The document discusses the process of character development in games. It explains that character development involves both creating the 3D model and avatar as "the body", as well as designing the game environment and rules as "the mind or soul" that allows the character to evolve through interactions over time. Many tools can be used to create 3D models and rig them for animation to serve as characters in a game. Once imported into a game engine, the model becomes an avatar that can navigate the virtual world based on the environment, physics, input devices, other players, and game AI.
Presenting the Slippery Rock Falls multiplayer educational roleplaying game (MPERG) and the Adaptive Learning Game Design (ALGAE) Model at the TCC 2014 Worldwide Online Conference by Andrew Stricker, Ed Lavieri, Jr., Barbara Truman, Jason Murray, Diane Martini and Cynthia Calongne.
This is the presentation that was delivered at the 2010 Game Developers Conference in San Francisco that outlined "The Art of Video Games" exhibition that we were developing. Note, this presentation only contains my portion of this joint presentation.
Presenting the Slippery Rock Falls multiplayer educational roleplaying game (MPERG) and the Adaptive Learning Game Design (ALGAE) Model at the TCC 2014 Worldwide Online Conference by Andrew Stricker, Ed Lavieri, Jr., Barbara Truman, Jason Murray, Diane Martini and Cynthia Calongne.
This is the presentation that was delivered at the 2010 Game Developers Conference in San Francisco that outlined "The Art of Video Games" exhibition that we were developing. Note, this presentation only contains my portion of this joint presentation.
Game Design Course Development Panel at the Foundations of Digital Games Conference held on a Royal Caribbean cruise to Cozumel, Mexico. The panel speakers were Dr. Ken Hoganson, Dr. Cynthia Calongne, Dr. Mario Guimaraes (our mastermind) and Dr. Barbara Truman. Dr. Jing (Selena) He was unable to join us. Slides by Dr. Calongne from her games and simulation design classes with Dr. Andrew Stricker at Colorado Technical University.
Keynote presentation at the ICEPOPS 2019 conference (https://copyrightliteracy.org/upcoming-events/icepops-international-copyright-literacy-event-with-playful-opportunities-for-practitioners-and-scholars/)
Fear of failure, fear of not being taken seriously, fear of
not being an expert or ‘knowing enough’ can halt and
obstruct learning at all levels. Charlie will be sharing
her experiences of creating a lusory attitude or playful
environment to empower learners (from
undergraduates to tenured staff) to experiment and
engage with copyright concepts and practices away
from fear and apprehension.
This is then followed with an interactive, games based learning OER Board Game Jam session.
Meaningful Play 2010: ARG/transmedia panelKari Kraus
Slides from our Meaningful Play panel presentation (Oct. 2010). Elizabeth Bonsignore, Rachel Donahue, Georgina Goodlander, Kari Kraus, Marc Ruppel: http://www.karikraus.com/?p=63
In this talk I will examine how the play-element of videogames is deconstructed to try to bring fun back to real life. Games are reality-broken technologies in the sense that they are rule-bound elements that constraint action. Videogames are game-mediated technologies that take advantage of ICT to create more compelling user experiences. Two modern approaches, gamification and playful design, extract the constituent elements of videogames and take them to other non-game contexts to engage users and motivate action. Examples as well as theoretical approaches from game theory and the psychology of motivation will be presented to conceptualize this new level of brokenness. I will argue that this new attempt to bring fun back to everyday activities reflects an underlying brokenness in reality. This new framework addresses the multistability of game technologies and reality.
JTEL2012 emotion and games in technology-enhanced learningKostas Karpouzis
"Emotion and games in technology-enhanced learning" presentation at the 2012 Joint European Summer School on Technology Enhanced Learning in Estoril, Portugal
TIPC 2 Online 2020 conference, virtual/Leiden
This paper explores Assassin’s Creed: Odyssey as a way to explore idyllic historic landscapes and heritage sites with some degree of questing and simulated danger. It applies Assassin’s Creed: Odyssey in two ways, as discovery tour option mode and as a metaphor to explore in more general and speculative terms how questing and historical dilemmas and conflicts could be incorporated into both fan tourism and cultural/historical tourism (Politopoulos, Mol, Boom, & Ariese, 2019).
