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Game programmer From Wikipedia, the free encyclopedia Jump to: navigation, search This article needs additional citations for verification. Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (October 2007) A game programmer is a programmer who primarily develops video games or related software (such as game development tools). Game programming has many specialized disciplines; practitioners of any may regard themselves as "game programmers". A game programmer should not be confused with a game designer; many designers are also programmers, but not all are, and it is rare for one person to serve both roles in modern professional games.[citation needed] Contents [hide]
The Apple II series was a popular game platform during the early home computer era. Despite being outperformed by later systems, it remained popular until the early 1990s. In the early days of video games (from the early 1970s to mid-1980s), a game programmer also took on the job of a designer and artist. This was generally because the abilities of early computers were so limited that having specialized personnel for each function was unnecessary. Game concepts were generally light and games were only meant to be played for a few minutes at a time, but more importantly, art content and variations in gameplay were constrained by computers' limited power. Later, as specialized arcadehardware and home systems became more powerful, game developers could develop deeper storylines and could include such features as high-resolution and full color graphics, physics, advanced artificial intelligence and digital sound. Technology has advanced to such a great degree that contemporary games usually boast 3D graphics and full motion video using assets developed by professional graphic artists. The desire for adding more depth and assets to games necessitated a division of labor. Initially, art production was relegated to fulltime artists. Next game programming became a separate discipline from game design. Now, only some games, such as the puzzle game Bejeweled, are simple enough to require just one fulltime programmer. Despite this division, however, most game developers (artists, programmers and even producers) have some say in the final design of contemporary games. [edit] Disciplines A contemporary computer game may include advanced physics, artificial intelligence, 3D graphics, digitized sound, an original musical score, complex strategy and may use several input devices (such as mice, keyboards, gamepads and joysticks) and may be playable against other people via the Internet or over a LAN. Each aspect of the game can consume all of one programmer's time and, in many cases, several programmers. Some programmers may specialize in one area of game programming, but many are familiar with several aspects. The number of programmers needed for each feature depends somewhat on programmers' skills, but mostly are dictated by the type of game being developed. [edit] Game physics programmer A game's physics programmer is dedicated to developing the physics a game will employ. Typically, a game will only simulate a few aspects of real-world physics. For example, a space game may need simulated gravity, but would not have any need for simulating water viscosity. Since processing cycles are always at a premium, physics programmers may employ "shortcuts" that are computationally inexpensive, but look and act "good enough" for the game in question. Sometimes, a specific subset of situations is specified and the physical outcome of such situations are stored in a record of some sort and are never computed at runtime at all. Some physics programmers may even delve into the difficult tasks of inverse kinematics and other motions attributed to game characters, but increasingly these motions are assigned via motion capture libraries so as not to overload the CPU with complex calculations. For a role-playing game such as Might and Magic, only one physics programmer may be needed. For a complex combat game such as Battlefield 1942, teams of several physics programmers may be required. See also: dynamical simulation [edit] Artificial intelligence programmer An AI programmer develops the logic the game uses to carry out a large number of actions. It has recently evolved into a specialized discipline, as these tasks used to be implemented by programmers who specialized in other areas. An AI programmer may program pathfinding, strategy and enemy tactic systems. This is one of the most challenging aspects of game programming and its sophistication is developing rapidly. According to Game Developer Magazine, many contemporary games dedicate sixty percent of their programming staff to AI. Some games, such as strategy games like Civilization III or role-playing games such as The Elder Scrolls IV: Oblivion, use AI heavily, while others, such as puzzle games, use it sparingly or not at all. Many game developers have created entire languages that can be used to program their own AI for games via scripts. These languages are typically less technical than the language used to implement the game, and will often be used by the game or level designers to implement the world of the game. Many studios also make their games' scripting available to players, and it is often used extensively by third party mod developers. Game AI programming should not be confused with academic AI programming and research: game programming has little use for developments in this area of study. Although both areas do borrow from each other from time to time, they are usually considered distinct disciplines. [edit] Graphics programmer Historically, this