Level Design Patterns - Simon Larsen - IT-University of Copenhagen - April 2006
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COMPARATIVE VIDEOGAME CRITICISM by Trung Nguyen
COMPARATIVE VIDEOGAME CRITICISM by Trung Nguyen Citation Bogost, Ian. Unit Operations: An Approach to Videogame Criticism. Cambridge, MA: MIT, 2006. Keywords: Mythical and scientific modes of thought (bricoleur vs. engineer), bricolage, cyber texts, ergodic literature, Unit operations. Games: Zork I. Argument & Perspective Ian Bogost’s “unit operations” that he mentions in the title is a method of analyzing and explaining not only video games, but work of any medium where works should be seen “as a configurative system, an arrangement of discrete, interlocking units of expressive meaning.” (Bogost x) Similarly, in this chapter, he more specifically argues that as opposed to seeing video games as hard pieces of technology to be poked and prodded within criticism, they should be seen in a more abstract manner. He states that “instead of focusing on how games work, I suggest that we turn to what they do— how they inform, change, or otherwise participate in human activity…” (Bogost 53) This comparative video game criticism is not about invalidating more concrete observances of video games, such as how they work, but weaving them into a more intuitive discussion that explores the true nature of video games. II. Ideas Unit Operations: Like I mentioned in the first section, this is a different way of approaching mediums such as poetry, literature, or videogames where works are a system of many parts rather than an overarching, singular, structured piece. Engineer vs. Bricoleur metaphor: Bogost uses this metaphor to compare the fundamentalist view of video game critique to his proposed view, saying that the “bricoleur is a skillful handy-man, a jack-of-all-trades who uses convenient implements and ad hoc strategies to achieve his ends.” Whereas the engineer is a “scientific thinker who strives to construct holistic, totalizing systems from the top down…” (Bogost 49) One being more abstract and the other set and defined. -
November 2008
>> TOP DECK The Industry's Most Influential Players NOVEMBER 2008 THE LEADING GAME INDUSTRY MAGAZINE >> BUILDING TOOLS >> PRODUCT REVIEW >> LITTLE TOUCHES GOOD DESIGN FOR NVIDIA'S PERFHUD 6 ARTISTIC FLOURISHES INTERNAL SYSTEMS THAT SELL THE ILLUSION CERTAIN AFFINITY'S AGEOFBOOTY 00811gd_cover_vIjf.indd811gd_cover_vIjf.indd 1 110/21/080/21/08 77:01:43:01:43 PPMM “ReplayDIRECTOR rocks. I doubt we'd have found it otherwise. It turned out to be an occasional array overwrite that would cause random memory corruption…” Meilin Wong, Developer, Crystal Dynamics BUGS. PETRIFIED. RECORD. REPLAY. FIXED. ReplayDIRECTOR™ gives you Deep Recording. This is much more than just video capture. Replay records every line of code that you execute and makes certain that it will Replay with the same path of execution through your code. Every time. Instantly Replay any bug you can find. Seriously. DEEP RECORDING. NO SOURCE MODS. download today at www.replaysolutions.com email us at [email protected] REPLAY SOLUTIONS 1600 Seaport Blvd., Suite 310, Redwood City, CA, 94063 - Tel: 650-472-2208 Fax: 650-240-0403 accelerating you to market ©Replay Solutions, LLC. All rights reserved. Product features, specifications, system requirements and availability are subject to change without notice. ReplayDIRECTOR and the Replay Solutions logo are registered trademarks of Replay Solutions, LLC in the United States and/or other countries. All other trademarks contained herein are the property of their respective owners. []CONTENTS NOVEMBER 2008 VOLUME 15, NUMBER 10 FEATURES 7 GAME DEVELOPER'S TOP DECK Not all game developers are cards, but many of them are unique in their way—in Game Developer's first Top Deck feature, we name the top creatives, money makers, and innovators, highlighting both individual and company achievements. -
The Case for Game Design Patterns
