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Procedural Generation in Game Design [Kietas viršelis]

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  • Formatas: Hardback, 336 pages, aukštis x plotis: 234x156 mm, weight: 540 g, 13 Tables, black and white; 87 Halftones, black and white; 20 Illustrations, black and white
  • Išleidimo metai: 07-Jun-2017
  • Leidėjas: CRC Press
  • ISBN-10: 1138743313
  • ISBN-13: 9781138743311
Kitos knygos pagal šią temą:
Procedural Generation in Game DesignDidesnis paveikslėlis
  • Formatas: Hardback, 336 pages, aukštis x plotis: 234x156 mm, weight: 540 g, 13 Tables, black and white; 87 Halftones, black and white; 20 Illustrations, black and white
  • Išleidimo metai: 07-Jun-2017
  • Leidėjas: CRC Press
  • ISBN-10: 1138743313
  • ISBN-13: 9781138743311
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9781138743311.html
Raktažodžiai:
Making a game can be an intensive process, and if not planned accurately can easily run over budget. The use of procedural generation in game design can help with the intricate and multifarious aspects of game development; thus facilitating cost reduction. This form of development enables games to create their play areas, objects and stories based on a set of rules, rather than relying on the developer to handcraft each element individually. Readers will learn to create randomized maps, weave accidental plotlines, and manage complex systems that are prone to unpredictable behavior. Tanya Shorts and Tarn Adams Procedural Generation in Game Design offers a wide collection of chapters from various experts that cover the implementation and enactment of procedural generation in games. Designers from a variety of studios provide concrete examples from their games to illustrate the many facets of this emerging sub-discipline.

Key Features:











Introduces the differences between static/traditional game design and procedural game design





Demonstrates how to solve or avoid common problems with procedural game design in a variety of concrete ways





Includes industry leaders experiences and lessons from award-winning games





Worlds finest guide for how to begin thinking about procedural design

Recenzijos

Short, director of KitFox Games, and Adams, the independent co-creator of the popular game Dwarf Fortress, have edited a substantial collection of essays providing concepts and practical application of procedurally generated content and algorithms for game design purposes. Procedural generational the method of creating data via algorithm rather than by handāis a principle developers can harness to allow the game to generate its own content (settings, objects, and stories) using a series of rules. This method can result in considerable savings over the more traditional game design. Unlike Procedural Content Generation in Games (Shaker, Togelius, Nelson, 2016), the material here is authored by independent developers (with one exception from Blizzard Entertainment), so the information is more accessible and actionable. The book should enable game developers evaluating procedural generation for their games to make an informed decision whether or not to use it. Those with a background in computer science or who are already using procedural generation may learn something new from the contributorsā experiences and methodologies.







--A. Chen, Cogswell College

Summing Up: Recommended. Upper-division undergraduates through faculty and professionals.