title usually belonged to a programmer who developed specialized blitter algorithms and clever optimizations for 2D graphics. Today, however, it is almost exclusively applied to programmers who specialize in developing and modifying complex 3D graphic renderers. Some 2D graphics skills have just recently become useful again, though, for developing games for the new generation of cell phones, PDAs and handheld game consoles. A 3D graphics programmer must have a firm grasp on advanced mathematical concepts such as vector and matrix math, quaternions and linear algebra. Programmers specializing in this area of game development can demand high wages and are usually a scarce commodity. Their skills can be used for computer games as well as games for game consoles such as the PlayStation 3, Wii and the Xbox 360. A 3D graphics programmer may also specialize in a subset of 3D graphics programming, such as pixel shaders or vertex shaders. [edit] Sound programmer Not always a separate discipline, sound programming has been a mainstay of game programming since the days of Pong. Most games make use of audio, and many have a full musical score. Computer audio games eschew graphics altogether and use sound as their primary feedback mechanism. Many games use advanced techniques such as 3D positional sound, making audio programming a non-trivial matter. With these games, one or two programmers may dedicate all their time to building and refining the game's sound engine, and sound programmers may be trained or have a formal background in digital signal processing. Scripting tools are often created and/or maintained by sound programmers for use by sound designers. These tools allow designers to associate sounds with characters, actions, objects and events while also assigning music or atmospheric sounds for game environments (levels or areas) and setting environmental variables such as reverberation. [edit] Gameplay programmer Though all programmers add to the content and experience that a game provides, a gameplay programmer focuses more on a game's strategy and the "feel" of a game. This is usually not a separate discipline, as what this programmer does usually differs from game to game, and they will inevitably be involved with more specialized areas of the game's development such as graphics or sound. This programmer may implement strategy tables, tweak input code, or adjust other factors that alter the game. Many of these aspects may be altered by programmers who specialize in these areas, however (for example, strategy tables may be implemented by AI programmers). [edit] Scripter In early computer games, gameplay programmers would write code to create all the content in the game — if the player was supposed to shoot a particular monster, and a red key was supposed to appear along with some text on the screen, then this functionality was all written in C or assembly language by a gameplay programmer. These days, large game projects have a team of scripters to implement this sort of game content. Scripters usually are also game designers, and it is easier to find and employ a qualified game designer who can be taught a script language, as opposed to the difficulty of finding a qualified game designer who has mastered C++ on the target platform. [edit] UI programmer This programmer specializes in programming user interfaces (UIs) for games. Though some games have custom user interfaces, this programmer is more likely to develop a library that can be used across multiple projects. Most UIs look 2D, though contemporary UIs usually use the same 3D technology as the rest of the game so some knowledge of 3D math and systems is helpful for this role. Advanced UI systems may allow scripting and special effects, such as transparency, animation or particle effects for the controls. [edit] Input programmer The joystick was the primary input device for 1980s era games. Now game programmers must account for a wide range of input devices, but the joystick today is supported in relatively few games, though still dominant for flight simulators. Input programming, while usually not a job title, or even a full-time position on a particular game project, is still an important task. This programmer writes the code specifying how input devices such as a keyboard, mouse or joystick affect the game. These routines are typically developed early in production and are continually tweaked during development. Normally, one programmer does not need to dedicate his entire time to developing these systems. A first person shooter such as Quake may need a very complex and low latency input system, while the needs of a turn-based strategy game such as Heroes of Might and Magic are much lower. [edit] Network programmer This programmer writes code that allows players to compete against each other (or play together) connected via a LAN or the Internet (or in rarer cases, directly connected via modem). Programmers implementing this feature of a game can spend all their time on this one task. Network programming is one of the most challenging game programming roles. These programmers have to deal with network latency, packet compression, and dropped or interrupted connections. Though this type of programming can consume the entire development process, network programming is often put off until the last few months of development, adding additional difficulties to this role. [edit] Game tools programmer One of the less recognized members of the development team, the tools programmer can make game development heaven or unbearably difficult. Tools are used on almost every game for tasks such as scripting, importing or converting art, modifying behaviors or