Training an Agent for FPS Doom Game Using Visual Reinforcement Learning and Vizdoom
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Introduction Physics Engines AGEIA Physx SDK AGEIA
25/3/2008 SVR2007 Introduction Tutorial AGEIA PhysX • What does physics give? – Real world interaction metaphor – Realistic simulation Virtual Reality • Who needs physics? and Multimedia { mouse, ds2, gsm, masb, vt, jk } @cin.ufpe.br Research Group Thiago Souto Maior – Immersive games and applications Daliton Silva Guilherme Moura Márcio Bueno • How to use this? Veronica Teichrieb Judith Kelner – Through physics engines implemented in software or hardware Petrópolis, May 2007 Physics Engines AGEIA PhysX SDK • Simplified Newtonian models • Based upon NovodeX API • “High precision” versus “real time” simulations • Commercial and open source engines • Middleware concept • What comes together in a physics engine? • First asynchronous physics API – Mandatory • Tons of math calculations • Takes advantage of multiprocessing game • Collision detection • Rigid body dynamics systems – Optional • Fluid dynamics • Cloth simulation • Particle systems • Deformable object dynamics AGEIA PhysX SDK AGEIA PhysX SDK • Supports game • Integration with game development life cycle engines – 3DSMax and Maya – Unreal Engine 3.0 plugins (PhysX – Emergent GameBryo Create) – Natural Motion – Properties tuning with Endorphin PhysX Rocket • Runs in PC, Xbox 360 – Visual remote and PS3 debugging with PhysX VRD 1 25/3/2008 AGEIA PhysX SDK AGEIA PhysX Processor • Supports • AGEIA PhysX PPU – Complex rigid body dynamics • Powerful PPU + – Collision detection CPU + GPU – Joints and springs – Physics + Math + – Volumetric fluid simulation Fast Rendering – Particle systems -
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 Do not cite or distribute.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. -
THE GAME THAT NEVER DIES Index
GPS • RUSSET POTATOES • THERMOSTAT • GAME & WATCH • COMMODORE 64 THE GAME THAT NEVER DIES IndeX Doom Re-Master Wadazine Introduction ........................................................... 4 Doom, the Game that Never Dies ....................................................................... 5 Master Recommendation 1: Akeldama .............................................................. 8 WAD Corner: Memento Mori ................................................................................................ 10 Japanese Community Project ........................................................................ 11 Vrack 1, 2, and 3 ............................................................................................ 12 Monuments of Mars ....................................................................................... 13 Shadows of the Nightmare Realm ................................................................ 14 NewStuff on Doomworld ................................................................................... 15 Pictures Gallery ................................................................................................. 16 WRITERS OF THIS FIRST ISSUE: Endless VERY SPECIAL THANKS TO: Doomkid, Chris Hansen, and Ryath, our hosts. Bridgerburner56, Major Arlene, Gaia74 and Taufan99, server mods and advisers. 4MaTC and Nikoxenos, our Wadazine editors & wizards. Elend, designer of every single Wadazine logo and related. Clueless, my best friend and extremely supportive for everything. ‹rd›, for giving me some -
Are Game Engines Software Frameworks?