Preface xvii
Section I: Procedural Generation
Chapter 1 When and Why to Use Procedural Generation
3(10)
Darren Grey
Planning When To Use Procedural Generation
3(2)
Integral
3(1)
Drafting Content
4(1)
Modal
5(1)
Segmented
5(1)
When PCG Is A Bad Idea
5(3)
Quality Assurance
6(1)
Time Restrictions
6(1)
Authored Experience
7(1)
Multiplayer
7(1)
Just Random
8(1)
Overreliance on PCG
8(1)
Why Use Procedural Generation?
8(16)
Utilitarian
8(2)
Unique
10(3)
Chapter 2 Managing Output: Boredom versus Chaos
13(10)
Kenny Backus
Chapter 3 Aesthetics in Procedural Generation
23(6)
Liam Welton
Atmosphere In Sunless Sea
24(1)
Establishing The Rules
25(1)
Blurring The Boundaries
26(1)
The Result
27(2)
Chapter 4 Designing for Modularity
29(14)
Jason Grinblat
Modules And Gestalts
29(1)
Assembly Mechanisms And Gestalt Spaces
30(3)
Enabling Play
33(5)
Mechanics as Shared Substrates
33(2)
Orthogonality
35(2)
Equivalence of Impact
37(1)
Plotting Desirable Gestalts
38(2)
Inserting Memorable Asymmetry
40(1)
Reference
41(2)
Chapter 5 Ethical Procedural Generation
43(14)
Michael Cook
Talking In Code
44(2)
The Big Wide World
46(4)
You Are What You Eat
50(1)
Talking The Talk
51(3)
The Future
54(3)
Section II: Procedural Content
Chapter 6 Level Design I: Case Study
57(6)
Chris Chung
Overview
58(1)
The Rules
59(1)
How It Works
60(2)
Conclusion
62(1)
Chapter 7 Level Design II: Handcrafted Integration
63(10)
Jim Shepard
Standard Dungeons
63(3)
Crypt Generation
66(2)
Best Practices
68(1)
Dungeonmans Dungeon Generation Pseudocode
69(1)
Dungeonmans Crypt Generation Pseudocode
70(3)
Chapter 8 Level Design III: Architecture and Destruction
73(10)
Evan Hahn
Architecture Generation
74(8)
Step 1: Calculate the Bounding Box
75(1)
Step 2: Split the Box into Regions
75(1)
Step 3: Skim Perimeter Regions
76(2)
Step 4: Place Connections
78(2)
Step 5: Assign Region Types
80(1)
Step 6: Make Adjustments
81(1)
Step 7: Generate the Regions
81(1)
Discussion
82(1)
Chapter 9 Cyclic Generation
83(14)
Joris Dormans
Cycles
84(1)
Using Graphs To Express Cycles
84(5)
Patterns
89(1)
Implementation
89(2)
Aside: Lock-And-Key Attributes
91(2)
Locks Might Be Conditional, Dangerous, or Uncertain
91(1)
Locks Are Permanent, Reversible, Temporary, or Collapsing
92(1)
Locks Might Be Valves or Asymmetrical
92(1)
Locks and Keys Can Be Safe or Unsafe
92(1)
Keys Can Be Single Purpose or Multipurpose
92(1)
Keys Are Particular or Nonparticular
93(1)
Keys Might Be Consumed or Persistent
93(1)
Keys Might Be Fixed in Place
93(1)
Tilemaps
93(2)
Discussion
95(2)
Chapter 10 Worlds
97(10)
Mark R. Johnson
Brief History Of World Generation
98(3)
Why Make Worlds?
101(2)
Exploration
101(1)
Expansive or Complex Worlds
102(1)
Gameplay Variation
103(1)
Qualitative Procedural Generation
103(4)
Chapter 11 Puzzles
107(12)
Danny Day
Procedurally Generating Puzzles
107(2)
Puzzle-Spaces
108(1)
Desired Outputs
108(1)
Puzzle Generation Approaches
109(3)
Random Start State
109(1)
Backward from Goal State
110(1)
Heuristics
110(1)
Extra Bonus: Permutations
111(1)
Desktop Dungeons, The Puzzle Roguelike
112(1)
More Puzzle than Roguelike?
112(1)
More Roguelike than Puzzle?
112(1)
Player Hope As A Resource
113(4)
Guaranteeing Solvability
114(1)
Generating Hope
115(2)
Conclusion
117(2)
Chapter 12 Procedural Logic
119(14)
Ben Kane
Background
119(1)
Usual Approach To Procedural Generation
120(1)
A Different Application: Procedural Logic
121(1)
How The Rule Logic Is Generated
122(5)
Trivial Case
122(1)
Countable Problems
123(1)
Not So Trivial: Procedural Logic
124(1)
Generating Rules
125(1)
Queries: Asking Questions
125(1)
Solutions: Taking Action
126(1)
Improving The Process
127(2)
Better Queries
127(1)
Compound Queries
127(1)
Query Contexts
127(1)
Better Solutions
128(1)
Rigging The Deck: Random That Feels Good
129(2)
Dealing with Degenerates
129(1)
Avoiding the Impossible
130(1)
Putting It All Together
131(1)
Conclusion
132(1)
Chapter 13 Artificial Intelligence
133(10)
Mark R. Johnson
Unpredictability And Artificial Intelligence
134(1)
Movement And Combat
135(2)
Ambient Behavior
137(1)
Emergent Phenomena
137(1)
Conversations
138(3)
Dialects
138(2)
Conversation System
140(1)
Conclusion
141(2)
Chapter 14 Procedural Enemy Waves
143(10)
Wyatt Cheng
Method 1: Spawn By Timer
144(2)
Spawn by Timer Pseudocode
144(1)
Commentary
144(2)
Key Characteristics
146(1)
Method 2: Spawn On Completion
146(2)
Spawn on Completion Pseudocode
146(1)
Commentary
147(1)
Key Characteristics
147(1)
Method 3: Continuously Escalating Total
148(2)
Continuously Escalating Total Pseudocode
148(1)
Commentary
149(1)
Key Characteristics
150(1)
Method 4: Hitpoint Progression
150(2)
Hitpoint Progression Pseudocode
150(1)
Commentary
151(1)
Key Characteristics
151(1)