building levels. Some tools, such as an IDE, 3D graphics modeling software and Photoshop are COTS products, but many tools are specific to the game and are custom programmed. It is the tools programmer's job to write the tools that handle these game-specific tasks. Some tools will be included with the game, but most will not. Most tools evolve with the game and can easily consume all of several programmers' time. Well written and fairly bug-free tools make everyone's development tasks easier. Poorly written or poorly documented ones can seriously hamper development and jeopardize the project. Due to time constraints, however, many tools are not carefully implemented. [edit] Porting programmer Porting a game from one platform to another has always been an important activity for game developers. Some programmers specialize in this activity, converting code from one operating system to work on another. Sometimes, the programmer is responsible for making the application work not for just one operating system, but on a variety of devices, such as mobile phones. Often, however, "porting" can involve re-writing the entire game from scratch as proprietary languages, tools or hardware make converting source code a fruitless endeavor. This programmer must be familiar with both the original and target operating systems and languages (for example, converting a game originally written in C++ to Java), convert assets, such as artwork and sounds or rewrite code for low memory phones. This programmer may also have to side-step buggy language implementations, some with little documentation, refactor code, oversee multiple branches of code, rewrite code to scale for wide variety of screen sizes and implement special operator guidelines. They may also have to fix bugs that were not discovered in the original release of a game. [edit] Technology programmer The technology programmer is more likely to be found in larger development studios with specific departments dedicated solely to R&D. Unlike other members of the programming team, the technology programmer usually isn't tied to a specific project or type of development for an extended length of time, and they will typically report directly to a CTO or department head rather than a game producer. As the job title implies, this position is extremely demanding from a technical perspective and requires intimate knowledge of the target platform hardware. Tasks cover a broad range of subjects including the practical implementation of algorithms described in research papers, very low-level assembly optimization and the ability to solve challenging issues pertaining to memory requirements and caching issues during the latter stages of a project. There is considerable amount of cross-over between this position and some of the others, particularly the graphics programmer. [edit] Lead game programmer The lead programmer is ultimately in charge of all programming for the game. It is their job to make sure the various submodules of the game are being implemented properly and to keep track of development from a programming standpoint. A person in this role usually transitions from other aspects of game programming to this role after several years of experience. Despite the title, this person usually has less time for writing code than other programmers on the project as they are required to attend meetings and interface with the client or other leads on the game. However, the lead programmer is still expected to program at least some of the time and is also expected to be knowledgeable in most technical areas of the game. There is often considerable common ground in the role of technical director and lead programmer, such that the jobs are often covered by one person. [edit] Platforms The PlayStation 3 is one of the platforms for which a game programmer may specialize. It is rare to "specialize" in more than one platform, but programmers who specialize in portable disciplines such as AI may find their experience is transferrable to several platforms. Most game programmers specialize on one platform or another. For example, a programmer can specialize on the PlayStation 3, Xbox 360 or Windows. So, in addition to specializing in one game programming discipline, a programmer may also specialize in development on a certain platform. Therefore, one game programmer's title might be "PlayStation 3 3D Graphics Programmer." Some disciplines, such as AI, are transferable to various platforms and needn't be tailored to one system or another. Also, general game development principles such as 3D graphics programming concepts, sound engineering and user interface design are naturally transferable between platforms. [edit] Experience needed Notably, there are many game programmers with no formal education in the subject, having started out as hobbyists and doing a great deal of programming on their own, for fun, and eventually succeeding because of their aptitude and homegrown experience. However, most job solicitations for game programmers specify a bachelor's degree (in mathematics, physics, computer science, "or equivalent experience"). Increasingly, universities are starting to offer courses and degrees in game programming. Any such degrees should offer a well-rounded education that includes all the fundamentals of software engineering. [edit] Compensation Salaries for game programmers vary from company to company and country to country. In general, however, pay for game programming is generally about the same for comparable jobs in the business sector. This is despite the fact that game programming is some of the most difficult of any type and usually requires longer hours than mainstream programming. However, most game programmers feel it is worth the sacrifice for the fun and casual working environments. Results of a 2007 survey indicate that the average salary for a game programmer is USD$83,383 annually. The least experienced programmers (with less than 3 years experience) generally earn about $57,665, while developers with over six years experience on average earn $94,525.