the game rather than exploration and intelligence. sinister master. grants a 10-level advance that is tempo The simultaneous display of the over The road to finding and slaying rary. Attributes may also be increased head automap and first-person 3-D Xeen is a tortuous one. First there is a permanently and temporarily in various perspectives make getting around in treasure hunt for artifacts special events. The Xeen most enjoyable, and enhances your that increase skills and choices between the awareness of the environment. -
Gaming with God: a Case for the Study of Religion in Video Games
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 5-6-2011 Gaming with God: A Case for the Study of Religion in Video Games Vander I. Corliss Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the Philosophy Commons, and the Religion Commons Recommended Citation Corliss, Vander I., "Gaming with God: A Case for the Study of Religion in Video Games". Senior Theses, Trinity College, Hartford, CT 2011. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/5 0 GAMING WITH GOD: A CASE FOR THE STUDY OF RELIGION IN VIDEO GAMES Vander I. Corliss Department of Religion Senior Thesis May 6, 2011 1 Introduction Jesus Laughed Too: Religion in the Entertainment Industry The role of the entertainment industry in everyday life has changed significantly over the last century. Just the definition of what entertainment is has changed considerably. It (entertainment) still lacks a clear definition, and is often defined as that which is not art, usually by virtue of its being a commercial product designed for mass consumption.1 Going by this definition it is hard to imagine a world without movies, TV shows, sporting events, and other forms of entertainment that have become a central part of life throughout the world. This is especially true in America where all different kinds of American entertainment are exported to countries all around the world. An article in Fortune magazine stated that, “American movies, music, television programming, and home video generated an annual trade surplus of some $8 billion in 1990.”2 Remember that this statistic is for exported entertainment and not for revenue generated by entertainment in America. -
Beneath a Steel Sky: a Musical Characterisation of Class Structure
The Computer Games Journal https://doi.org/10.1007/s40869-018-0067-6 Beneath a Steel Sky: A Musical Characterisation of Class Structure Andra Ivănescu1 Received: 28 September 2018 / Accepted: 3 October 2018 © The Author(s) 2018 Abstract This article proposes Revolution Software’s Beneath a Steel Sky (1994) as a start- ing point for the analysis of the relationship between music and social class in video games. While other issues of representation have been studied extensively within game studies (gender representation in particular), the representation of class remains an underexplored area. Furthermore, the relationship between video game music and socio-cultural aspects of video game studies is also rarely examined beyond issues of race, ethnicity, and cultural appropriation. This article draws con- nections between these two underexplored areas and analyses the musical charac- terisation of class in the 1994 cyberpunk adventure game, which takes places largely in a literally stratifed metropolis where the three levels of the city act as represen- tations of the three social classes. Here, music plays an important role in terms of environmental storytelling, both as semiotic shorthand, and as a refection of the afordances available to the inhabitants of the city. Keywords Class · Video games · Video game music · Ludomusicology 1 Introduction Issues of representation in video games have been important to video game studies for over two decades, largely focussing on gender (Cassell and Jenkins 1998; Dietz 1998; Kafai et al. 2016; Lynch et al. 2016), and, to a lesser degree, LGBTQ issues (Consalvo 2003; Ruberg and Shaw 2017), and race (Burgess et al. -
Robert Megone
Robert Megone Hampshire, UK T: +44(0)7736902590 E: [email protected] I previously worked as a Gameplay Programmer on The Darkside Detective, Gameplay Programmer on Beyond a Steel Sky, QA Lead on Thimbleweed Park and Gameplay Programmer on the adventure game Broken Sword: The Serpent’s Curse with development, design and QA credits on over twenty games on Switch, Xbox, PS4, Vita, iOS, Android, PC, Mac & Linux. As a candidate with experience in both the game design and QA fields, I value the iterative development process and thrive in an environment where I can be responsible for making decisions that ensure quality always comes first. Professional Experience Spooky Doorway - Gameplay Programmer(Unity)(July 2020 – Present) Games: - Darkside Detective Season 1(Nintendo Switch, Windows/Mac, PS4/PS5, UWP) - Darkside Detective Season 2(Nintendo Switch, Windows/Mac, PS4/PS5, UWP) • Development