الموضوع الرسمي إضغط ستارت : عن فنية الألعاب و تصميمها

[hussien-11]

كم كاس عالم تابعت في حياتك ؟
كاس العالم 98 .. تتذكره مثل ما تتذكر كاس عالم 2010 ؟؟

من 94 إلى الآن
ذكرياتي من كأس العالم 98 أقوى و أكبر من 2010

و ذكرياتي - كلاعب - مع ألعاب التسعينات أقوى من حقبة الألفية بكثير، فيه سبب يخليني أقول عن التسعينات "حقبة ذهبية" لألعاب الفيديو
ردودي السابقة بهالموضوع فيها أمثلة كثيرة على هالذكريات.

 

[hussien-11]

ذكرني بنفسي ههههههههههههههه

أتوقع كلنا مرينا بهالمرحلة، لما كان الكارتريدج الصغير الي نملكه أغلى شيء في الحياة XD

لسبب ما، الكارتردج كان يسحرني أكثر بكثير من الأقراص الليزرية، كنت أحس له هيبة :laugh::

: (

 

[The Shark]

هذي ذكريات جديدة .. ارجع بالزمن لوراء وخبرنا ويش تتذكر من اول كونسول جربته الى الاكس بوكس 360 مثلا

متذكر مراحل سونيك الأولى و الثالثة المائية الصعبة .. متذكر سباقات كراش 4 .. متذكر مقاتلاتي مع باول من تيكن 3 كانت صعبة جدا و الانتصار فيها انجاز .. متذكر بعض زعماء ستريتس أوف ريج .. متذكر أول مرة لعبة كينجدوم أندر فير كيف بهرني الجيمبلاي .. متذكر نشوة لما اكتشفت الباب السري اللي يدخل لأول دنجن في لينك تو ذا باست .. تحب أزيد ؟

أقولك شي فف 10 مو متذكر منها شي مهم تقريبا من قصتها لكني متذكر إنه كان في وحش كرة نار لما تهاجمه بالنار يكبر و لما تهاجمه بالماء يموت بسرعة (أكثر شي أبهرني في وقتها من اللعبة و للآن عالق في ذاكرتي) ..

الألعاب مثل ما قال البعض قصة و جيمبلاي مو قصة بس مثل ما يحاول البعض يقنع نفسه .. و لا جيمبلاي فقط مثل ما تزعموا إني أنا و حسين نقول ..

كم كاس عالم تابعت في حياتك ؟
كاس العالم 98 .. تتذكره مثل ما تتذكر كاس عالم 2010 ؟؟

نعم أتذكرهم مثل بعض .. يمكن أتذكر تفاصيل أكثر من كأس العالم 2010 لكنها مو مهمة .. الذكريات المؤثرة متساوية في ذاكرتي ..

 

[The Shark]

إعادة لردي السابق في آخر الصفحة الماضية -يمكن ما أحد ينتبه له- :

من مقال للروائي Samuel Sattin بعنوان I Was Ashamed of Being a Gamer. I Don’t Feel That Way Anymore (إضغط هنا) :

My first kiss wasn't really with Caroline Zitzberg on the last day of Jewish overnight camp. Oh, no. It was when, as a 9 year-old, I brushed my lips down a dusty Duck Hunt cartridge

ذكرني بنفسي ههههههههههههههه

مفهوم البلوغ عند الكاتب سابقا :

I got in line with them, and realized that, when people got ‘serious,' they left behind ‘trivial' pursuits. ‘Trivial', in this sense, equated to things like comic books, video games, and even certain genres of literature and film. I was going to have to ignore it all if I wanted to get off of life's sidelines. Or so I believed.

I sold my PS2 and N64 to an anemic computer science student. I went from an obsessed reader of GamePro to a somber admirer of The Economist and The New Yorker.

