Trinity of Battlefield:Bad Company 2 Audio. What connects the ‘Snowy Mountains’ Theme, the sound of the Yamino Buki and the opening logo from Battlefield Bad Company 2 (BFBC2)? Well, they all feature, to some degree a note or two of Dave Taylor’s bass trombone. It’s place in ‘Snowy Mountains’ is where it all started (around 26 seconds in). Stefan (Strandberg), the Audio Director of Bad Company 2 returned from the orchestral recording session in New York with Mikael (Karlsson) the composer, and one of the first things that he said to me, was that I had to hear the power of this bass trombone player, that literally scared the rest of the orchestra – and yes it was impressive and powerful – a fantastic raw, deep ripping blast.
In context [soundcloud] In isolation [soundcloud] [soundcloud] So I was in good company (I think). Features - Fight or Flight: The Neuroscience of Survival Horror. Achieving scares and interactivity in the horror genre is no easy feat. Whereas other games challenge the player's ability to solve a puzzle or take down an array of enemies, the survival horror genre challenges a hardwired and highly adaptive response to threats. To establish one good startle, you need to take into account the ability for your design to establish a baseline of expectations with your environment and the purpose of your character in that environment, build anxiety, connect with the character, and remove any control the player may have (consider the importance of the first 10-15 minutes of Dead Space and the player's first encounter with an enemy). This design often leads to the scripted scare (i.e. Pyramid Head's non-confrontational spooky/disturbing appearances scattered throughout Silent Hill 2), which can remind us of the linearity of gameplay and a lack of a personalized experience/choice and replay value.
Top: Necromorph whack-a-mole in Dead Space. So You Want To Be a Game Designer. Creation of new data types in AS3: Linked List. In computer programming, a data type (or datatype) is a classification identifying one of various types of data, such as floating-point, integer, or Boolean, stating the possible values for that type, the operations that can be done on that type, and the way the values of that type are stored.
(source: Wikipedia). Obviously any language is capable to create new data structures. I did not find any complete AS3 complete tutorial to create a new data type from scratch with AS3, so I am writing it by myself. We are going to define a simple linked list data type. A linked list is a data structure that consists of a sequence of data records such that in each record there is a field that contains a reference (i.e., a link) to the next record in the sequence. (source and image: Wikipedia. In this example, we are going to reproduce the same linked list you see in the picture. This is the class, in a file called node.as: Line 1: package definition.
Line 2: definition of the class. Tilebased games in Flash 5 – Part 11 « OutsideOfSociety. Haven´t written in a long time, due to summer, vacation, sun, sandy beaches, beautiful women and warm beers ;) …an excuse as good as any I hope! So now a little info on how to approach sloping tiles. The first step is to find out where a certain point of our character is(usually the feet, or the bottom, by bottom I don´t mean the ass…).
Ok, so we have an xPos and a yPos of the character. If we do something like: onTileX = Math.floor(xPos/tileW); onTileY = Math.floor(yPos/tileH); We will find out what tile his on, like we´ve done many times before in previous tutorials. WhereOnTileX = Math.floor( ((xPos/tileW)-onTileX)*tileW ); whereOnTileY = Math.floor( ((yPos/tileH)-onTileY)*tileH ); If our tileW and tileH are 16×16 this will output a value between 0 and 16. Here´s an example that demonstrates this visually(move your mouse over it). Ok, so what good will this do then? Well… if we got a tile that looks like this… …you might see the connection? Like this(move your mouse over it): Pretty damn simple…
Tilebased games in Flash 5 – Part 8b « OutsideOfSociety. I´ve recieved a few mails regarding the z-sorting in the isometric example in tutorial 8. Which in my example isn´t very good… Like I said, there are probably many ways to do that and how it should be approached probably depends on what kind of game it is, how it works and so on. Anyway… I thought it could be a good idea to make an example. The best way would probably be to just give the tiles and the sprites the depth of their y-position on the screen. But that won´t work in flash, since two movieclips can´t seem to share the same depth, at least not when created.
So each tile needs to have a unique depth. So let´s start with the map-building loop. for ( var i= 0 ; i < mapH; ++i ) { for ( var j= 0 ; j < mapH; ++j ) { var d = (i*tileH) + (j*tileW) + i; this .clip.attachMovie( "tile" , "t_" +i+ "_" +j, d); Only thing that´s new is the d-variable, this makes the tiles get depths like down below(seen from above), the tileW and tileH is set to 26. The result is down below, download fla here . Articles. Articles - Procedural Content Generation Wiki. Articles. A Roguelike is usually described as a free turn-based computer game with a strong focus on intricate gameplay and replayability, and an abstract world representation using ASCII-based display, as opposed to 3D graphics. Of course, as with any genre, there are deviations from the norm.