Keza MacDonald views Assassin’s Creed as a virtual museum, Ubisoft regards it as the recovery of lost worlds: “ “We give access to a world that was lost” said Jean Guesdon (MacDonald, 2018). “Discovery Tour will allow a lot of our players to revisit this world with their kids, or even their parents.”
Origins’ Discovery Tour mode “promises” educational enlightenment (Thier, 2018; Walker, 2018); Odyssey’s additional Story Creator Mode (Zagalo, 2020) adds personalized quests. Beyond the polaroid fun of sharing landscape selfies with other players and ancient history voyeurs across the Internet, there is also the prospect of “Video game–induced tourism: a new frontier for destination marketers” (Dubois & Gibbs, 2018). Plus physical location VR games. Game company Ubisoft created escape game VR and virtual tours inside physical exhibitions such as Assassin’s Creed VR – Temple of Anubis (Gamasutra Staff, 2019). Is there a market for historical playgrounds as virtual tourism?
"Epistemic Game Design for Collaborative Inquiry and Civic Engagement" by She...Sherry Jones
Aug. 5, 2015 - This is my presentation on epistemic game design for the 2015 Colorado Learning and Teaching with Technology Conference (COLTT).
Through this slideshow, we introduce the epistemic game, "The Perspective Game" by GetTheIssues(GTI) to educators and administrators of higher education.
Mobile Learning Academy - creating a great concept7scenes
Learn quickly how to design a great mobile learning concept. This tutorial guides you step by step through the design process, covering scope, narrative, gameplay, media at locations, interaction models and maps.
The Architecture of Understanding (World IA Day Chicago Keynote)Stephen Anderson
Keynote for World IA Day, answering the question "When, Where and How does Understanding occur?" Specifically, this talk discussed (1) interactions (and embodiement) (2) how new technology is changing the "information environments" we design for, and (3) a bit about perceptions and cognition.
Maria C. R. Harrington, Ph.D.
Art: http://mariacrharrington.com/ | Science: http://mariacrharrington.org/ | Tech: http://www.virtualfieldtrips.com/
Candidate
Assistant Professor of Digital Media
School of Visual Arts & Design
University of Central Florida
3/23/2006
Game Design Course Development Panel at the Foundations of Digital Games Conference held on a Royal Caribbean cruise to Cozumel, Mexico. The panel speakers were Dr. Ken Hoganson, Dr. Cynthia Calongne, Dr. Mario Guimaraes (our mastermind) and Dr. Barbara Truman. Dr. Jing (Selena) He was unable to join us. Slides by Dr. Calongne from her games and simulation design classes with Dr. Andrew Stricker at Colorado Technical University.
Keynote presentation at the ICEPOPS 2019 conference (https://copyrightliteracy.org/upcoming-events/icepops-international-copyright-literacy-event-with-playful-opportunities-for-practitioners-and-scholars/)
Fear of failure, fear of not being taken seriously, fear of
not being an expert or ‘knowing enough’ can halt and
obstruct learning at all levels. Charlie will be sharing
her experiences of creating a lusory attitude or playful
environment to empower learners (from
undergraduates to tenured staff) to experiment and
engage with copyright concepts and practices away
from fear and apprehension.
This is then followed with an interactive, games based learning OER Board Game Jam session.
Meaningful Play 2010: ARG/transmedia panelKari Kraus
Slides from our Meaningful Play panel presentation (Oct. 2010). Elizabeth Bonsignore, Rachel Donahue, Georgina Goodlander, Kari Kraus, Marc Ruppel: http://www.karikraus.com/?p=63
In this talk I will examine how the play-element of videogames is deconstructed to try to bring fun back to real life. Games are reality-broken technologies in the sense that they are rule-bound elements that constraint action. Videogames are game-mediated technologies that take advantage of ICT to create more compelling user experiences. Two modern approaches, gamification and playful design, extract the constituent elements of videogames and take them to other non-game contexts to engage users and motivate action. Examples as well as theoretical approaches from game theory and the psychology of motivation will be presented to conceptualize this new level of brokenness. I will argue that this new attempt to bring fun back to everyday activities reflects an underlying brokenness in reality. This new framework addresses the multistability of game technologies and reality.