عندما يذهب لشراء لعبة :

If you did catch me around a Gamestop, even as a voyeur, I looked like one of those avuncular, suspicious men you see exiting a porn shop. You know the type. Hunched, shifty-eyed, crooking a black bag filled with the mystery of his fetish under his elbow. Whenever I had the itch, I took to the night like someone gearing up to violate parole. And even then, if I did buy a PC game (the most undetectable, for obvious reasons), I would rage through it in a torrid night of mouse-clicking madness, only to emerge the next morning a respectable citizen of earth.

ههههههههههههههههههههههههههه

عن رأي أساتذته الأدباء في الألعاب :

I soon learned that even amongst the echelons of the literati, where creative expression is sanctified, there is still a palpate lack of value attributed to works of ‘lesser fiction,' such as fantasy, or sci-fi. Fairly run of the mill behavior for academia. But what surprised me most was that video games in particular were looked upon by most of my professors, especially the ones whose work and guidance I admired, with utter disdain. Even more so than books involving spaceships or magic wands. One esteemed professor of mine once described video games, to paraphrase, "as little more than a symptom of 21st century ennui."

عندما قرر العودة لعالم الألعاب :

One night, happy with myself for the first time in a long while as I got uselessly drunk alone in my new apartment, I invoked the heady magic of Amazon.com. I'd received a little grant money from my college and, in a moment of sheer recklessness, spent a boatload of it on a box set of Sandman graphic novels, the collected works of Chekhov and a PlayStation 3. The whole thing was kind of a blur, to be honest. And I felt like a moron in the morning. When the system arrived, however, that shame turned to excitement.

عن لعبة Bioshock :

Despite my love for the written word, I sunk into that game in a way I hadn't sunk into anything for a long while. As I became more and more immersed, I experienced a not completely asexual release. The thing that blew my mind about Bioshock was that, aside from the fun factor, it had all the attributes that would classify it as a work of art. To begin with, craft. Bioshock not only had craft, it was craft. A nonstop barrage of expert storytelling, imagery, and careful pacing, it made for what the literary world considers a page-turner. The game was witty, scary, grotesque. It even had a theme, a grandiose, terrifying theme, exploring humanity's desire to improve upon itself via genetic manipulation within American society. Stylistically, it pulled a post-modern pastiche on the 1940's by peppering the landscape with horrific historical anachronisms. I felt as if Brave New World could have been given a run for its money, at least philosophically. And more importantly, most importantly, BioShock gave me ideas for my own writing. It made me want to tell a story. And anything that can affect you that deeply is more than just a pastime. It's useful.

عن سبب عزوف الكبار عن الألعاب :

In some ways, I understand why the classic array of professionals (doctors, lawyers, even artists) is put off by video games. The genre is new. Some works are interested in exploring deeper visual concepts, and/or truly guiding the gamer through a psychological journey. But some still fall victim to easy traps they shouldn't by now, particularly with the depiction of minorities and women.

I used to be ashamed of my love for video games because, in short, I was ashamed of myself. It wasn't the medium that was the problem. It was me who couldn't see beyond the slipshod cloud of my youth, and the superficial relationships I thought would gain me footing if I decided to lie about myself. I needed to grow up to appreciate, and yes, critique video games, not the other way around.

تأثير الألعاب عليه حاليا :

The truth is that video games represent a cutting edge of creativity, whether for good or bad, and there's a lot to be missed by those refusing to offer them the seriousness they are going to deserve. Since I overturned a nearly 10 year hiatus of game-shy insecurity, my writing has only improved. My characters have become deeper, my environments, richer. We can't predict what will move or inspire us, but if we try to suppress the muse, in whatever form it comes, we'll end up repeating our mistakes. And that's bad for art, no matter what form it comes in.

