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World of Warcraft Online Manual
Game Experience May Change During Online Play WOWz 9/11/04 4:02 PM Page 2 Copyright ©2004 by Blizzard Entertainment. All rights reserved. The use of this software product is subject to the terms of the enclosed End User License Agreement. You must accept the End User License Agreement before you can use the product. Use of World of Warcraft, is subject to your acceptance of the World of Warcraft® Terms of Use Agreement. World of Warcraft, Warcraft and Blizzard Entertainment are trademarks or registered trademarks of Blizzard Entertainment in the U.S. and/or other countries.Windows and DirectX are trademarks or registered trademarks of Microsoft Corporation in the U.S. and/or other countries. Pentium is a registered trademark of Intel Corporation. Power Macintosh is a registered trademark of Apple Computer, Inc. Dolby and the double-D symbol are trademarks of Dolby Laboratory. Monotype is a trademark of Agfa Monotype Limited registered in the U.S. Patent and Trademark ® Office and certain other jurisdictions. Arial is a trademark of The Monotype Corporation registered in the U.S. Patent and Trademark Office and certain other jurisdictions. ITC Friz Quadrata is a trademark of The International Typeface Corporation which may be registered in certain jurisdictions. All other trademarks are the property of their respective owners. Uses high-quality DivX® Video. DivX® and the DivX® Video logo are trademarks of DivXNetworks, Inc. and are used under license. All rights reserved. AMD, the AMD logo, and combinations thereof are trademarks of Advanced Micro Devices, Inc All ATI product and product feature names and logos, including ATI, the ATI Logo, and RADEON are trademarks and / or registered trademarks of ATI Technologies Inc. -
Wow-Classic-Manual-Zhtw.Pdf
www.wowtaiwan.com.tw (02)2654-6266 (02)2654-9111 [email protected] 6 http://www.wowtaiwan.com.tw/support ([email protected]) http://www.wowtaiwan.com.tw http://www.wowtaiwan.com.tw 10 [email protected] 12 http://www.wowtaiwan.com.tw 14 A 16 18 20 22 24 26 28 30 32 34 36 http://www.wowtaiwan.com.tw 38 40 42 http://www.wowtaiwan.com.tw 44 46 48 50 52 54 56 58 60 62 64 66 70 72 74 76 78 80 82 84 86 88 90 92 94 96 98 100 102 104 106 108 110 112 114 116 118 120 122 124 126 128 130 132 134 136 138 140 142 144 146 http://www.wowtaiwan.com.tw 148 154 158 160 162 164 166 168 170 172 174 176 178 180 182 184 186 188 190 [email protected] [email protected] 198 Game Design Monte Krol Designers Blizzard Entertainment Graham Madarasz Bo Bell Executive Producer Jay Patel James Chadwick Mike Morhaime Install/Patch/Distribu- Mark Downie Team Lead tion Alen Lapidis Mark Kern Programming Matt Sanders Art Director Brian Fitzgerald Additional Art William Petras John Mikros Dave Berggren Creative Director John Stiles Allen Dilling Chris Metzen Tony Tribelli Toph Gorham Lead Animator Stephen C. Wong Trevor Jacobs Kevin Beardslee Install/Patch/Distribu- Tom Jung Lead Artist tion Cameron Lamprecht Justin Thavirat Producer Rob McNaughton Lead Character Art- Derek Simmons Mickey Nielson ist Macintosh Matt Oursbourn Brandon Idol Programming Game Designers Lead Designers John Mikros Tom Chilton Rob Pardo, Allen Adham Addiitonal Eric Dodds Lead Programmer Macintosh Michael Heiberg John Cash Programming Kevin Jordan Lead Technical Art- Rob Barris, John Stiles Jeffrey Kaplan ist Animators John Yoo Kyle Harrison Adam Byrne Quest Designers Producers Jay Hathaway Alex Afrasiabi Shane Dabiri Eric Henze Michael Backus Carlos Guerrero Solomon Lee Suzanne Brownell Additional Produc- Dungeon/City Artists Shawn Carnes tion Jose Aello, Jr. -
2015 WCS Player Handbook
2015 WCS Player Handbook Version 1.1.0 Last Updated: February 6, 2015 1 Table of Contents General Information .......................................................................................................................... 4 World Championship Series Format .................................................................................................... 6 WCS League Structure and Format – America and Europe ...................................................................... 6 Residency Requirements ...................................................................................................................... 6 Qualifiers ............................................................................................................................................... 8 Challenger ............................................................................................................................................. 9 Premier League ..................................................................................................................................... 9 Advancement and Fill Policy ............................................................................................................... 10 WCS Global Finals Structure and Format ................................................................................................ 11 Online Tournament Regulations ....................................................................................................... 12 Online Event Equipment and Settings ................................................................................................... -