? Are Game Engines Software Frameworks? A Three-perspective Study a < b c c Cristiano Politowski , , Fabio Petrillo , João Eduardo Montandon , Marco Tulio Valente and a Yann-Gaël Guéhéneuc aConcordia University, Montreal, Quebec, Canada bUniversité du Québec à Chicoutimi, Chicoutimi, Quebec, Canada cUniversidade Federal de Minas Gerais, Belo Horizonte, Brazil ARTICLEINFO Abstract Keywords: Game engines help developers create video games and avoid duplication of code and effort, like frame- Game-engine works for traditional software systems. In this paper, we explore open-source game engines along three Framework perspectives: literature, code, and human. First, we explore and summarise the academic literature Video-game on game engines. Second, we compare the characteristics of the 282 most popular engines and the Mining 282 most popular frameworks in GitHub. Finally, we survey 124 engine developers about their expe- Open-source rience with the development of their engines. We report that: (1) Game engines are not well-studied in software-engineering research with few studies having engines as object of research. (2) Open- source game engines are slightly larger in terms of size and complexity and less popular and engaging than traditional frameworks. Their programming languages differ greatly from frameworks. Engine projects have shorter histories with less releases. (3) Developers perceive game engines as different from traditional frameworks. Generally, they build game engines to (a) better control the environ- ment and source code, (b) learn about game engines, and (c) develop specific games. We conclude that open-source game engines have differences compared to traditional open-source frameworks al- though this differences do not demand special treatments. -
Immersion Demos New Haptic Apps at Samsung Developers Conference
October 28, 2013 Immersion Demos New Haptic Apps at Samsung Developers Conference Go hands-on with new titles from developers like Creative Mobile, HeroCraft, Fat Bat Studios and Modesty at the Immersion exhibition & game lounge SAN FRANCISCO--(BUSINESS WIRE)-- Samsung Developers Conference (SDC 2013) —- Immersion Corporation (Nasdaq:IMMR), the leading developer and licensor of touch feedback technology, will be hosting a technical session for game developers on the design and integration of tactile effects and demonstrating the latest titles from developers using the Immersion Haptic SDK at the Samsung Developers Conference in San Francisco. Attendees can find Immersion throughout the two-day event: ● Experience the Immersion Haptic Gaming Lounge at the Exploratorium after party on Monday, October 28th th ● Join Immersion on Tuesday, October 29 for the conference session titled "Up Your Game," where developers will learn how to incorporate haptic effects with maximum impact and minimal effort th ● Visit the Immersion exhibition on Tuesday, October 29 to experience the latest apps and visit with our team of experts to learn more about Immersion's Haptic integration tools "The Immersion Haptic SDK brings the console gaming experience to the mobile platform by providing Android game developers with tools to easily incorporate high quality, immersive tactile feedback into their mobile games," explains Suzanne Nguyen, Director of Developer Marketing at Immersion. "We designed the Haptic SDK to deliver quality effects on all Android handsets -
A Doom-Based AI Research Platform for Visual Reinforcement Learning
ViZDoom: A Doom-based AI Research Platform for Visual Reinforcement Learning Michał Kempka, Marek Wydmuch, Grzegorz Runc, Jakub Toczek & Wojciech Jaskowski´ Institute of Computing Science, Poznan University of Technology, Poznan,´ Poland [email protected] Abstract—The recent advances in deep neural networks have are third-person perspective games, which does not match a led to effective vision-based reinforcement learning methods that real-world mobile-robot scenario. Last but not least, although, have been employed to obtain human-level controllers in Atari for some Atari 2600 games, human players are still ahead of 2600 games from pixel data. Atari 2600 games, however, do not resemble real-world tasks since they involve non-realistic bots trained from scratch, the best deep reinforcement learning 2D environments and the third-person perspective. Here, we algorithms are already ahead on average. Therefore, there is propose a novel test-bed platform for reinforcement learning a need for more challenging reinforcement learning problems research from raw visual information which employs the first- involving first-person-perspective and realistic 3D worlds. person perspective in a semi-realistic 3D world. The software, In this paper, we propose a software platform, ViZDoom1, called ViZDoom, is based on the classical first-person shooter video game, Doom. It allows developing bots that play the game for the machine (reinforcement) learning research from raw using the screen buffer. ViZDoom is lightweight, fast, and highly visual information. The environment is based on Doom, the customizable via a convenient mechanism of user scenarios. In famous first-person shooter (FPS) video game. It allows de- the experimental part, we test the environment by trying to veloping bots that play Doom using only the screen buffer. -