 

[The Shark]

عن فوائد الألعاب :
[video=youtube;LNycSARuGcE]http://www.youtube.com/watch?feature=player_embedded&v=LNycSARuGcE#at=149[/video]

 

[The Shark]

من مقال عن الألعاب ذات الإيقاع البطيء بعنوان On the advent of "slow games" (إضغط هنا) :

big-budget titles are about quick sensory overloads of gratuitous violence, and successful casual games are about playing in two-minute Angry Birds intervals. But beneath the surface, game design has seen a huge shift in the other direction. Maybe it's a reaction to the chaotic post-9/11 world or simply a product of better technology, but the past few years have been a boon for slow games. There have always been hints of slowness in games, from Cyan's Myst to Nintendo's The Legend of Zelda. But we're starting to see works where the slowness is the entire conceit of the game.

there will be no more upgrades, no more gimmicks, no more killer apps. For once, it's possible to plumb the depths of a game console without worrying about competition, accessories, upgrades, expectations, shelf space. As I reflected on the concept of A Slow Year, I realized that I wanted to let this slowness become the game. It would be a game about sedate observation, but one that would embrace gameplay more earnestly than did Guru Meditation [one of Bogost's other games]. The slowness would be somehow intrinsic to the goals and action of the game, rather than exerting the force of a pun upon it. And it would become a game whose development time and release date I wouldn't let worry me.

The industry's roots in arcades have been holding it back--people still think games should be goal-oriented adrenaline-pushers. But the medium and its audience have matured, and digital distribution makes it easier than ever for independent game designers with "slow" ideas to have their voices heard. We've reached the point where slow games are commercially viable. And it's only going to get slower.

 

[mustafa.k]

الألعاب ذات الايقاع البطيء هي الأفضل بنظري
حيث تكون بطيئة الرتم بطيئة القصة و بطيئة الجيم بلاي
الألعاب ذات الايقاع السريع تسببلي صراحة وجع رأس و تشوش عدا العاب الفايتنغ
الي اعتبرها هي و العاب الهاك اند سلاش و الاربيجي هي الممثل الحقيقي لهذا الأندستري.

 

[The Shark]

من مقابلة مع Karl-Magnus Troedsson المدير العام في فريق DICE بعنوان How DICE fell in love with destruction (إضغط هنا) :

"[The concentration on destruction] definitely came out of discussions [about] how we would differentiate ourselves to others,"

"From the beginning when we started talking about [more extensive destruction], I didn't think that we actually foresaw how much it would change the gameplay," Troedsson said. "I remember the first playtest that we had with it, and it was almost like we opened Pandora's Box; it was like, "Holy crap, what just happened here?" And everyone just came back and said, 'This is so cool.'"

"Compared to what we had before that was so different; that's when the light went on and we thought, 'Okay, this is really going to change what we do.' We actually got a bit nervous there, because that was such a huge change; it was like, 'This is going to alter the core recipe of Battlefield.' But then after more and more playtesting we realized that, wow, it was going to change it for the better."

 

[The Shark]

من إجابة بعض المصممين على سؤال حول مستقبل الألعاب أثناء الجلسة الختامية لمؤتمر الألعاب في مونتريال الذي عقد مؤخرا (إضغط هنا) :

Jonathan Jacques-Belletete, art director at Eidos Montreal for Deus Ex: Human Revolution, argued that to survive in the future, video games "must go to aesthetic rehab."

"We live in a kind of sealed environment; our visual culture is completely outdated," he said. "We need to start looking for new sources of inspiration."

"We need to start working with people outside of the video game industry: fashion designers and architects, because we are going to be left behind," he continued. "It's Picasso who said, 'you get nothing original from an echo.' It's very true."

He said finding inspiration aside from typical sources like Star Wars and Lord of the Rings is not merely a good design decision, but a good business decision.

"Design distinction creates desire... if your design is different enough, you will automatically create design in your audience."

THQ's Stephanie Bouchard approached the future from the position that "photorealism and surround sound is not going to help us any more," arguing that current games feel "hollow" because of their failure to offer similar improvements in social technologies.