STS 145 Case History
Harrison Osaki STS 145 Case History From Diablo to Gate: Differences in Computer RPG Theory In the face of the increasing popularity of massively multiplayer online role-playing games (MMORPGs) and the growing relegation of popular single-player role-playing games (RPGs) to consoles, it is interesting to note the incredible successes of the computer RPGs Diablo II and Baldur’s Gate II, both of which feature single-player and multiplayer support. Studying these two games, rather than their original incarnations, is advantageous as the game designers had the chance to improve upon their mistakes and refine their game concept. It is also interesting to note that these two RPGs are only superficially similar; although they share the genre of RPG, the two games are significantly differently designed. These differences are the result of two different branches of design theory stemming from the game Zork, and how an RPG should be adapted to preserve the role-playing aspect in a computer-generated environment. The Zork series was in and of itself inspired by the prototypic adventure game, Adventure, which is itself based on the tabletop role-playing game Dungeons and Dragons (D&D). D&D is one of the earliest tabletop role-playing games, in which human players would act out fictional ‘player-characters’, solving puzzles and killing monsters that the Dungeon Master (the referee of the game, abbreviated DM) pitted against the characters. The purpose of these adventures varied, but most early RPGs focused merely on the combat aspect of role- playing. Indeed, the company that created D&D was called TSR for “Tactical Studies Rules”, and originally released a set of ‘role-playing’ materials called Chainmail, that was merely a set of combat instructions. -
Hacking for Fun…And Profit
A Devil in Disarray How Hacking for Profit Has Crippled the Online Economy of Diablo II Sean Montgomery STS 145: History of Computer Game Design Professor Henry Lowood 23 March 2003 From its inauspicious beginnings as a term to describe computer programmers who were exceptionally skilled at their chosen line of work, the label “hacker” has taken on almost mythical proportions. The simplest evolution experienced thus far is that the connotation of the word has shifted towards those who use their abilities for malicious ends, forcing their way into seemingly secure systems with little regard for anything besides their own amusement, but this is hardly the extent of the transformation. Entire communities have sprung up beneath the banner of hacking, swapping their discovered loopholes and security flaws in open forums, a collaborative effort to gain access to forbidden areas of cyberspace. Online gamers bandy around with alacrity the numero-symbolic subtleties of “1337 5|>34|<”, or “leet speak”, a language popularized by the “hacker culture” portrayed in such 80’s movies as Hackers. Friends may be teasingly called “1337 h4x0|2s”, literally “elite hackers”, after displays of particular competence, while true hackers or the indigenous “script kiddies”, those who merely implement exploits developed by real programmers, perhaps will receive the epithet of “n00b |-|4x0r”, where “n00b” is the technical abbreviation of “newcomer” that has become a rather derogatory slur among the ranks of the truly l33t, and “|-|4x0r” is, once again, none other than another variation of the ubiquitous “hacker”. If you have at all been touched by the growing grasp of the Internet, then you will likely find yourself at one point using hacks, or being targeted by hacks. -
Diablo (4PDF) Manual
Blizzard Entertainment P. O. Box 18979 Irvine, CA 92623 Copyright © 1996 by Blizzard Entertainment The software and the manual are copyrighted. All rights reserved. They may not, in whole or in part, be copied, photocopied, reproduced, translated or reduced to any electronic medium or machine-readable form without prior consent, in writing, from Blizzard Entertainment. The user of this product shall be entitled to use the product for his or her own use, but shall not be entitled to sell or transfer reproductions of the software or manual to other parties in any way, nor to rent or lease the product to others without permission from Blizzard Entertainment. Diablo and Battle.net are trademarks and Blizzard Entertainment is a registered trademark of Davidson and Associates, Inc. Uses Smacker Video Technology, Copyright © 1994 by Invisible Inc. d.b.a. RAD Software Blizzard Entertainment P.O. Box 18979 Irvine, CA 92623 (800) 953-SNOW Direct Sales (949) 955-0283 International Direct Sales (949) 955-0157 Technical Support Fax (949) 955-1382 Technical Support (900) 370-SNOW Blizzard Hint Line http://www.blizzard.com World Wide Web [email protected] Online Technical Support The Initiate Which way is the right path, as I stand upon this chaotic crossroad of hate… How many ways are there to roam on this dark and damned road of Fate… “There are many ways, my son, to find where the souls of Demons remain… But it takes only one second of despair and of doubt until at last, your soul, they will gain… Inherit these lands, these things, these dreams that are yours, forever, to adore… For there is no life, in the depths of chaos, my son, for you to explore…” C. -