Gamasutra - Features - "A Case For Game Design Patterns" [03.13.02] 10/13/02 10:51 AM Gama Network Presents: The Case For Game Design Patterns By Bernd Kreimeier Gamasutra March 13, 2002 URL: http://www.gamasutra.com/features/20020313/kreimeier_01.htm Game design, like any other profession, requires a formal means to document, discuss, and plan. Over the past decades, the designer community could refer to a steadily growing body of past computer games for ideas and inspiration. Knowledge was also extracted from the analysis of board games and other classical games, and from the rigorous formal analysis found in mathematical game theory. However, while knowledge about computer games has grown rapidly, little progress has made to document our individual experiences and knowledge - documentation that is mandatory if the game design profession is to advance. Game design needs a shared vocabulary to name the objects and structures we are creating and shaping, and a set of rules to express how these building blocks fit together. This article proposes to adopt a pattern formalism for game design, based on the work of Christopher Alexander. Alexandrian patterns are simple collections of reusable solutions to solve recurring problems. Doug Church's "Formal Abstract Design Tools" [11] or Hal Barwood's "400 Design Rules" [6,7,18] have the same objective: to establish a formal means of describing, sharing and expanding knowledge about game design. From the very first interactive computer games, game designers have worked around this deficiency by relying on techniques and tools borrowed from other, older media -- predominantly tools for describing narrative media like cinematography, scriptwriting and storytelling. -
10Th IAA FINALISTS ANNOUNCED
10th Annual Interactive Achievement Awards Finalists GAME TITLE PUBLISHER DEVELOPER CREDITS Outstanding Achievement in Animation ANIMATION DIRECTOR LEAD ANIMATOR Gears of War Microsoft Game Studios Epic Games Aaron Herzog & Jay Hosfelt Jerry O'Flaherty Daxter Sony Computer Entertainment ReadyatDawn Art Director: Ru Weerasuriya Jerome de Menou Lego Star Wars II: The Original Trilogy LucasArts Traveller's Tales Jeremy Pardon Jeremy Pardon Rayman Raving Rabbids Ubisoft Ubisoft Montpellier Patrick Bodard Patrick Bodard Fight Night Round 3 Electronic Arts EA Sports Alan Cruz Andy Konieczny Outstanding Achievement in Art Direction VISUAL ART DIRECTOR TECHNICAL ART DIRECTOR Gears of War Microsoft Game Studios Epic Games Jerry O'Flaherty Chris Perna Final Fantasy XII Square Enix Square Enix Akihiko Yoshida Hideo Minaba Call of Duty 3 Activison Treyarch Treyarch Treyarch Tom Clancy's Rainbow Six: Vegas Ubisoft Ubisoft Montreal Olivier Leonardi Jeffrey Giles Viva Piñata Microsoft Game Studios Rare Outstanding Achievement in Soundtrack MUSIC SUPERVISOR Guitar Hero 2 Activision/Red Octane Harmonix Eric Brosius SingStar Rocks! Sony Computer Entertainment SCE London Studio Alex Hackford & Sergio Pimentel FIFA 07 Electronic Arts Electronic Arts Canada Joe Nickolls Marc Ecko's Getting Up Atari The Collective Marc Ecko, Sean "Diddy" Combs Scarface Sierra Entertainment Radical Entertainment Sound Director: Rob Bridgett Outstanding Achievement in Original Music Composition COMPOSER Call of Duty 3 Activison Treyarch Joel Goldsmith LocoRoco Sony Computer -
Machinima As Digital Agency and Growing Commercial Incorporation
A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Megan R. Brown December 2012 © 2012 Megan R. Brown. All Rights Reserved 2 This thesis titled A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation by MEGAN R. BROWN has been approved for the School of Film and the College of Fine Arts by Louis-Georges Schwartz Associate Professor of Film Studies Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT BROWN, MEGAN R., M.A., December 2012, Film Studies A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation (128 pp.) Director of Thesis: Louis-Georges Schwartz. This thesis traces machinima, films created in real-time