Ubisoft Montreal's Jonathan Morin -- creative director on the upcoming Watch Dogs --closed out the session with a talk that furthered some of the thoughts in Bouchard's commentary.

...

"I think the future is in the rise of NPCs to show us what really surrounds us, to suggest more about our universe. We need to stop creating trees of dialogue and binary choices, replace that with a real way of communicating. It could be simple but it should be felt. Doing stuff like that would be empowering to us; suggest complex stuff -- and complex stuff doesn't have to be a complex solution.

* NPC = A non-player character (NPC), sometimes known as a non-person character or non-playable character

 

[The Shark]

من مقال بعنوان Borderlands 2 might be funny, but it’s not a comedy (إضغط هنا) :

Games are defined by their verbs. Borderlands 2 is a shoot, loot, and level sort of game: you shoot enemies, loot guns, and level yourself up. None of these are funny verbs. They’re all deadly serious. Tokyo Jungle, meanwhile, has you eating, marking, mating, and dying. These are comedic verbs in part because of their rarity, and in part because of how much they defy video game logic.

 

[The Shark]

[video=youtube;tNhu2_8Kyew]http://www.youtube.com/watch?v=tNhu2_8Kyew[/video]
​

من محاضرة للمصمم Joe Kowalski مصمم المراحل في لعبتي Guitar Hero و Brutal Legend (إضغط هنا) :

"You really shouldn't think of user interface as just the icing on the cake." These are the opening words of Joe Kowalski, UI designer at Double Fine, as he addressed the crowd at GDC China.

"That first interface can be an effective hook. When you're setting a scene with an engaging menu, this is the first interaction players are going to have with your game. You can do interesting things with that, it doesn't just have to be 'new game,' or picking things out of a list."

"Sometimes the UI is really communicating something to the player without the use of language," he adds. "There are other ways to leverage these opportunities to create something different."

As a level designer, Kowalski has to balance two, often conflicting goals. Those are "to present information in a way that's easy to use and understand," and "to evoke the personality of the game in the work I create."

"When there's a conflict, your gut feeling is often to go with the first one, presenting information in a functional way," he says. "And that generally is good advice, but (there are times) when you should go for personality instead. ... This can bring out much more emotional responses in players."

UI can give a game an implied narrative, even if it's not explicitly about story. In Chess, for instance, the look of the characters you interact with gives you some idea of a story, since they resemble a royal court.

ملاحظة : UI يعني User interface ..

كلامه درر .. و الـMain Menu اللي يحكي عنها هي الموجودة فوق ..

 

[The Shark]

من مقابلة مع Tim Schafer (إضغط هنا) :

عن سبب عزوفه عن عمل أجزاء ثانية للألعاب التي أخرجها :

Actually, Happy Action Theater is the first game to have a sequel that shipped [Laughs]. Full Throttle was a big hit and they asked me for a sequel but they didn’t push too hard. There’s always some new idea you have. There’s always some other game I want to make. Now, with smaller teams, we can do both. Somxone can work on a sequel while others are doing new games.

عن سبب حرصه على ملكية جميع الـIPs التي أخرجها :

If you’re basically making something and giving it away to a publisher, it’s like they hired you to mow their lawn. It’s just not the way the world should work.

هذا رد يرد على كل الأعضاء اللي وقفوا في صف الناشر على حساب المطور في الموضوع : حقوق ملكية اللعبة ( للنقاش ) إضغط هنا

تيم شافر كل ما فيه يكبر في عيني هالمصمم و المقابلة هاذي خير دليل .. فيها كثير كلام عن سبب لجوءه لتصميم الألعاب الصغيرة و موقع Kickstarter .. كلام يدل على إن هالمصمم ذكي جدا و عنده قدرة على التأقلم مع السوق عكس كثير من المصممين قليلين الحيلة ..