JTEL2012 emotion and games in technology-enhanced learningKostas Karpouzis
"Emotion and games in technology-enhanced learning" presentation at the 2012 Joint European Summer School on Technology Enhanced Learning in Estoril, Portugal
TIPC 2 Online 2020 conference, virtual/Leiden
This paper explores Assassin’s Creed: Odyssey as a way to explore idyllic historic landscapes and heritage sites with some degree of questing and simulated danger. It applies Assassin’s Creed: Odyssey in two ways, as discovery tour option mode and as a metaphor to explore in more general and speculative terms how questing and historical dilemmas and conflicts could be incorporated into both fan tourism and cultural/historical tourism (Politopoulos, Mol, Boom, & Ariese, 2019).
Keza MacDonald views Assassin’s Creed as a virtual museum, Ubisoft regards it as the recovery of lost worlds: “ “We give access to a world that was lost” said Jean Guesdon (MacDonald, 2018). “Discovery Tour will allow a lot of our players to revisit this world with their kids, or even their parents.”
Origins’ Discovery Tour mode “promises” educational enlightenment (Thier, 2018; Walker, 2018); Odyssey’s additional Story Creator Mode (Zagalo, 2020) adds personalized quests. Beyond the polaroid fun of sharing landscape selfies with other players and ancient history voyeurs across the Internet, there is also the prospect of “Video game–induced tourism: a new frontier for destination marketers” (Dubois & Gibbs, 2018). Plus physical location VR games. Game company Ubisoft created escape game VR and virtual tours inside physical exhibitions such as Assassin’s Creed VR – Temple of Anubis (Gamasutra Staff, 2019). Is there a market for historical playgrounds as virtual tourism?
"Epistemic Game Design for Collaborative Inquiry and Civic Engagement" by She...Sherry Jones
Aug. 5, 2015 - This is my presentation on epistemic game design for the 2015 Colorado Learning and Teaching with Technology Conference (COLTT).
Through this slideshow, we introduce the epistemic game, "The Perspective Game" by GetTheIssues(GTI) to educators and administrators of higher education.
Mobile Learning Academy - creating a great concept7scenes
Learn quickly how to design a great mobile learning concept. This tutorial guides you step by step through the design process, covering scope, narrative, gameplay, media at locations, interaction models and maps.
The Architecture of Understanding (World IA Day Chicago Keynote)Stephen Anderson
Keynote for World IA Day, answering the question "When, Where and How does Understanding occur?" Specifically, this talk discussed (1) interactions (and embodiement) (2) how new technology is changing the "information environments" we design for, and (3) a bit about perceptions and cognition.
Maria C. R. Harrington, Ph.D.
Art: http://mariacrharrington.com/ | Science: http://mariacrharrington.org/ | Tech: http://www.virtualfieldtrips.com/
Candidate
Assistant Professor of Digital Media
School of Visual Arts & Design
University of Central Florida
3/23/2006
Maria C. R. Harrington, Ph.D.SIGGRAPH 2006 Educators Program. This was one of my first academic presentations, and here I presented my literature review findings for my dissertation. Many important insights were presented, and I am pleased to see that my dissertation did, indeed prove them to be on target and accurate. I still do not know what I should call this work, while my software can be displayed inside the hardware required for a true definition of Virtual Reality, VR implies full immersion with a headset or CAVE. Virtual Field Trips, while an accurate functional definition, represents a two-dimensional and linear web experience in the market. Fun, let us not forget the fun, but I want nothing to do with Edutainment, or Gamification. Serious Games implies some type of "win" or end-state where there is "victory" and my work is against that concept, exploring the opposite concept of intrinsic motivation. Simulations are very close to my work, and used in health care or aerospace because, yeah, we really do want doctors and pilots to crash and burn.. so yes, maybe Simulated Ecological Environments for Education (SEEE) is the best way to describe what I have done. Then tie in some intelligent tutoring systems, some analytics, and some feedback, and empower the learner to know more about how they learn, and what they don't yet know, and give them a path to find out.