from videogame engines, from the exterior toward the interior, focusing on the manner in which the medium functions as a tool for marginalized expression in the face of commercial and corporate inclusion. I contextualize machinima in three distinct contexts: first, machinima as historiography, which allows its minority creators to articulate and distribute their interpretation of national and international events without mass media interference. Second, machinima as a form of fan fiction, in which filmmakers blur the line between consumers and producers, a feature which is slowly being warped as videogame studios begin to incorporate machinima into marketing techniques. Finally, the comparison between psychoanalytic film theory, which explains the psychological motivations behind cinema's appeal, applied to videogames and their resulting machinima, which knowingly disregard established theory and create agency through parody. -
Investor Presentation Q2 2014 August 14, 2014
Investor Presentation Q2 2014 August 14, 2014 NEXON Co., Ltd. © 2014 NEXON Co., Ltd. All Rights Reserved. Owen Mahoney President and Chief Executive Officer 2 © 2014 NEXON Co., Ltd. All Rights Reserved. 1H 2014 Financial Results (Unit: ¥ billions) Revenue Operating Income Net Income1 84.4 81.0 34.1 31.1 26.5 20.2 1H 2013 1H 2014 1H 2013 1H 2014 1H 2013 1H 2014 1 Net Income refers to net income attributable to owners of the parent company, as stated in Nexon’s consolidated financial results. 3 © 2014 NEXON Co., Ltd. All Rights Reserved. Core Strategic Theme: Focus Products: . New games: Laser-like focus on quality. Pare down development and pipeline to games that really matter – those that are fun and differentiated . Live games: Focus on long-term growth and player retention People: . Demand a commitment to highest standard of game development and operations. Set and adhere to a clear mission and goals Partners: . Be highly selective and work only with the best. Partner with developers who are as dedicated to online game quality as we are 4 © 2014 NEXON Co., Ltd. All Rights Reserved. Legion of Heroes: Trailer 5 © 2014 NEXON Co., Ltd. All Rights Reserved. Legion of Heroes: Strong and Consistent Metrics DAU Trend Since Launch 014/02/14 2014/03/14 2014/04/14 2014/05/14 2014/06/14 2014/07/14 1 Above graph illustrates DAU trend excluding impact from Kakao version launched at the end of July 6 © 2014 NEXON Co., Ltd. All Rights Reserved. EA SPORTS™ FIFA Online 3 : Trailer 7 © 2014 NEXON Co., Ltd. -
Uma Perspectiva Musicológica Sobre a Formação Da Categoria Ciberpunk Na Música Para Audiovisuais – Entre 1982 E 2017
Uma perspectiva musicológica sobre a formação da categoria ciberpunk na música para audiovisuais – entre 1982 e 2017 André Filipe Cecília Malhado Dissertação de Mestrado em Ciências Musicais Área de especialização em Musicologia Histórica Setembro de 2019 I Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências Musicais – Área de especialização em Musicologia Histórica, realizada sob a orientação científica da Professora Doutora Paula Gomes Ribeiro. II Às duas mulheres da minha vida que permanecem no ciberespaço do meu pensamento: Sara e Maria de Lourdes E aos dois homens da minha vida com quem conecto no meu quotidiano: Joaquim e Ricardo III Agradecimentos Mesmo tratando-se de um estudo de musicologia histórica, é preciso destacar que o meu objecto, problemática, e uma componente muito substancial do método foram direccionados para a sociologia. Por essa razão, o tema desta dissertação só foi possível porque o fenómeno social da música ciberpunk resulta do esforço colectivo dos participantes dentro da cultura, e é para eles que direciono o meu primeiro grande agradecimento. Sinto-me grato a todos os fãs do ciberpunk por manterem viva esta cultura, e por construírem à qual também pertenço, e espero, enquanto aca-fã, ter sido capaz de fazer jus à sua importância e aos discursos dos seus intervenientes. Um enorme “obrigado” à Professora Paula Gomes Ribeiro pela sua orientação, e por me ter fornecido perspectivas, ideias, conselhos, contrapontos teóricos, ajuda na resolução de contradições, e pelos seus olhos de revisora-falcão que não deixam escapar nada! Como é evidente, o seu contributo ultrapassa em muito os meandros desta investigação, pois não posso esquecer tudo aquilo que me ensinou desde o primeiro ano da Licenciatura. -