 

[The Shark]

من مقال رائع جدا بعنوان Why We Play: How Our Desire For Games Shapes Our World (إضغط هنا) :

الجواب السائد عن سبب لعبنا للألعاب و تفنيده :

Gamers often throw around the term “escapism” when talking about their hobby, but this is a hollow explanation for what actually motivates us to play games. In fact, the word “escape” contains some negative implications – suggesting that those who play games feel a need to break free from the mundane slavery of their reality. We enjoy retreats to other realities – ones more fantastical than our own – but we aren’t always driven to play games because we are trying to escape our lives. The real motivations for play are far more complex, and games fulfill several real-world human needs in a number of positive ways.

الأسباب الثلاث للعبنا للألعاب :

According to Rigby, Immersyve’s complex needs-satisfaction metrics narrow down to three basic categories. The first of these needs is a need for competence – that is a desire to seek out control or to feel mastery over a situation. People like to feel successful, and we like to feel like we’re growing and progressing in our knowledge and accomplishments. This need plays out in real life when people decide to switch careers or go back to school because their current job isn’t rewarding or challenging enough. It’s also easy to see how video games make us feel more accomplished. Every time we level up in Final Fantasy or defeat a challenging boss in God of War, games are fulfilling our desire to feel competent.

Our second psychological need is autonomy: the desire to feel independent or have a certain amount of control over our actions. This need pervades nearly every facet of our culture. The drive toward autonomy is why people instinctively dislike being manipulated; it’s why imprisonment is a punishment, and why we feel an innate urge to rebel against slavery. This need explains why game series that offer players a wealth of free choices – such as The Elder Scrolls or Grand Theft Auto – are so popular.

The final psychological human need is relatedness. We like to feel like we matter to others, and we like to feel like we are making a significant contribution to society. In a 2003 study, the University of Massachusetts Medical School discovered that people with altruistic tendencies generally have higher levels of mental health and less overall life stress.

It’s easy to see how gamers can fulfill this need for relatedness by playing games with friends online, but oddly enough, Immersyve’s studies have found that this need for relatedness can be met even if gamers are interacting with people who are not real. “The way that games are written, this need can generally be met when players are talking to an in-game character,” Rigby says. “That’s why a lot of quests are often structured around helping a particular NPC find an item or collect a treasure.”

Over the centuries we’ve gravitated towards experiences that make us feel more competent, more autonomous, and more related because these experiences make us feel good and keep us mentally healthy. These needs can be fulfilled in any number of ways: through work, school, friends, sports, and hobbies. However, sociologists are beginning to understand that video games are one of the most seductive of all of these activities because they fulfill our psychological needs more efficiently than almost any other activity.

الألعاب = العمل :

Imagine this: A man sits down at a desk and pulls up a database of numbers. He looks through the database and compares a list of numbers from one column to a list from another column. He takes a certain number from one cell and reallocates it somewhere else. He clicks a few buttons, waits a few seconds, and then repeats the process. Then he does it again and again. This man could be performing spreadsheet accounting work, or he could be crafting in World of Warcraft.

At their most basic levels, work and play look a lot alike. The difference between the two is that games couch this kind of work in a fiction that makes them enjoyable. A game’s narrative makes our choices feel significant enough that we buy into the game emotionally, and the feedback system encourages us to keep working.

People often view games as the opposite of work, but some sociologists believe games are an idealized form of work. “Most people find work rewarding; we have built-in emotional reward centers that encourage us to complete tasks,” says Andrew Przybylski, Ph.D., a lecturer at the University of Essex whose papers have appeared in journals like Psychological Science.

“The connection to how hard we work is often mismatched with the feedback we get from the real world,” Przybylski says. “Sometimes we think we really knocked it out of the park, and really you just phoned it in. Other times you might have burned the midnight oil, but no one seems to give a crap. One of the things that’s really powerful about video games is the level of connection between how hard you work and the feedback you receive for your behavior.”