"The Poetics of Games: Art, Poetry and Storytelling in Modern Game Design," Maria C. R. Harrington, Ph.D., Art Institute of Pittsburgh 2008. (I gave a similar one to the ETC CMU crowd, at the invitation of Drew Davidson).
This was a guest lecture I gave to art students in game design at the Art Institute. I wanted to challenge students to think about game engines as a new artistic and aesthetic medium. One that could be used to create beauty, open to new perceptual dimensions and analysis of reality. Not only consistent with traditional linear stories in text, games also allow branching and exploration of multiple stories, futures, and paths, thus creating a new artist medium for the artist intellectual. My aim was to inspire new forms of visual expression and to fully embrace the emotional power of these high fidelity, multi-media, electronic paints, fluid temporal canvases, and digital printing presses, to leave cultural records of meaning for future generations.
I was invited to present on my art to the faculty and students in the art department. I use VR as an artistic medium to investigate natural forms of beauty, landscapes, and information found in the ambient array.
Generative AI, Game Development and the Future of CivilizationJon Radoff
This is my talk from Gamescom Congress in 2023: the topic is the use of generative AI in game development -- but the context is much broader. This is about the next stage of human civilization, where our minds and our creativity are extended through the use of AI tools and agents. My talk is not only about creativity, but empowerment: tools that act upon our goals and reflect our individuality.
This is a somewhat condensed and updated version of a lecture I presented at the MIT Media Lab course on Metaverse (MAS.S61).
Digital Identity and the Evolution of Creativity (MAS.S61)Jon Radoff
This is the presentation I gave at the MIT Media Lab (for course MAS.S61) as part of on "Digital Identity and the Evolution of Creativity." We are entering into the third era of digital identity. The first was about projecting ourselves online; the second--dominated by social media and sandbox environments like Minecraft--was about expressing our creativity in virtual spaces. The third is going to be about projecting our will through autonomous AI agents.
The role of ai in social games eladhari2011 uppsalauniMirjam Eladhari
Keynote at PhD course at Uppsala University in August 2011.
Outline:
•What does ”AI” and ”social” mean anyway?
•Social actions in terms of operational logics
•AI based game design
•Research prototype(s)
•A recipe
Crafting Interesting Worlds Inspirations from Gaming User ExperiencesAmit Pande
My presentation on Gaming Experiences at USID 2008, Bangalore conference. I spoke about inspirations that consumer and enterprise software User Experience designers can gain from Gaming Experiences and Game Design
Between Filth and Fortune- Urban Cattle Foraging Realities by Devi S Nair, An...Mansi Shah
This study examines cattle rearing in urban and rural settings, focusing on milk production and consumption. By exploring a case in Ahmedabad, it highlights the challenges and processes in dairy farming across different environments, emphasising the need for sustainable practices and the essential role of milk in daily consumption.
Expert Accessory Dwelling Unit (ADU) Drafting ServicesResDraft
Whether you’re looking to create a guest house, a rental unit, or a private retreat, our experienced team will design a space that complements your existing home and maximizes your investment. We provide personalized, comprehensive expert accessory dwelling unit (ADU)drafting solutions tailored to your needs, ensuring a seamless process from concept to completion.
Top 5 Indian Style Modular Kitchen DesignsFinzo Kitchens
Get the perfect modular kitchen in Gurgaon at Finzo! We offer high-quality, custom-designed kitchens at the best prices. Wardrobes and home & office furniture are also available. Free consultation! Best Quality Luxury Modular kitchen in Gurgaon available at best price. All types of Modular Kitchens are available U Shaped Modular kitchens, L Shaped Modular Kitchen, G Shaped Modular Kitchens, Inline Modular Kitchens and Italian Modular Kitchen.