Conclusion
152(1)
Chapter 15 Generative Artwork
153(8)
Loren Schmidt
Techniques
154(4)
Perception Of Intent
158(3)
Chapter 16 Generative Art Toys
161(14)
Kate Compton
Building Art Toys, For Experts And Novices
161(2)
Experience Of Art Toys
163(1)
Trading Control For Power
164(2)
Design And Construction Of Art Toys
166(6)
Inputs
166(2)
Data and Transformations
168(1)
Points and Rotations
168(1)
Connectivity and Meshes
168(1)
Gestural Curves
168(1)
Forces and Acceleration
169(1)
Rendering
169(3)
Outside The Generator: Judgment, Sharing, And Curation
172(1)
Conclusions: Creativity For Anyone
173(2)
Chapter 17 Audio and Composition
175(12)
Bronson Zgeb
Procedural Audio In Skipping Stones
175(2)
Sampling
175(1)
Pitch
176(1)
Implementation
177(1)
Procedural Composition In Skipping Stones
177(6)
Beat
178(1)
Scale
179(1)
Steps
179(2)
Chords
181(1)
Motif and Repetition
181(2)
Conclusion
183(4)
Section III: Procedural Narrative
Chapter 18 Story and Plot Generation
187(12)
Ben Kybartas
Grammars And Story Grammars
188(2)
Game World
190(1)
Story Model
191(1)
Rule Design
192(2)
Secondary Rewrite Rules
194(1)
Game World Simulation
195(1)
Metric-Guided Generation
196(1)
Conclusions
197(2)
Chapter 19 Emergent Narratives and Story Volumes
199(10)
Jason Grinblat
Motivation
199(2)
The Voice In The Machine
201(2)
Fiasco: A Case Study
203(2)
Unpacking Your Themes
205(2)
Grist For The Narrative Mill
207(2)
Chapter 20 Poetry Generation
209(6)
Harry Tuffs
Chapter 21 Characters and Personalities
215(16)
Emily Short
Introduction
215(1)
Source Material
216(1)
Realization
217(3)
Selecting Dialogue
217(1)
Layering Dialogue Features
218(2)
Character and World Interaction
220(1)
Creation
220(3)
Orthogonal
221(1)
Mechanically Significant
221(1)
Easy to Communicate
222(1)
Meaningful in Combination
222(1)
Recurring Strategies
223(2)
Combining Output from Several Layers of Simulation or Gameplay
223(1)
Bringing Character into Every Interaction
223(1)
Juxtaposing Events and Interpretation
224(1)
Callbacks to Earlier Events
225(1)
Pitfalls
225(7)
Overgeneralization
225(1)
Overrealism
226(1)
Untamed Simulation
227(4)
Section IV: The Procedural Future
Chapter 22 Understanding the Generated
231(14)
Gillian Smith
Expressive Range And Generative Spaces
232(1)
Qualities Of The Generated
232(6)
Types of Qualities
232(1)
Example
233(2)
Formalizing Qualities into Metrics
235(1)
Example
235(2)
Metrics versus Requirements
237(1)
Qualities Of The Generator
238(1)
Visualizing Expressive Range
239(4)
Histograms
239(1)
Example
240(2)
Distance-Based Clustering
242(1)
Conclusion
243(1)
References
243(2)
Chapter 23 Content Tools Case Study
245(6)
Kepa Auwae
System Overview
247(1)
Example Room
248(3)
Chapter 24 Automated Game Tuning
251(14)
Aaron Isaksen
Step 1: Set Parameters
253(2)
Step 2: Generate The Game Level
255(1)
Step 3: Simulate The Game
255(3)
Step 4: Analyze The Data
258(3)
Step 5: Visualize The Data And Make Adjustments
261(2)
Conclusion
263(1)
Acknowledgments
264(1)
Chapter 25 Generating Rules
265(6)
Michael Cook
Mix And Match
266(1)
Game Design 101
267(2)
Throwing Out The Rulebook
269(2)
Chapter 26 Algorithms and Approaches
271(30)
Brian Bucklew
Random Numbers
271(1)
Pseudorandom Number Generators
271(1)
Making Use of Repeatable Series
272(1)
Seeds and Hashing
273(1)
Rolling Dice
274(1)
Normal Distributions
275(2)
Weighted Distributions
277(2)
Heightmaps
279(4)
Box Linear Filters
279(1)
Midpoint Displacement
280(1)
Perlin and Simplex Noise
281(2)
Sequence Generation
283(3)
Lindenmayer Systems (L-Systems)
283(1)
Markov Chains
284(2)
Filling Space
286(7)
Random Walks
286(1)
One-Dimensional Random Walks
286(1)
Two-Dimensional Random Walks
287(1)
Cellular Automata
288(3)
Settling
291(1)
Wang Tiles
291(2)
Partitioning Space
293(5)
Binary Space Partition
293(2)
Voronoi Diagrams
295(1)
Dijkstra Maps
296(1)
Tree Mapping
297(1)
Putting It All Together
298(3)
Chapter 27 Meaning
301(10)
Mark R. Johnson
Meaning In Games
302(2)
Meaninglessness In Games
304(2)
Designer And Player Meaning
306(2)
Meaning In Qualitative Procedural Generation
308(3)
Conclusion 311(2)
Index 313
Tanya X. Short is the director of Kitfox Games, the indie game studio behind Moon Hunters and Shattered Planet. Previously, she worked as a designer at Funcom Games on The Secret World and Age of Conan: Hyborian Adventures. In her spare time, she acts as the co-director of Pixelles, a non-profit helping more women make games.



Tarn Adams is best known as the developer of Dwarf Fortress since 2002 with his older brother Zach. He learned programming in his childhood, and designed computer games as a hobby until he quit his first year of a mathematics post doctorate at Texas A&M to focus on game development in 2006.