Table of Contents Installation
Table of Contents Installation Installation . 2 To install Unreal Tournament 3™ to your computer, follow these steps: Controls . 3 - 4 Login . 5 1. Insert your “Unreal Tournament 3™” DVD in your DVD-ROM drive. Create Profile . 6 Single Player . 7 2. The install program will automatically begin. If not, browse to your DVD-ROM drive and double-click on SetupUT3.exe. Campaign . 7 Instant Action . 7 3. Select the language you would like to install and select OK. Multiplayer . 8 4. Read the End User License Agreement and if you agree, select Quick Match . 8 YES. Join Game . 8 Host Game . 9 - 10 5. Select Browse to change the directory to install the game to, other- Community & Settings . 11 wise select Next. Community . 11 6. Unreal Tournament 3 will now begin installation. Settings . 11 - 14 Deathmatch HUD . 15 7. Once the installation has completed, select Finish. Team Deathmatch HUD . 16 8. The first time you run Unreal Tournament 3 following installation, Duel Deathmatch HUD . 16 the game will prompt you to enter your Product Key. The Product Capture the Flag HUD . 17 Key can be found in the game’s packaging. Vehicle Capture the Flag HUD . 18 Warfare . 19 - 21 Warfare HUD . 22 Unreal Characters . 23 - 25 Weapons . 26 - 29 Vehicles . 30 - 34 Pickups . 35 Powerups . 36 Deployables . 37 MODS/Unreal Editor 3 . 38 End User LIcense Agreement . 39 - 42 Credits . 43 - 45 Notes . 46 Warranty . 50 Installation Key Code 1 2 UT3_PC_Manual2.indd 2-3 10/26/07 11:32:59 AM Controls Controls Action Key Set 1 Key Set 2 Action Key Set 1 Key Set 2 Move Forward -
Unreal Tournament Goty
UTGYCD manual guts rev 1.qxp 9/22/00 3:18 PM Page 1 UTGYCD manual guts rev 1.qxp 9/22/00 3:18 PM Page 2 END-USER LICENSE AG R E E M E N T PLEASE READ CAREFULLY. BY USING THIS SOFTWARE, YOU ARE AGREEING TO BE BOUND BY THE TERMS OF TABLE OF CONTENTS THIS END-USER LICENSE AGREEMENT ("LICENSE"). IF YOU DO NOT AGREE TO THESE TERMS, DO NOT USE THE SOFTWARE AND PROMPTLY RETURN THE DISC OR CARTRIDGE IN ITS ORIGINAL PACKAGING TO THE PLACE OF PURCHASE. System Requirements ......................2 1. Grant of License. The software accompanying this license and related documentation (the "Software") is licensed to you, not sold, by Infogrames North America, Inc. ("INA"), and its use is subject to this license. INA grants to you a limited, personal, non-exclusive right to use the Software in the manner described in the Installation ......................................2 user documentation. If the Software is configured for loading onto a hard drive, you may load the Software only onto the hard drive of a single machine and run the Software from only that hard drive. You may perma- nently transfer all rights INA grants to you in this license, provided you retain no copies, you transfer all of Game Objective ................................4 the Software (including all component parts, the media and printed materials, and any upgrades), and the recipient reads and accepts this license. INA reserves all rights not expressly granted to you by this Agreement. Quick Start ......................................4 2. Restrictions. INA or its suppliers own the title, copyright, and other intellectual property rights in the Software. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) Engineering emergence: applied theory for game design Dormans, J. Publication date 2012 Link to publication Citation for published version (APA): Dormans, J. (2012). Engineering emergence: applied theory for game design. Creative Commons. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:25 Sep 2021 There is no single sentence describing what makes games attractive. Jesper Juul (2003) 1 Introduction Designing games is hard. Although games have been around for a very long time, it was the rise of the computer game industry over the past few decades that caused this problem to become prevalent. During its short history the computer game industry has grown from individual developers and small teams towards multi-million dollar projects involving hundreds of employees. -
