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Game Design: Theory & Practice- P7

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Instead, game developers refer to whatever code is used to control the opponents the player battles as artificial intelligence. How the game reacts to the player’s actions is determined by the game’s AI. But at the same time, the game provides a great deal of challenge for the player. The difficult part of creating the AI for a game like...

Game Design: Theory & Practice- P8

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I had written Sorcerer, the second game of the Enchanter trilogy that can be unofficially considered to be Zork V. It was in the same universe as Zork, and as part of writing the game I com- piled the first compendium of Zork history, dates, places, characters, et cetera, by combing through the Zork games and the first Enchanter game,...

Game Design: Theory & Practice- P9

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At the very least the designer must try to allow for different playing styles and levels of inquiry into the story-world, instead of pigeonholing the player into one way of playing the game and exploring its story. l Out-of-Game: This is any storytelling that is done on the computer while the game is running, but when the player is not...

Game Design: Theory & Practice- P10

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For PC games, usually a patch follows shortly thereafter, since the game was never properly finished in the first place. Part of the problem is the shifting technology targets, where programmers must learn about new consoles, operating systems, and 3D accelerator cards for each project, and the fact that so many games feel the need to have a cutting-edge graphics...

Game Design: Theory & Practice- P11

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Balance of the Planet seems to be an extremely educationally oriented game. Balance of Power was about the Vietnam War, and Balance of the Planet was about Earth Day.. Balance of the Planet. Will Wright’s SimEarth came out just shortly after Balance of the Planet. It was certainly more successful than Balance of the Planet, because it was a lot...

Game Design: Theory & Practice- P12

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The player is then able to direct these units against his opponent in a combi- nation of ways. Many of the subsequent RTS titles, both the successes and the failures, copied this general model, dividing the player’s efforts between unit creation, resource exploitation, and strategic unit deployment.. Instead the player is focused entirely on the tactical side of the game,...

Game Design: Theory & Practice- P13

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Many of the documents that have been used for published games and which were written by experienced professionals are truly terrible. By way of example, and in order to best teach you what to avoid, I will explore a few of the different types of horrible design documents, and why they fail so miserably at what they are supposed to...

Game Design: Theory & Practice- P14

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very good, the story lines were kind of arbitrary and contrived, the characters and the plot just didn’t stand up in terms of the kind of story that I would want to see in a movie or a novel.. So with Last Express I wanted to do a game that would have what I saw as the qualities that were...

Game Design: Theory & Practice- P15

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It too simu- lated a sophisticated system and allowed the player to truly control her city’s. A lot of this has to do with the fact that the player of The Sims is. Its very familiarity draws the player in like nothing else can.. What The Sims really provides to the player is a test-bed for safe experimenta- tion. While...

Game Design: Theory & Practice- P16

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On this first pass you want to get the level to the point where the player can navigate through it and all of the locations the player will be able to go are accessible. Certainly you had the gameplay in mind through all of the steps of this process, but now is the time to see if it will actually...

Game Design: Theory & Practice- P17

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We haven’t fully demonstrated how much we can expand the game with downloaded objects. We could have put in the nightclub and the work and all that and added another year to the game’s development. You also really have to understand what the core of the fun is going to be in the game. And if you’re adding this stuff...

Game Design: Theory & Practice- P18

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the interaction actually takes place between the player and the game’s creator. The player’s main task in Atomic Sam will be to navigate young Sam through the various environments of the game while defeating the robots he encounters.. The game will reward the player’s creativity by setting up situations where the player can use environmental objects to defeat the robots...

Game Design: Theory & Practice- P19

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The player will get some choice in the order he experiences the game’s different main areas or “worlds.” After completing the Gargantuopolis levels at the beginning of the game, the Electric Priestess will present Sam with a choice of which area he will travel to next: Benthos, Harmony, or New Boston. Each of these areas will be fairly equivalent in...

Game Design: Theory & Practice- P20

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Boss Monster: An enemy in a game, though not necessarily a “monster” per se, which is much larger or simply more difficult to defeat than the other opponents in the game. Quake III Arena and Unreal Tournament both feature ’bots as the player’s only opposition in the single-player game.. Builder Games: One term used to describe games in which the...

Game Design: Theory & Practice- P21

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Raiders of the Lost Ark, 350. responses to input Return of the Jedi, 181. of the game-world, 114, 361 Russia . Ultima IV: Quest of the Avatar, 316. The CD comes with a fully readable and searchable version of the .PDF version of this book, for those who prefer to read on their computers. The CD also contains a wide...

Animating Real- Time Game Characters-P1

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Animating Real-Time Game Characters.. Animating real-time game characters / Paul Steed.. Real-time programming. 2002014664 Printed in the United States of America First Edition. Please state the nature of the prob- lem, and send the information to CHARLES RIVER MEDIA, INC., 20 Downer Avenue, Suite 3,. CRM's sole obligation to the purchaser is to replace the disc, based on defective materials...

Animating Real- Time Game Characters-P2

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FIGURE 1.14 Primitives can be shaped into the basic form and then adjusted as needed.. Figure 1.15 shows how extruding a shape and extruding faces are the quickest ways to build a shoulder pad for Betty Bad. Next, an Edit Mesh modifier is ap- plied to align the vertices and select the faces at the top of the shoulder (...

Animating Real- Time Game Characters-P3

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Quality of the Texture. Four artists who excel at each of the four major areas individually cre- ate the best art team imaginable: designer, modeler, texture artist, and animator. With that in mind, load up Head2.max from the Chapterl directory on this book's CD-ROM, and examine the final mapping applied (Figure 1.55).. FIGURE 1.55 Texture maps with opacity maps can...

Animating Real- Time Game Characters-P4

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FIGURE 2.38 Choose from three ways to skin that goat-legged cat.. FIGURE 2.39 Animating Fido reciting poetry means adding bones to the Biped head.. In 3ds max, adding bones is as easy as linking a box to the Biped. Center the pivot point on the box by going to the. Place the dummy object in front of the jaw (and...

Animating Real- Time Game Characters-P5

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FIGURE 3.25 Assign all the upper arm vertices to the UpperArm link.. FIGURE 3.24 The Initial Skeletal Pose option helps you go from an animated to unanimated state.. Toggle Initial Skeletal Pose back and forth by unchecking and checking its box to see the effects the weighting change has on the elbow (Figure 3.26).. FIGURE 3.26 The elbow here has...