Diablo II Is Not Controlling Your Character 17 Designed to Work with Game Pads Or Joysticks
D2-115*180 FE 23/04/02 12:54 Page 1 TM D2-115*180 FE 23/04/02 12:54 Page 2 Copyright © 2000 by Blizzard Entertainment. All rights reserved. The use of this software product is subject to the terms of the enclosed End User License Agreement. You must accept the End User License Agreement before you can use the product. Use of Blizzard’s online gaming network, Battle.net, is subject to your acceptance of the Battle.net Terms of Use Agreement. StarCraft and Brood War are trademarks and Diablo, Battle.net, Blizzard Entertainment and Warcraft are trademarks or registered trademarks of Havas Interactive, Inc. and/or its wholly owned subsidiaries in the U.S. and/or other countries. Windows is a registered trademark of Microsoft Corporation. Pentium is registered trademark of Intel THE ADEPT (INITIATE, PART II) Corporation. Dolby and the double-D symbol are trademarks of Dolby Laboratory. All other trademarks are the property of their respective owners. “I have walked the paths; the shadowed roads that led to terror’s breast. I have plumbed the depths of Hatred’s womb and scaled Destruction’s crest. Uses Bink Video. Copyright © 1997-2000 by RAD Game Tools, Inc. For every secret left unveiled, for every power learned, I’d sell the remnants of my soul, regardless how it burned. And still I sought a higher wisdom few could have attained. ‘Though I found it, it would leave me - broken, damned and drained. For now I find this power gained is more unto a curse. My spirit burns with every spell and each irreverent verse. -
Gamification. Critical Approaches
This is a chapter of Gamication. Critical Approaches The full e-book can be downloaded for free at: gamication.al.uw.edu.pl Title: GAMIFIED GAMEPLAY: GAMIFICATION IN GAME DESIGN Author: Mateusz Kominiarczuk In: Gamication. Critical Approaches. Edited by: Jarosław Kopeć, Krzysztof Pacewicz, pp. 99-112. Published by: The Faculty of “Artes Liberales”, UniVersity of Warsaw. Warsaw, 2015. ISBN: 978-83-63636-44-9. Bio: Mateusz Kominiarczuk receiVed his Master of Arts degree in Literary Studies from the Uni- Versity of Wrocław in 2013. He is presently pursuing a doctoral degree in Cultural Studies at the Faculty of “Artes Liberales”, UniVersity of Warsaw. His research focuses on game criticism and tabletop gaming. GAMIFIED GAMEPLAY: GAMIFICATION IN GAME DESIGN Mateusz Kominiarczuk Commonly accepted definitions of gamification explicitly prohibit the “gamification of games”, stating that even if it occurs, it is either impossible to distinguish from regular “game design”, or else limited to achievements. However, careful examina - tion of design trends observed in games published after 2010 indicates otherwise. A case study of two game series by Blizzard Entertainment was performed: Diablo and StarCraft. The recent releases in each of these series were compared with their pre - decessors. In light of each series’ design history and ongoing development through patches and expansions, we arrive at the conclusion that the “gamification of games” trend is quite real, and not limited to achievements. Problems with “gami=cation” Like other papers collected in this volume, this chapter, too, deals with gami'cation, and the question of “gami'ed games” in particular – as we will see, a hardly uncontroversial concept. -
The Boundaries of the Neomedieval Town in Singleplayer Roleplaying Games
Beyond the Wall: The Boundaries of the Neomedieval Town in Singleplayer Roleplaying Games Dom Ford IT University of Copenhagen Rued Langgaardsvej 7 2300 Copenhagen S, Denmark [email protected] ABSTRACT The cities of the ever prevalent neomedieval fantasy roleplaying game are integral to their gameworlds. They act as quest hubs, goals, centres for action and places of safety. Much of the loop of the game revolves around leaving the city to complete quests, then returning to the city again, and repeat. In this paper, I take a closer look at the boundaries of the city. I begin by proposing a model to help define what a city’s boundary is and how it is expressed to the player. Then, I look at how and why players cross those borders back and forth. Through this, I hope to facilitate a better understanding of how the city functions in roleplaying games, and how the ways in which it produces boundaries alters and affects how players interact with the gameworld. Keywords cities, neomedieval, roleplaying games, walls, boundaries, borders, space, quests INTRODUCTION It is difficult to think of The Elder Scrolls IV: Oblivion (Bethesda Game Studios 2006) without picturing the Imperial City, Divinity: Original Sin II (Larian Studios 2017) without recalling Arx, Dark Souls (FromSoftware 2011) without recalling the breathtaking reveal of Anor Londo. They serve as communities for the games’ characters, hubs for quests, marketplaces for gear, safe havens and much more. In recent years, increasing attention has been paid to the cities that are at the heart of many digital games. Most recently with papers by Daniel Vella and Krista Bonello Rutter Giappone (Vella and Giappone 2018; Giappone and Vella 2018), but also with works by Bobby Schweizer (2014) and Marc Bonner (2018), which I will summarise in a brief literature review. -