Roguelikes allow the player an indefinite amount of time in which to make a move, making gameplay comparable more to chess than to reflex-based games like first-person shooters. Since graphics are limited (if not completely shunned), the player's imagination must come into play - gameplay is more like reading a book than watching a movie.
Of course, the best way to understand what Roguelikes are is to download and play one. --more-- Many Roguelikes are freely available online. Before their rise in popularity in the late 80s and 90s, the genre was dominated by the Major Classic Roguelikes: There are several other important places in the roguelike community that you should consider visiting: Announce new release. Accidental Noise Library. Due in part to the popularity of the game Minecraft there has been a resurgence of interest lately in the idea of a game set in a world made of cubes, constructed of 3D terrain filled with interesting things such as caves, overhangs, and so forth. Such a world is an ideal application for noise generated in the style of ANL.
This example is a discussion based upon my earlier efforts at discussing this technique. (The linked article was later included in the April 2011 issue of Game Developer Magazine.) There have been a few changes to the structure of the library since that was written. In (Links to minecraft posts) I discussed using 3D noise functions to implement a Minecraft-style terrain. This system has the following abstract goal in mind: to be able to feed the system with the coordinate of a certain point or cell and be able to determine what type of block should be at that location. This is not to say that implicit methods are totally useless in these areas; that is not so. More on Minecraft-type world gen. Generating Worlds in a Minecraft-like Game With the runaway success of the game Minecraft, I've been seeing a bit of a resurgence of interest lately in the idea of procedurally generated worlds. I haven't played Minecraft, but I must admit that, judging from the youtube videos I've watched, it seems like it would be right up my alley, and I can certainly understand the desire to draw inspiration from it in some fashion.
The idea of a very large/infinite sandbox world is very appealing. Unfortunately, once you get beyond simple random numbers, procedural generation of a world isn't always the most approachable subject and I see a lot of people asking questions about where they should start generating a Minecraftian world, or, more generally, a procedural world that can theoretically extend infinitely far in all directions. But before I get started, I want to lay some groundwork. Implicit vs. An implicit procedural method is highly self-contained, expressible as a mathematical abstraction. Continuous Perlin Noise | Neuro Productions.
You probably know the situation. It’s 2 am and you can’t sleep because you’r thinking about the big questions of life: Why are we here? What are we here for? Can you make seamless Perlin noise tiles? That last question kept me awake last night. After an hour thinking about using overlapping tiles with blurred edges and blend modes or writing my own Perlin noise, I decided to get back up and give it a try. But to my surprise, when looking at the api, I found that the smart engineers of adobe already thought of that. Public function perlinNoise(baseX:Number, baseY:Number, numOctaves:uint,randomSeed:int, stitch:Boolean, fractalNoise:Boolean, channelOptions:uint = 7,grayScale:Boolean = false, offsets:Array = null):void Anyway, here’s an example with the perlin source. Hal.inria.fr/docs/00/28/87/58/PDF/article.pdf. Www.cs.utah.edu/~shirley/papers/sunsky/sunsky.pdf. Www.vis.uni-stuttgart.de/~kraus/preprints/egsr2004_riley.pdf.
Innovation Is About Arguing, Not Brainstorming. Here’s How To Argue Productively. Beyond Terrain Generation: Bringing Worlds in DWARF FORTRESS to Life. When you use traditional terrain generation algorithms, the results you get are mostly lifeless. Throwing in a few chicken here and there helps, but it doesn't give you that fascinating world to explore with its own history where everything you see has a reason. In an interview broadcast live via AiGameDev.com on Sunday, Bay 12 Games' Tarn Adams talked about the details of the world generation in cult hit DWARF FORTRESS, ranging from the low-level elevation algorithms to the simulation of history that makes each world in the game uniquely full of life.
Fractal Landscapes Early on in the broadcast, Adams explained how DWARF FORTRESS at the base uses a traditional fractal generation algorithm to create the terrain elevation information. “The original implementation uses a mid-point displacement technique; that's how it's been for 7 years. The quality of the terrains does not stem from the elevation data, but from the simulation that's performed afterwards... Layers of Simulation Conclusion.