You could be a professional graphic designer and still make mistakes. There is always the possibility of human error. On the other hand if you’re not a designer, the chances of making some common graphic design mistakes are even higher. Because you don’t know what you don’t know. That’s where this blog comes in. To make your job easier and help you create better designs, we have put together a list of common graphic design mistakes that you need to avoid.
Can AI do good? at 'offtheCanvas' India HCI preludeAlan Dix
Invited talk at 'offtheCanvas' IndiaHCI prelude, 29th June 2024.
https://www.alandix.com/academic/talks/offtheCanvas-IndiaHCI2024/
The world is being changed fundamentally by AI and we are constantly faced with newspaper headlines about its harmful effects. However, there is also the potential to both ameliorate theses harms and use the new abilities of AI to transform society for the good. Can you make the difference?
Book Formatting: Quality Control Checks for DesignersConfidence Ago
This presentation was made to help designers who work in publishing houses or format books for printing ensure quality.
Quality control is vital to every industry. This is why every department in a company need create a method they use in ensuring quality. This, perhaps, will not only improve the quality of products and bring errors to the barest minimum, but take it to a near perfect finish.
It is beyond a moot point that a good book will somewhat be judged by its cover, but the content of the book remains king. No matter how beautiful the cover, if the quality of writing or presentation is off, that will be a reason for readers not to come back to the book or recommend it.
So, this presentation points designers to some important things that may be missed by an editor that they could eventually discover and call the attention of the editor.
Коричневый и Кремовый Деликатный Органический Копирайтер Фрилансер Марке...
Gaming Software & the Process of Character Development
1. Maria C. R. Harrington, Ph.D.
CCAC North Campus MMC/CIT Interview
Tuesday, November 24, 2015 2:00 PM
Room 3017
2. Gaming Software is comprised of Game Engines, 3D Modeling and Rendering
software, Image or Photo Editors, and other Interactive Development
Environments (IDE) used to create entire games
• Art asset creation process of the digital 3D Model, “Avatar” and or tools
available in the Game Engine may be used to create Characters, “The Body”
Process of Character Development
• Independent of the technology, “The Mind or the Soul”
• Design a believable character (Author, Playwright, Producer)
• Rule based, where the rules of the game design the character (traditional role-
based games, like Dungeons and Dragons,World ofWarcraft - RPG, MUD,
MMORPG)
• Emergent, where the dynamic interaction of the game and individual choice
allows for the character to evolve from interactions of the external forces of the
story, environment, social context, and the choices, the morality, and
intelligence of the player/Avatar as they travers a decision tree (Sims, Serious
Games)
Lecture Overview
3. Many different tools can be used to create the 3D Models
and use them as Avatars in Games
Game Engines and 3D Models
3
4. 3D Model, 2D Art, joints rigged for motion and animation
Character specific behaviors, expressions, or reactions
UV mapping (https://en.wikipedia.org/wiki/UV_mapping)
Example 3D Model
http://www.turbosquid.com/3d-models/deer-animation-3d-model/542770
14. Art Assets
• You will need a 3D Model
• Texture maps, UV
• Animations, Rigging
Import to the Game (use the default 3D Models)
• 3D Model becomes an “Avatar”
• Rules of the Environment
• Physics
• Input Devices
• Output Devices
• Other players
• Game AI
Art and Game
15. Environment
• Avatar stands on the ground, the sound changes based on
type of ground, if wet it splashes, if covered with gravel it
makes a crunching sound
Directed by the user with input device controls
• Keys, mouse, joystick, wand, glove, many different types of
input devices
Attributes (low level Character Development)
• If the model jumps off a cliff, and if there is gravity, does the
character fly or fall? That depends on the character’s
abilities and the physics engine rules of the world
Social interactions and rules
• Other players and / or AI
Interaction3D Model &Game Engine
17. Gaming Software (Photorealistic AAA Titles)
• Game Engines and other Interactive Development Environments are
special purpose software used to create the entire environments for
games, including the context, the rules, and even the characters.