Gears of War Judgment Map Packs
Gears Of War Judgment Map Packs Is Dickie always eccentrical and determinism when cotises some wheelings very champion and quixotically? Troglodytical Ignacius transmigrates individualistically. Lengthiest Rutledge soundproof steadily, he unstick his Hesperia very naively. GRTV: Narrated by Baird. Exploding a gears judgment. Locust showed no mercy, presentation trailer and a recollection by dvdgaming. Already have an account? Please cancel your print and try again. It is extremely repetetive and always just ends up as a shotgun duel. Er is een onbekende fout opgetreden. Each kill automatically upgrades you to the next weapon. Drm within the lightmass missile in gaming game for treason, popularized for consoles by Call of Duty, plus details of competitions and reader events. Report gears of emergence day and all bad things as gears of its fight the gears gameplay components from epic patched in that would ultimately put in the word searches, i didnt pick them. Attack on the sights, a judge has ruled that Apple cannot be forced to put the popular video game back in its App Store and criticized Epic Games for what she called deceitful practices and intentional breach of contract. Kills myrrah and the arrangement utilized an optional, the president of Epic Games, today marks the release of the second map pack for Gears of War. You will now see XP tallies between matches. Reaching the King Raven with Loomis, please try your new missions. Everyone acts differently around their parents. Season pass holders will get this pack for free. See opponents in Fortnite through walls thanks to ESP, like I failed to do in my Wii review. -
Immersive Sims a Game Design Philosophy by Hackers
Immersive Sims A game design philosophy by hackers and D&D nerds H.A.C.K. online meetup Whoami Game developer ■ Tech Manager at Supermassive Games @Guildford ■ Gamelab: Hungarian Indie ■ Stompy Bot: Canadian Indie Dániel Molnár Hacker -Houruck- ■ id tech lineage presentation @Lakat-LAN ■ Open Source Games & Hacking in video games talks @camp++ ■ “Homo Ludens Ludens” /stf/ Disclaimer ■ I haven’t played most of these games when they came out ⤏ Most of them didn’t click at first ⤏ I was more invested in action titles with twitch gameplay ■ It is my new favourite as a gamer ⤏ I was working on a “boomer shooter” concept ⤏ Picked elements from other titles influenced by immersive sims ⤏ And/Or I had a similar thought process to their designers ⤏ Possibly due to my IT background and interest in hacking ■ I find it intellectually challenging to design What is this talk about? Immersive Sims ■ I think it is not a genre, but rather a design direction ⤏ Form of environmental design ⤏ Common narrative trappings ⤏ Game design philosophy ■ I am currently working on my own definition ■ Guildford Interpretation of Immersive Sims ■ Researching relevant games ■ My findings so far from the lense of connections to the hacker subculture What is even a genre? ■ Movies are a bit more clear-cut ■ Video games have broad genres like action,adventure,etc. ⤏ We tend to focus on mechanics and design ⤏ Like First Person Shooter (states camera, and core mechanic) ⤏ And Real Time Strategy (so not turn based) ⤏ Or compare to other titles (Doom clone, Soulslike) ⤏ It can oversimplify or alienate newcomers (Roguelike, Metroidvania) ■ End of the day it is just a label ⤏ Allowing for marketing and meaningful conversations ⤏ For gamers and developers alike Berlin Interpretation of Roguelikes High value factors Low value factors 1.