[1] Generally, lead programmers are the most well compensated, though some 3D graphics programmers may challenge or surpass their salaries. According to the same survey above, lead programmers on average earn $103,409 annually.[1] A controversial subject in the game industry recently has been the issue of unpaid overtime, particularly as highlighted in a blog entry by EA Spouse,[2] who described some of the darker aspects of working in the industry. At some companies (the blog entry targeted Electronic Arts specifically), "crunch time" (a period where programmers will often work around the clock to finish a project) has become the expected norm through the whole development cycle. This is not true of all companies however, and many game studios provide excellent working environments and conditions.[citation needed] [edit] Job security Though sales of video games rival other forms of entertainment such as movies, the video game industry is extremely volatile. Game programmers are not insulated from this instability as their employers experience financial difficulty. Third-party developers, the most common type of video game developers, depend upon a steady influx of funds from the video game publisher. If a milestone or deadline is not met (or for a host of other reasons, like the game is cancelled), funds may become short and the developer may be forced to retrench employees or declare bankruptcy and go out of business. Game programmers who work for large publishers are somewhat insulated from these circumstances, but even the large game publishers can go out of business (as when Hasbro Interactive was sold to Infogrames and several projects were cancelled; or when The 3DO Company went bankrupt in 2003 and ceased all operations). Some game programmers' resumes consist of short stints lasting no more than a year as they're forced to leap from one doomed studio to another. This is why some prefer to consult and are therefore somewhat shielded from the effects of the fates of individual studios. [edit] Languages and tools MicrosoftVisual Studio is one of the tools (an IDE) that game programmers may use to build games for Windows or the Xbox. Most commercial computer and video games are written primarily in C++, C, and some assembly language. Many games, especially those with complex interactive gameplay mechanics, tax hardware to its limit. As such, highly optimized code is required for these games to run at an acceptable frame rate. Because of this, compiled code is typically used for performance-critical components, such as visual rendering and physics calculations. Almost all PC games also use either the DirectX or OpenGLAPIs (or SDL) to interface with hardware devices. Xbox games use an API similar to DirectX. Various script languages are also used for the generation of content such as artwork and especially AI. Scripts are generally parsed at load time (when the game or level is loaded into main memory) and then executed at runtime (via logic branches or other such mechanisms). They are generally not executed by an interpreter, which would result in much slower execution. Scripts tend to be used selectively, often for content design and high-level game logic. Some games are designed with high depedency on scripts and some scripts are compiled to binary format before game execution. In the optimization phase of development, some script functions will often be rewritten in a compiled language. Java is used for many web browser based games because it is cross-platform, does not usually require installation by the user, and does not pose security risks, as may a downloaded executable program. Java is also the dominant language for mobile phone based games. Adobe Flash is also a popular development tool for browser-based games using the ActionScript language (there is some debate as to whether Flash actually constitutes a "language," but it is a popular web-based game development medium). As games have grown in size and complexity, middleware is becoming increasingly popular with the industry. Middleware provides greater and higher level functionality and larger feature sets than the standard lower level APIs such as DirectX and OpenGL, such as skeletal animation. In addition to providing more complex technologies, some middleware also makes reasonable attempts to be platform independent, making common conversions from, for example, PC to PS2 much easier. Essentially, middleware is aimed at cutting out as much of the redundancy in the development cycle as possible (for example, writing new animation systems for each game a studio produces), allowing programmers to focus on new content. Other tools are also essential to game developers: 2D and 3D packages (for example Photoshop, Maya or 3D Studio Max) enable programmers to view and modify assets generated by artists or other production personnel. Source control systems keep source code safe, secure and optimize merging. IDEs with debuggers (such as Visual Studio) make writing code and tracking down bugs a less painful experience. See also: Game development tool and Tools from game programming [edit] Notable game programmers Main article: List of video game industry people#Programming A few game programmers have garnered renown among game developers and game players alike.