Starcraft: Brood War Manual (English)
Copyright © 1998 Blizzard Entertainment. All rights reserved. The use of this software product is subject to the terms of the enclosed End User License Agreement. You must accept the End User License Agreement before you can use this product. The Campaign Editor contained in this product is provided strictly for your personal use. The use of the Campaign Editor is subject to additional license restrictions contained inside the product and may not be commercially exploited. Blizzard Hint Line costs .85¢ per minute. Minimum charge .85¢. Average cost per call $2.50. Available to US residents only. Charges commence after a short pause. To avoid charges, hang up immediately. Children under 18 should get their parent’s permission before calling. StarCraft, Diablo, Brood War, and Battle.net, are trademarks and Blizzard Entertainment, and Warcraft are trademarks or registered trademarks of Davidson and Associates, Inc in the U.S. and/or other countries. All other trademarks and trade names are the properties of their respective owners. Uses Smacker Video Technology, Copyright © 1994-1998 by Invisible Inc. d.b.a. by RAD Software Blizzard Entertainment P.O. Box 18979 Irvine, CA 92623 (800) 953-SNOW Direct Sales (949) 955-0283 International Direct Sales (949) 955-0157 Technical Support Fax (949) 955-1382 Technical Support (900) 370-SNOW Blizzard Hint Line http://www.blizzard.com World Wide Web -Table Of Contents- Getting started······································································4 Technical Support································································6 -
Zynga Acquires Echtra Games Team Led by Developers of Diablo and Torchlight Franchises
Zynga Logo Zynga Acquires Echtra Games Team Led by Developers of Diablo and Torchlight Franchises March 3, 2021 Adds a talented development team with extensive cross-platform experience to Zynga Brings Echtra Games’ proprietary cross-platform development tools and technologies Strengthens Zynga’s development capabilities for future cross-platform projects The Echtra Games team will be developing a new, yet to be announced role-playing game (RPG) for cross-platform play, in partnership with Zynga’s NaturalMotion studio SAN FRANCISCO--(BUSINESS WIRE)--Mar. 3, 2021-- Zynga Inc. (Nasdaq: ZNGA), a global leader in interactive entertainment, today announced that it has acquired Echtra Games, a cross-platform game studio composed of a development team whose core members have previously shaped the world of action role-playing games through their work on genre-defining titles including Diablo, Diablo II, the Torchlight franchise and more. This press release features multimedia. View the full release here: https://www.businesswire.com/news/home/20210303005013/en/ The Echtra Games team strengthens Zynga’s cross-platform play future by adding talented developers with extensive cross-platform play experience as well as proprietary cross-platform development tools and technologies that have been built on top of the Unreal Engine. Specifically, the Echtra Games team will be developing a new, yet to be announced RPG for cross- platform play in partnership with Zynga’s NaturalMotion studio. “Max and his team at Echtra Games are responsible for some of the most legendary game properties ever created, and they are experts in the action RPG genre and cross- platform development. I’m excited to welcome the Echtra Games team into the Zynga family,” said Frank Gibeau, Chief Executive Officer of Zynga. -
A Game Review By: Aaron Jiricek For: STS 145 History of Computer Game
DIABLO A Game Review By: Aaron Jiricek For: STS 145 History of Computer Game Design: Technology, Culture, and Business Professor: Henry Lowood February 22,2001 In the early 90s the PC game market was dominatedby action games. Wolfenstein 3D (1 992), Doom (1993), Hexen (1995), Duke Nukem 3D(1 996), and Quake 996)(1 were all very popular. While still prevalent, computerrole playing games (RPGs) seemed to stray from the spotlight. Duringthis time network gaming was becoming more popular, but it was still complicated and difficult to set up. Finding and configuring DOS network and modem drivers took up hours of valuable playingtime and left the gamer frustrated and unhappy. In 1996 a game was released that helpedsolve both of these problems. Computer Gaming World’s 1996 gameof the year, Diablo, wasa driving force behind the continued popularityof RPGs and theease of today’s internet multiplayer games. Game Info Title: Diablo Developer:NorthBlizzard Publisher:BlizzardEntertainment (http://www.blizzard.com). Senior Designers:Erich Schaefer, David Brevik Additional Design: Max Schaefer, Eric Sexton, and Kenneth Williams LeadProgrammer: David Brevik Senior Programming: Richard Seis, Doron Gartner Mike O’Brien, and Pat Wyatt Programming:Peter Brevik, Robin van der Wel, Jon Morin,Colin Murray, Frank Pearce ReleaseDate: 1212711 996 The Story Diablo is set in a small medieval village called Tristram, andin the catacombs andcaves that riddle the ground beneath. The gamestarts when the player’s characterreturns from some longtravels in and unknown land to find Tristram almost deserted. The player must interact with the few remaining townsfolkin order to determine the history, story, and goal of the game.