of various minigames in C# for Season 2 to support the main gameplay. • Implementation of gameplay using Adventure Creator Action Lists in Unity. • Bug fixing and testing across two games in preparation for publishing to new platforms. Revolution Software - Gameplay Programmer(Unreal Engine 4)(November 2017 – July 2020) Games: - Beyond a Steel Sky(Apple Arcade, Console, Desktop) • Working in Unreal to develop and implement gameplay for a fully 3d adventure game. • Implementing gameplay using blueprint scripting language based upon level design documents. • Implementing NPC AI behaviors using behavior trees. • Implementing motion comic using UMG. • Responsible for the dialogue gesture system implementation on a blueprint code level. • Working with animation blueprints. • Setting up a range of animation montages. Spooky Doorway - QA Tester(November 2017 – July 2020) Games: - Darkside Detective S1(Nintendo Switch, Windows/Mac, PS4/PS5, UWP) - Darkside Detective S2(Nintendo Switch, Windows/Mac, PS4/PS5, UWP) - Sunken Spectre Vertical Slice(Windows) • Testing and reporting of bugs. -
GOG-API Documentation Release 0.1
GOG-API Documentation Release 0.1 Gabriel Huber Jun 05, 2018 Contents 1 Contents 3 1.1 Authentication..............................................3 1.2 Account Management..........................................5 1.3 Listing.................................................. 21 1.4 Store................................................... 25 1.5 Reviews.................................................. 27 1.6 GOG Connect.............................................. 29 1.7 Galaxy APIs............................................... 30 1.8 Game ID List............................................... 45 2 Links 83 3 Contributors 85 HTTP Routing Table 87 i ii GOG-API Documentation, Release 0.1 Welcome to the unoffical documentation of the APIs used by the GOG website and Galaxy client. It’s a very young project, so don’t be surprised if something is missing. But now get ready for a wild ride into a world where GET and POST don’t mean anything and consistency is a lucky mistake. Contents 1 GOG-API Documentation, Release 0.1 2 Contents CHAPTER 1 Contents 1.1 Authentication 1.1.1 Introduction All GOG APIs support token authorization, similar to OAuth2. The web domains www.gog.com, embed.gog.com and some of the Galaxy domains support session cookies too. They both have to be obtained using the GOG login page, because a CAPTCHA may be required to complete the login process. 1.1.2 Auth-Flow 1. Use an embedded browser like WebKit, Gecko or CEF to send the user to https://auth.gog.com/auth. An add-on in your desktop browser should work as well. The exact details about the parameters of this request are described below. 2. Once the login process is completed, the user should be redirected to https://www.gog.com/on_login_success with a login “code” appended at the end. -
BS PC UK Manual.Qxd
Contents: Keyboard Controls (Quick Reference). 01 Introduction . 02 Recommended System Requirements. 03 Installation and Launch . 04 Menus . 04 Game Controls (Full). 06 Saving and Loading . 13 Action-map Symbols . 14 First Section Walkthrough . 16 Credits. 20 Copyright Notices . 24 Keyboard Controls (Quick Reference) 1 Introduction: Powerful seismic events are shaking the world. Something sinister is emerging. An Ancient Conspiracy, the Secret of the Templars, and a fiendish source of pure Evil are responsible. The death of a back-bedroom computer hacker in Paris is just the beginning of another extraordinary adventure for George Stobbart and Nico Collard. Welcome to the world of Broken Sword. Broken Sword – The Sleeping Dragon offers you the opportunity to experience an extraordinary, epic adventure. Building on the success of its million-selling prequels, the game utilises a powerful new direct-control interface which provides radical, intuitive gameplay. Cutting-edge radiosity graphic technology, hand created animations, and cinematic storytelling combine in a unique game that redefines a genre. Don’t worry if you have never played an adventure game before. The game has a simple interface system. There’s also a walkthrough for the first section at the back of this manual. With challenges that are primarily cerebral, it is quick thinking that is needed. The interface is intuitive and will be quickly mastered, leading you to undertake complex actions and conversations with ease. Explore the rich, exotic world of Broken Sword, searching for vital clues that will help you unravel the sinister conspiracy. Experience a living, evolving story which unfolds around you. But watch out for those that would prefer you dead. -
Users Developers Search Tools Tools