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بصي يا سندريلا انا عندي الملف الاول حنزلة لما اترجمة ان شاالله
ونزلتلك الملف التاني والتالت اما الباقي ما نفتحوش معاي شوفيهم تاني واتمنا انك فهمتيني لاني مزقت الكلام السعودي بالمصري وكل دة عشانك يا ختي
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ربنا يخليكي وانا هكمل وشكرا ليكي جدا انا فهمت
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Topics in journalism Professional issues News • Reportage • Writing • Ethics • Objectivity • Values • Attribution • Defamation • Editorial independence • Education • Other topics Fields Arts • Business • Entertainment • Environment • Fashion • Politics • Science • Sports • Tech • Trade • Traffic • Weather Genres Citizen journalism Civic journalism Community journalism Gonzo journalism Investigative journalism Literary journalism Narrative journalism New Journalism Opinion journalism Visual journalism Watchdog journalism Social impact Fifth Estate Freedom of the press Infotainment Media bias News propaganda Public relations Yellow journalism Magazines News agencies Broadcast journalism Online journalism Photojournalism Alternative media Vlog Roles Journalist • Reporter • Editor • Columnist • Commentator • Photographer • News presenter • Meteorologist Video game journalism is a branch of journalism concerned with the reporting and discussion of video games. It is typically based on a core reveal/preview/review cycle. There has been a recent growth in online publications and blogs, and stylistic revolts in games journalism including New Games Journalism. Contents [hide]
The credit for first magazine to cover the video game industry which is still in continuous publication has to go to the subscription only, trade periodical Play Meter magazine which began publication in 1974 and covered the entire coin-operated entertainment industry. The first consumer oriented print magazine dedicated solely to video gaming was Computer and Video Games which premiered in the U.K. in November of 1981, two weeks ahead of the U.S. launch of the next oldest video gaming publication Electronic Games magazine. The oldest video game publication still in continuous circulation (as of 2005) was Computer Gaming World, or CGW (now known as Games For Windows), which also debuted in 1981 but does not get credit for being first all around as it began publication as a bi-weekly newsletter before becoming a full scale magazine. [edit] History of web based video gaming magazines There are conflicting claims regarding which of the first two electronic video game magazines was "first to be published regularly" online. Originally starting as a print fanzine in April of 1992[1], Game Zero magazine, claims to have launched a web page in November of 1994,[2] with the earliest formal announcement of the page occurring in April of 1995. Game Zero's web site was based upon a printed bi-monthly magazine based in Central Ohio with a circulation of 1500 that developed into a CD-ROM based magazine with a circulation of 150,000 at it's peak. The website was updated weekly during it's active period from 1994-1996. Another publication, Intelligent Gamer Online ("IG Online") debuted a complete web site in April of 1995, commencing regular updates to the site on a daily basis despite its "bi-weekly" name.[3] Intelligent Gamer had been publishing online for years prior to the popularization of the web, originally having been based upon a downloadable "Intelligent Gamer" publication developed by Joe Barlow and Jeremy Horwitz in 1993.[4] This evolved further under Horwitz and Usenet-based publisher Anthony Shubert[5] into "Intelligent Gamer Online" interactive online mini-sites for America Online (AOL) and the Los Angeles Times' TimesLink/Prodigy online services in late 1994 and early 1995. At the time, it was called "the first national videogame magazine found only online."[6] Game Zero Magazine ceased active publication at the end of 1996 and is maintained as an archive site. Efforts by Horwitz and Shubert, backed by a strong library of built up web content eventually allowed IG Online to be acquired by Sendai Publishing and Ziff Davis Media, the publishers of then-leading United States print publication Electronic Gaming Monthly who transformed the publication into a separate print property in February of 1996.[7][8][9] [edit] New Media and games journalism The traditional video games press has suffered the most at the hands of New Media. Gaming is a technological past-time, thus many gamers, defined here as those interested enough to consider purchasing printed gaming publications, can use the Internet for finding relevant information. This, coupled with the fast pace of the games industry, has eroded the influence of print in computer game journalism. For contrast a typical print magazine is published monthly, and will have on average a three month lead time between when any given article or review is written to when it is finally delivered into the readers hands. This creates a situation where print media is always a couple of months behind their on-line counterparts in covering news.