Games are more consistent at rewarding us for the choices we make, and they also provide a diversity of choice that the real world doesn’t provide. Gamers can go places and enter into situations that are closed off to them in real life. Games are immediately rewarding, providing instant feedback when we do something right, and telling us how well we perform every step along the way. These highly tuned feedback systems are the key to turning video games into an indispensable tool for bettering our future.

الألعاب و القدرة على التعليم و التثقيف :

We’ve exploited one of gaming’s most useful applications for centuries. Chess was used in the Middle Ages to teach war strategies to noblemen. In the ‘70s, computer games like Oregon Trail did a better job of getting kids excited about American history than most history professors. Today, hundreds of web portals like Kidsknowit.com offer teachers a reservoir of tools to help educate students. Games are an indispensable learning tool, but we’ve only begun to scratch the surface of their teaching potential.

The Assassin’s Creed series allows gamers to explore classic locales sprinkled with real historical details. Rocksmith teaches people how to play guitar, and The Typing of the Dead improves horror fans’ typing skills. The upcoming indie title Code Hero even hopes to teach young programmers how to design games.

“I think games can provide a framework for understanding contemporary issues such as governmental budgets and spending,” Przybylski says. “I’d bet SimCity veterans have a less distorted views of current city/state/federal expenditures compared to the general public.”

الألعاب و قدرتها على تطوير اللاعب :

“There are a number of great studies showing that first-person shooters increase our visual perception and help gamers pick information off of a screen quickly, which is the kind of skill that an air traffic controller needs, for example,” Gentile says. “A couple other studies with microscopic surgeons show that surgeons who have played games in the past are better at advanced surgical skills – that gaming is, in fact, a better predictor than how many years of training they’ve had or how many surgeries they’ve performed.”

Aside from the physical benefits of gaming, video games excel at setting clear goals and showing a player’s progression towards those goals. This approach already radiates across the social networking scene where progress bars litter sites like Facebook, LinkedIn, and Spotify. Other businesses have developed feedback mechanisms that allow customers to track their progress towards improved social, financial, and physical health. Unique puzzle games like Foldit and EteRNA encourage problem solvers to fold the structure of selected macromolecules in different ways, which will help further scientific learning and possibly cure diseases.

تطبيق مستقبلي محتمل للألعاب :

The playful nature of video games lowers the barrier of entry for people to get behind new social causes. For example, the simple online quiz game Freerice has encouraged gamers to collect more than 90 billion grains of rice for the World Food Programme. Much like Twitter allows its users to interact with celebrities and businesses unlike any other medium in history, future game-like services and tools could encourage new kinds of social team building, allowing users to voice their opinions and affect societal change in myriad new ways.

Gamification is a buzzword often tossed around the conference tables of Fortune 500 companies. The concept promotes the idea of rewarding virtual currency to consumers who complete simple tasks. Foursquare users are familiar with the concept of gamification and its slow drip of new badges and awards. However, gamified services don’t meet our invisible needs on the same level as mainstream video games. Instead of razzle-dazzling customers with extrinsic baubles and badges, in the near future, businesses may fine-tune their feedback systems in a way that tickles our psychological needs. Someday, filing accounting spreadsheets could be more like playing World of Warcraft. But games are already helping people get better at their jobs in a lot of practical ways.

مقالة رائعة جدا جدا ..

 

[Rain]

عن عودة لاتنينق :-

Kamikokuryo said the concept of a dying world in which technology is slowly deteriorating was the foundation of the artwork. Motifs from 19th century London during the Industrial Revolution, Asia, and the Middle East will appear in Novus Partus depending on the location. In order to contrast the high-level modern civilization depicted in Final Fantasy XIII, Lightning Returns will have a more retro feel.[SUP][11][/SUP]

 

[The Shark]

من مقال بعنوان Is anyone else sick of staring at the sun? (إضغط هنا) :

Game design nowadays seems less on keeping players engaged and more on keeping them entertained.

Call of Duty at first tried to convey the horrors of war, but then gave in to a near-future, all-hands-in deathmatch, where drones are called down as a reward for killing your opponent.