An Illustrated Guide Version 1.2 by John W
An Illustrated Guide Version 1.2 by John W. Anderson Doom Builder: An Illustrated Guide Copyright © 2004 by John W. Anderson DOOM™ and DOOM II™ are trademarks of id Software, Inc. Updated July 26, 2004 Table of Contents Introduction: What Doom Builder Does and What You Need ........................iv 1.0 Getting Around in Doom Builder ...............................................................2 1.1 Configuration Settings ......................................................................................2 1.1.1 Files Tab ...................................................................................................................... 2 1.1.2 Defaults Tab................................................................................................................. 3 1.1.3 Interface Tab................................................................................................................ 4 1.1.4 Nodebuilder Tab .......................................................................................................... 5 1.1.5 3D Mode Tab ............................................................................................................... 7 1.1.6 Shortcut Keys Tab ....................................................................................................... 8 1.1.7 Testing Tab ................................................................................................................ 10 1.1.8 Editing Tab................................................................................................................ -
The Undergraduate Games Corpus: a Dataset for Machine Perception of Interactive Media
The Thirty-Fifth AAAI Conference on Artificial Intelligence (AAAI-21) The Undergraduate Games Corpus: A Dataset for Machine Perception of Interactive Media Barrett R. Anderson, Adam M. Smith Design Reasoning Lab, University of California Santa Cruz [email protected], [email protected] Abstract of machine perception techniques that directly address the unique features of interactive media. Machine perception research primarily focuses on process- ing static inputs (e.g. images and texts). We are interested This paper contributes a new, annotated corpus of 755 in machine perception of interactive media (such as games, games. We provide full game source code and assets, in apps, and complex web applications) where interactive au- many cases licensed for reuse, that were collected with in- dience choices have long-term implications for the audience formed consent for their use in AI research. In comparison experience. While there is ample research on AI methods for to lab-created game clones intended as AI testbeds, these the task of playing games (often just one game at a time), this games are complete works intended as human experiences, work is difficult to apply to new and in-development games and they represent a range of design polish rather than being or to use for non-playing tasks such as similarity-based re- filtered to only commercially successful games. By offering trieval or authoring assistance. In response, we contribute a games for a variety of platforms (from micro-games in Bitsy corpus of 755 games and structured metadata, spread across and text-oriented stories in Twine to the heavyweight games several platforms (Twine, Bitsy, Construct, and Godot), with full source and assets available and appropriately licensed built in the Godot Engine), we set up future research with a for use and redistribution in research. -
Interactive GPU-Based Sound Auralization in Dynamic Scenes
iSound: Interactive GPU-based Sound Auralization in Dynamic Scenes M. Taylor A. Chandak Q. Mo C. Lauterbach C. Schissler D. Manocha University of North Carolina at Chapel Hill Abstract We present an auralization algorithm for interactive virtual environ- ments with dynamic objects, sources, and listener. Our approach uses a modified image source method that computes propagation paths combining direct transmission, specular reflections, and edge diffractions up to a specified order. We use a novel multi-view raycasting algorithm for parallel computation of image sources on GPUs. Rays that intersect near diffracting edges are detected using barycentric coordinates and further propagated. In order to reduce the artifacts in audio rendering of dynamic scenes, we use a high or- der interpolation scheme that takes into account attenuation, cross- fading, and delay. The resulting system can perform perform au- ralization at interactive rates on a high-end PC with NVIDIA GTX 280 GPU with 2-3 orders of reflections and 1 order of diffraction. Overall, our approach can generate plausible sound rendering for game-like scenes with tens of thousands of triangles. We observe more than an order of magnitude improvement in computing prop- Figure 1: Gamebyro Desert Benchmark: This is an outdoor agation paths over prior techniques. scene with 35.5K triangles. It has five fixed sound sources (S1- S5) and a moving source (S6), whose trajectory is shown in blue. 1 Introduction The listener’s path is shown in green. i-Sound performs 3 orders of reflection and 1 edge diffraction at 33fps for interactive 3D aural- Auditory displays and sound rendering are frequently used to en- ization on a PC with an NVIDIA GTX 280. -