[citation needed] Future Publishing exemplifies the old media's decline in the games sector. In 2003 the group saw multi-million GBP profits and strong growth,[10] but by early 2006 were issuing profit warnings[11] and closing unprofitable magazines (none related to gaming).[12] Then, in late November 2006, the once-great publisher reported both a pre-tax loss of £49 million ($96 million USD) and the sale - in order to reduce its level of bank debt - of Italian subsidiary Future Media Italy.[13] In mid-2006 Eurogamer's business development manager Pat Garratt wrote a criticism of those in print games journalism who had not adapted to the web, drawing on his own prior experience in print to offer an explanation of both the challenges facing companies like Future Publishing and why he believed they had not overcome them.[14] This then combined with the move away from mass media outlets towards niche experts to create a growing market for bespoke games writing. This gaming coverage, rather than trying to be objective, acknowledges that it is written from a certain perspective. Some outlets, Game People's social media for example, even use this bias as a unique selling point of their content. [edit] Independent games journalism While self-made print fanzines about games have been around since the advent of the first home consoles, it was the inclusion of the internet in the lives of most gamers that gave independent writers a real voice in video game journalism. At first ignored by most major game publishers, it was not until the communities developed an influential and dedicated readership, and increasingly produced professional (or near-professional) writing that the sites gained the attention of these larger companies. Independent video game websites are generally non-profit, with any revenue going back towards hosting costs and, occasionally, paying its writers. As their name suggests, they are not affiliated with any companies or studios, though bias is inherent in the unregulated model to which the subscribe. While many independent sites take the form of blogs (the vast majority in fact, depending on how low down the ladder you look), the 'user-submitted' model, where readers write stories that are moderated by an editorial team, is also popular. In recent times some of the larger independent sites have begun to be bought up by larger media companies, most often Ziff Davis Media, who now own a string of independent sites. Thirteen1, an online gaming (MMO based) zine is the latest publication that claims to be independent. [1] Issue 1 & 2 (which available to read free via the Thirteen1 website) listed vacancies looking for independent game reviewers in their recruitment section of the magazine. [2] [edit] Ethics Main article: Journalism ethics and standards The computer and video game media industry is criticised for holding lax journalistic standards.[15] Reviews are the most controversial area, with issues in the following areas: Conflicts of interest A publication reviewing a game when it has received advertising revenue from the game's publishers or has been invited to lavish 'press day' parties is often held in suspicion.[16] Reviews by 'official' console magazines such as Nintendo Power, Official Playstation Magazine or the Official Xbox Magazine, all of which have direct financial ties to their respective platform holders, usually find themselves in similar positions. Publishers have been known to withhold material and/or advertising money from publications that do not adhere to their wishes (e.g. making the game in question the cover story) or do not show the game in a positive light. Time spent on the game Unlike linear media, getting a complete sense of a game can require far longer than the time it takes to play it from start to end. Further to this, games such as RPGs can last for hundreds of hours. Computer and video game reviewers therefore tread a fine line between producing timely copy and playing enough of a game to be able to reliably critique it. A famous expose of underplaying was published by Penny Arcade's Mike Krahulik in September 2006: he dissected a review of Enchanted Arms and among other findings concluded that the reviewer had barely played three hours of the game's fifty before forming his opinion.[17] GameDaily's Chris Buffa produced a series of widely-read articles in July and August 2006 that criticize computer and video game journalism's standards and practices and made suggestions for improvement:
[edit] New Games Journalism