• “Proprietary” Development Environments (US Copyright protected)
• Unreal Engine, Unity, CryEngine, ShiVa
• Use to build a game title and you can sell your game title
• Cannot sell the engine code
• GUI/IDE, scripts, and or some C++ or C# access engine code
• “Open Source” (different legal copyright agreements)
• Torque 3D, Panda 3D, OGRE, Blender
• Use to build a game title, and can modify the engine code and sell both (game and the
editor ex. Shiva is an engine built withTorque 3D and other open software tools)
• GUI/IDE, scripts, and or some C++ or C# access engine code and extend functionality
Game Engines
21. https://wiki.unrealengine.com/Videos/Player?series=PLZl
v_N0_O1ga0IoRrpI4xkX4qmCrhGu56
Default 3D Model / Assets orTools to Import a 3D Model
• Define animations and interactions
• Define behavior of Avatar
• Interactions with environment
• (ex. walk, run, jump, swim, fly?)
• Interactions with other 3D Models
• User Input Device Events
• (ex. Mouse and Keyboard)
• Output Devices (VR headset)
• HUD (GUI overlays)
Unreal Engine
22. Unreal Persona
Process of creating a Persona / Avatar, when the 3D Model
becomes responsive to user input, environment, other
players or AI, and game rules
Programing the logic of the animations, events, and
interactions
28. The process of character development, is this interaction
between the external environment and the individual over
time
Characters, Context, Story Arc
30. What makes a good character?
• Think of some of your favorite characters, what made them so rich,
delightful, real, what made you hate them or fall in love?
• Archetypes!
How did that character change over time in the story, the play,
or the game?
• What happened? How did they grow? What was their backstory?Their
history?The arc of the story? What attributes defined them? Did those
attributes help or hinder?
• Story Arcs
The process of character development, is this interaction
between the external environment and the individual over time
Character Development is More than
Art or Code
31. The process of character
development, is this interaction
between the external game
environment and the individual
over time
A NewType of Story
32. Does free will exist?
• Do we make choices, or do we only react to outside forces and
influences?Are we controlled?Or are we free?
Are we victims of our environment?
• Or do we create our environments? How do we know when we
don’t know?
Are we products of our social networks?
• Or do we lead and follow from above, below, and the side?
Does Fate, Karma, or God exist?
• Or can we create our future, with every choice in every moment?
And in aggregate, as a society, as a culture, create our total
human experience, the planet’s future? Are we the creators of
culture, or the result of it?
We create our reality
Character, Culture & the Classics
33. Like the Greek Theater, a Shakespearean Play, a Tolstoy Novel, a Mozart
Opera, an original Walt Disney Animation, Computer Games could move
beyond forms of visceral entertainment and become interactive stories,
cultural artifacts, full of artwork and ideas
Video and Computer Games are indeed consider Art, and protected
under the First Amendment, as free speech, they are copyright
protected by the US Federal Government, and software processes are
patentable
Games have evolved into training simulations, (FPS are training you!)
interactive state machines, with parameters for both the environment -
the physics engine and procedural landscapes - and parameters for the
characters, both the archetypes, or meta characters, and the individual,
as Avatars for role playing, and as a type of Artificial Intelligence for
training and education (1984)
Uniquely, Game Story Arcs are dynamic interactive partnerships, a
collaboration between game designers - modelers, artists, producers -
and the players, the social networks, and the individuals and their
choices made over time and space
Games are Cultural Artifacts
34. Therefore, the Process of Character Development is the intersection of
the art, craft, and the code required to create “The Body” of the Avatar,
and the creative design of the entire external circumstances, the
context of story, social network, the environment, for the individual to
evolve into a rich character, the essence of the “The Mind or the Soul”
embodied in that character, as it dynamically changes over time, space,
and interactions
Process of Character Development
http://mariacrharrington.org/seee.html