Main website - Forums - BuildBot - Doxygen - Planet Log in Contact us - Buy Supported Games: GOG.com Users Main Page Documentation About ScummVM User Manual Game data files Get the Games Supported Games Game Engines Platforms Glossary Developers Developer Central Compiling ScummVM Coding Conventions Project Services Wiki Editors Instructions to Wiki Editors Search Go Search Tools Random page Recent changes Help Tools What links here Related changes Special pages Printable version Permanent link Discussion Category View source History Category:Supported GamesCategory:Supported Games This category is for games that are supported by ScummVM. There is also a category for unsupported games. You might be also interested in the Where to get the games and Game data files pages. Pages in category "Supported Games" The following 200 pages are in this category, out of 234 total. (previous page) (next page) 3 3 Skulls of the Toltecs 7 The 7th Guest A Aesop's Fables: The Tortoise and the Hare AGI Demo Amazon: Guardians of Eden Arthur's Birthday Arthur's Teacher Trouble Astro Chicken B Backyard Baseball Backyard Baseball Backyard Baseball 2001 Backyard Baseball 2003 Backyard Football Backyard Football 2002 Bargon Attack Beavis and Butt-Head in Virtual Stupidity Beneath a Steel Sky Big Thinkers First Grade Big Thinkers Kindergarten The Bizarre Adventures of Woodruff and the Schnibble The Black Cauldron Blue Force Blue's 123 Time Activities Blue's ABC Time Activities Blue's Art Time Activities Blue's Birthday Adventure Blue's Reading Time Activities Broken Sword 1 Broken Sword 2 Broken Sword 2.5 Bud Tucker in Double Trouble C Castle of Dr. -
IFN Owes a Debt of Gratitude to the Following People (In Alphabetical Order)
“Interactive Fiction Now” Published for the World Wide Web by Frotz Publications Copyright 1997, Frotz Publications, London. All rights reserved. http://www.if-now.demon.co.uk/ Editor: Matt Newsome, <[email protected]>. All Trademarks acknowledged. Tomb Raider © and TM 1996 Core Design Ltd. © and Publishing 1996 Eidos Interative Limited. All rights reserved This issue of IFN owes a debt of gratitude to the following people (in alphabetical order): Marc Blank and Mike Berlyn at Eidetic Inc. Simon Byron at Bastion Jamey Gottlieb and Laird Malamed at Activision David Lebling at Avid Technology Rebecca Lester at Broderbund Europe Susie Hamilton at Core Design This first issue of IFN is dedicated to my son, Joshua Peter Hal Newsome, born on Friday 21st November 1997 at 18:49hrs and weighing 7lbs 15½ oz Issue One Page 2 E WELCOME to Interactive Fiction Now! D In this occasional web-based magazine, you’ll find a wealth of information about Interactive Fiction gaming today. Covering a wide variety of Adventure gaming styles, from Zork to Riven, from Tomb Raider to Starship I Titanic, we’ll be looking at anything involving and immersive. T In this first issue we look at the brand spanking new piece of imminent release of Zork: Grand text-based interactive fiction Inquisitor, the first foray into the using the Inform engine. We world of Zork since Zork: Nemesis speak to the imps to find out last year. In an exclusive how Zork: The Undiscovered O interview, we talk to Laird Underground came to be Malamed, director of ZGI and talk written. -
Beneath a Steel Sky: a Musical Characterisation of Class Structure
The Computer Games Journal (2018) 7:231–242 https://doi.org/10.1007/s40869-018-0067-6 Beneath a Steel Sky: A Musical Characterisation of Class Structure Andra Ivănescu1 Received: 28 September 2018 / Accepted: 3 October 2018 / Published online: 25 October 2018 © The Author(s) 2018 Abstract This article proposes Revolution Software’s Beneath a Steel Sky (1994) as a start- ing point for the analysis of the relationship between music and social class in video games. While other issues of representation have been studied extensively within game studies (gender representation in particular), the representation of class remains an underexplored area. Furthermore, the relationship between video game music and socio-cultural aspects of video game studies is also rarely examined beyond issues of race, ethnicity, and cultural appropriation. This article draws con- nections between these two underexplored areas and analyses the musical charac- terisation of class in the 1994 cyberpunk adventure game, which takes places largely in a literally stratifed metropolis where the three levels of the city act as represen- tations of the three social classes. Here, music plays an important role in terms of environmental storytelling, both as semiotic shorthand, and as a refection of the afordances available to the inhabitants of the city. Keywords Class · Video games · Video game music · Ludomusicology 1 Introduction Issues of representation in video games have been important to video game studies for over two decades, largely focussing on gender (Cassell and Jenkins 1998; Dietz 1998; Kafai et al. 2016; Lynch et al. 2016), and, to a lesser degree, LGBTQ issues (Consalvo 2003; Ruberg and Shaw 2017), and race (Burgess et al.