New Games Journalism (NGJ) is a video gamejournalism term, coined in 2004 by journalist Kieron Gillen, in which personal anecdotes, references to other media, and creative analyses are used to explore game design, play, and culture.[18] It is a model of New Journalism applied to video gamejournalism. Gillen's NGJ manifesto was first published on the now defunct state forum/website, a community of videogame players often engaged in discussion and analysis of their hobby, from which an anecdotal piece, Bow Nigger, had appeared. Gillen cites the work as a major inspiration for and example of what NGJ should achieve and the piece was later republished in the UK edition of PC Gamer, a magazine with which Gillen has close professional ties. Most New Games Journalism articles are not reviews of games in the traditional sense. They can instead be understood as being analogous to travel journalism, where the writer responds to subjective experiences presented to them by the game world, as well as interactions with other players online, real-world events surrounding gameplay, and other personal experiences and anecdotes which create a unique story. The story is not necessarily indicative of the experience any other player will have with the game and will be unlikely to offer any objective value-judgements regarding the game's merits or failings[citation needed]. Instead attention is focused on the subjective experience of the person[19] playing the game. [edit] Publications of note See: Category:Video game websites See: Category:Video game magazines [edit] Consumer Blogs - Joystiq, Kotaku Two mass-appeal blogs that rose to prominence at similar times. Often carrying the latest rumours and hype, they are viewed as being the primary tabloid games journalism sites.[20] Online - 1UP, IGN, GameSpot, GameSpy The four stalwarts of online games journalism. All attempt to cater to a wide audience, contain enormous amounts of information on all the major platforms, offer paid subscriptions (with the exception of 1UP) and have extensive community features. Online - Eurogamer A relatively young online site with an unusually lean design. Primarily serves English-speaking, European gamers. As of April 2007 offers a similar level of community features as the four other major sites (see above), but still no paid subscriptions. Online - Bit-tech.net A UK based hardware and games website with both UK and USA based writers. Bit-tech features extremely in-depth reviews for PC games, often involving graphical analysis as well as gameplay discussion. As such game reviews tend to be much, much longer than those from other sites and this has bought Bit-tech considerable attention from hardcore PC gamers. Community-driven - Evil Avatar A site for which most content is user-generated. An on-staff editorial team across most time zones moderate submissions and post those that are considered worthy, leaving the site in a niche between the frenzy of Joystiq and Kotaku and the slow-moving larger sites. Subsists on a combination of donations and advertising. Computer Gaming World Edge Electronic Gaming Monthly Famitsu Game Informer Nintendo Power Official Playstation Magazine Official Xbox Magazine Play PC Gamer [edit] Trade publications Print/Online - MCV Weekly publication with circulation of 10 000. [3] Print/Online - Develop Reaching over 8,000 professionals within the game development sector every month, Develop is targeted at programmers, producers, artists and musicians. [4] Blog - GamePolitics.com A recognized link to the world of politics, usually American. In contact with Jack Thompson and several other such political/legal figures. Originally a one-man effort run by journalist Dennis McCauley that was purchased by the Entertainment Consumers Association.[citation needed] Blog - Video Game Media Watch[5] Online - Gamasutra Online - GamesIndustry.biz Online magazine, Print - Game Developer Magazine
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Great Swyrs You Are Very Reliable Best Wishes |
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thaaaaaaanx bro we have to help each others
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Great I Will Share Please Give Me File To Do It Waiting Thanks |
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I have posted 2 above
and she has posted one
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Video game developer Types of developersFrom Wikipedia, the free encyclopedia Jump to: navigation, search A video game developer is a softwaredeveloper (a business or an individual) that creates video games. A developer may specialize in a certain video game system, such as the SonyPlayStation 3, the MicrosoftXbox 360, the NintendoWii, or may develop for a variety of systems, including personal computers. Some developers also specialize in certain types of games, such as RPGs or FPSs, an example of which would be Square Enix who are mainly associated with the RPG genre. Some focus on porting games from one system to another. Some focus on translating games from one language to another, especially from Japanese to English. An unusual few do other kinds of software development work in addition to games. Most video game publishers, such as Electronic Arts, Activision, and Sony, also maintain development studios. However, since publishing is still their primary activity, they are generally described as "publishers", rather than "developers". Contents [hide] Video game developers fall into one of three main categories: third-party developers, in-house developers, and the smaller independents. Developers usually employ a staff of programmers, game designers, artists, sound engineers, producers and game testers, though some of these roles may be outsourced. Confusingly, an individual person in any one of these roles may be referred to as a "video game developer".