I long to return to a time where games narratives were crafted carefully, as a masterfully written book would be. Enough with this use-and-forget culture; it's time to create something with sustenance; something that can stand the trials of time and remain on its own of its own accord, something that we can measure our future attempts against. Something universal and awesome.

مقالة تقطع القلب

 

[Naserano]

Call of Duty at first tried to convey the horrors of war, but then gave in to a near-future, all-hands-in deathmatch, where drones are called down as a reward for killing your opponent.

ما أدري وش دخل الملتي بلاير في السينجل لكن كامبين موديرن وورفير2 يرد على جملته الأولى اللي مدري وشلون ضحك على نفسه فيها.
وإذا على the horrors of war فالأفضل إنه يتطرق لـBrothers in Arms لأنها هي اللي تجسده بالشكل الأفضل.

 

[The Shark]

من مقابلة مع المصمم و كاتب الكوميكس Chris Avellone (أخرج ألعاب مثل Fallout 2 و Planescape: Torment و Alpha Protocol) يتحدث عن موقع Kickstarter و عن أساليب القص في الألعاب (إضغط هنا) :

Q: An analogy I've used is that the player is like a shaman on a spirit quest and as a narrative designer you're kind of like the spirit guide -- you have to put all things in their path that could be meaningful to them, but it's up to them to work out what is ultimately is important to them.

CA: Yeah, I think the more you can allow a player to leave their meaning on the environment, the better the game is going to be for them. Sometimes I get into an argument with designers [about whether] it's better to provide a narrative story arc, or is it better just to provide a bunch of system mechanics and let the player derive their story from that? There's been so many times where any story I've attempted to tell will get trumped by some action the player can do in the game systems, and it's a better story for that, and I can't argue with it.


Q: Do you have an example of that?

CA: Yeah. In New Vegas, our project director used the reputation mechanics between the factions to create a pretty awesome story, and he did it unintentionally. This entire sequence would have taken probably a month of several people's time to actually try and narratively create, and I don't think would have been as strong. He used the reputation system to piss off one faction, Caesar's Legion, and once you piss them off they start sending assassin squads after you whenever you try and sleep. Then he completely reversed and started pissing NCR off. And suddenly they start sending assassin squads after him [as well].
So he's running around the wasteland like a crazy man, and then he wakes up, and both assassin squads have spawned, but because their AI makes them hate each other, they started exterminating each other rather than attacking him. So he waited until they were all dead, and then he just shot the last one. Fantastic story. And because he was able to push the world to make that happen, I think that made it stronger than if we'd tried to narratively design that situation. So I think allowing for stories like that is really important.


Q: That's fantastic! There's a lot of games around now that use procedural generation to try and create situations like that. Do you play that kind of game?

CA: Not necessarily, although I do try and pay attention to what causes those [situations] in games. Usually I find that anything that changes the AI state of enemies is what generates the best stories. For example, I noticed I was able to create a lot of fun situations in Dead Island because they have a lot of tools and tricks that will change the AI states of various opponents. Like when you drop the meat jar on the ground, and suddenly you can make all the zombies move to a certain area. And from there you can start staging all sorts of fun stuff. And also usually anything that causes damage remotely in the environment, like fire or water, or even like in New Vegas where you can set up explosions from a difference. That can [bring about] all sorts of interesting stories. But I do wish there were more ways of doing [these things] that didn't necessarily involve violence or damage.

 

[The Shark]

فيديو عن شيء جديد في الطب اسمه "الجراحة الروبوتية" .. و يحكي إن لاعبين الفيديو جيمز يتقنونها مباشرة كاستخدام (ممكن من أول يوم) بينما الجراحين العاديين يحتاجون لمدة أطول من ذلك بكثير ..

[video=youtube;Wr1MGJBt4X0]http://www.youtube.com/watch?v=Wr1MGJBt4X0[/video]