(12) United States Patent (10) Patent No.: US 8,686,269 B2 Schmidt Et Al
USOO8686269B2 (12) United States Patent (10) Patent No.: US 8,686,269 B2 Schmidt et al. (45) Date of Patent: * Apr. 1, 2014 (54) PROVIDING REALISTIC INTERACTION TO (56) References Cited A PLAYER OF A MUSIC-BASED VIDEO GAME U.S. PATENT DOCUMENTS (75) Inventors: Daniel A. Schmidt, Somery ille, MA 3.430,530D211,666 AS 3/19697/1968 GrindingerMacGillavry (US); Gregory B. LoPiccolo, Brookline, 3,897,711 A 8/1975 Elledge MA (US); Eran Egozy, Brookline, MA D245,038 S 7, 1977 Ebata et al. (US) D247,795 S 4, 1978 Darrell 4,128,037 A 12, 1978 Montemurro (73) Assignee: Harmonix Music Systems, Inc., E. 88: Sushida et al. Cambridge, MA (US) D262,017 S 11/1981 Frakes, Jr. D265,821 S 8, 1982 Okada et al. (*) Notice: Subject to any disclaimer, the term of this D266,664 S 10, 1982 Hoshino et al. patent is extended or adjusted under 35 (Continued) U.S.C. 154(b) by 823 days. This patent is Subject to a terminal dis- FOREIGN PATENT DOCUMENTS claimer. AT 468071 T 6, 2010 AU T41239 B2 4f1999 (21) Appl. No.: 12/263,434 (Continued) (22) Filed: Oct. 31, 2008 OTHER PUBLICATIONS (65) Prior Publication Data Guitar Hero (video game) Wikipedia, the free encyclopedia— US 2009/OO82O78A1 Mar. 26, 2009 (Publisher RedOctane) Release Date Nov. 2005.* Related U.S. Application Data (Continued) (63) Continuation of application No. 1 1/683,136, filed on Mar. 7, 2007, now Pat. No. 7,459,624. Primary Examiner — Marlon Fletcher (74) Attorney, Agent, or Firm — Wilmer Cutler Pickering (60) Provisional application No. -
Operation Manual
9 WEBSITE: WWW.EXTREMEHOMEARCADES.COM; EMAIL: [email protected] OPERATION MANUAL Last Updated: 9/12/2021 Extreme Home Arcades – Operation Manual - 1 | Page EXTREME HOME ARCADES OPERATION MANUAL QUICK START GUIDE This Quick Start Guide is for fast learners, and customers who do not like user’s manuals and just want to dive in)! To receive your machine from the shipping company, unpack it, and move it into your residence, please see those sections later in this manual. This Quick Start Guide presumes you have your machine in a safe location, have plugged it in and the machine has electrical power. 1. Turning On Your Machine: • Uprights (MegaCade, Classic, Stealth) – The power button is located on top of the machine (upper left or right top of machine). It is a standard arcade push button (typically black). Push it, and it will turn on your machine. • Tabletops – The power button is located on the back center portion of the cabinet. • Pedestals – The power button is located on the back of the machine, near the center of the pedestal cabinet, opposite the HDMI port. 2. Loading a Game: • After you turn on your machine, an introduction video will automatically load. To skip the introduction video, push any button or push any position on any joystick on the machine. You will be at the Main Hyperspin Wheel. a. You can move down the HyperSpin wheel by pressing the Player 1 or Player 2 Joystick down (towards your body). Alternatively, you can move up the HyperSpin wheel by pressing the Player 1 or Player 2 Joystick up (away from your body). -
Installing DOOM II the Minimum System Required for Playing DOOM II Is
TM Welcome to DOOM II, a lightning-fast virtual reality adventure where you are the toughest space trooper ever to suck vacuum. Your mission is to fight your way though the demon-infested earth in the hopes of saving the Earth from an eternity in Hell. The gameplay for DOOM II is simple. This isn't a cumbersome adventure game, but an action- oriented slugathon. To survive all you need is brains and a killer instinct. The Story Continues... DOOM II: Hell on Earth Back at last. After days of hard fighting in space, you've returned home on well-earned leave. You're one of Earth's crack soldiers, hard-bitten, tough, and heavily-armed. When the alien invasion struck Mars, you were the first on the scene. By killing, killing, and k illing, you won. You stopped the invasion, saved Mars base, and became a war hero. What they don't talk about so much is that you were the only survivor. But that's all behind you now. You've quit the military, and are heading home. Your drop pod lands with a crunch. You open 'er up, and look out. Damn! The city ahead is on fire. What the devil is going on? You stagger forward, clutching at your sidearm. Packs of refugees are fleeing the flaming metropolis. A band of them shriek in terror. You squint. What's that? Someone is attacking the refugees. You rush up and blast away, killing the troublemaker. It looks like a human, but something's wrong. His mouth is filled with half-chewed flesh, and he's all messed up, like a zombie from a bad horror movie.