Historically, the preferred development method has shifted several times. The original arcade and console games of the 1970s and early 1980s were developed in-house by manufacturers such as Atari and Williams, with each game using a single programmer. Meanwhile, the home computer market attracted hobbyist programmers who lacked the resources to publish their own games, which led to the first developer-publisher relationships. Although the earliest of these developers were effectively independents, selling directly to computer stores, industry trends towards larger, more expensive games and larger publishing contracts for national and global retail encouraged the development of a strong third-party[citation needed]. By the 1990s, independent development had almost disappeared from the industry consciousness, with a rare exception in id Software. In the mid-2000s, however, independents have seen a renewal of industry attention, primarily due to concerns over the overwhelming scope and cost of the games that major retail publishers now demand. Some developers are responding to these pressures either by leaving the retail publishing market entirely, or by streamlining their process with a new emphasis on outsourcing the bulk of their work, much as movie studios do[citation needed]. Third-party developers Third-party developers are usually called upon by a video game publisher to develop a title for one or more systems. Both the publisher and the developer have a great deal of say as to the design and content of the game. In general, though, the publisher's wishes trump the developer's, as the publisher is paying the developer to create the game. The business arrangement between the developer and publisher is governed by a contract, which specifies a list of milestones intended to be delivered, for example, every four to eight weeks. By receiving updated milestones, the publisher is able to verify that work is progressing quickly enough to meet the publisher's deadline, and to give direction to the developer if the game is turning out other than as expected in some way. When each milestone is completed and accepted, the publisher pays the developer an advance on royalties. The developer uses this money to fund its payroll and otherwise fund its operations. Successful developers may maintain several teams working on different games for different publishers. In general, however, third-party developers tend to be small, and comprised of a single, closely-knit team. Third-party game development is a volatile business, as small developers may be entirely dependent on money from one publisher. A single canceled game can be lethal to a small developer. Because of this, many of the smaller development companies last only a few years or sometimes only a few months. The continual struggle to get payment for milestones and to line up the next game contract is a persistent distraction to the management of every game developer. A common and desirable "exit strategy" for an extremely successful video game developer is to sell the company to a publisher, and thus become an in-house developer. In-house development teams tend to have more freedom as to the design and content of a game, compared to the third-party developers teams. Part of the reason for this is that since the developers are employees of the publisher, their interests are as exactly aligned with those of the publisher as is possible. The publisher can therefore spend much less effort making sure that the developer's decisions do not enrich the developer at the ultimate expense of the publisher. In recent years the larger publishers have acquired several third-party developers. While these development teams are now technically "in-house" they often continue to operate in an autonomous manner, each with its own culture and work practices. For example: Activision acquired Raven (1997), Neversoft (1999), Z-Axis (2001), Treyarch (2001), Luxoflux (2002), Shaba (2002), Infinity Ward (2003) and Vicarious Visions (2005). All these developers continue to operate much as they did before acquisition, with the primary differences being in exclusivity and the financial details. History has shown that publishers tend to be more forgiving of their own development teams going over budget and missing deadlines than third-party developers. An in-house development team that works for a console hardware manufacturer is also known as a first-party developer. A company that is closely tied to a console manufacturer (or occasionally a publisher) is known as a second-party developer. Rather confusingly the publishers themselves are sometimes referred to as third-party developers in the context of their relationships with the console manufacturers (Sony, Microsoft and Nintendo). This particular distinction of first, second and third party developers does not generally apply to PC games development. Independent developers Independents are small software developers that are not owned by or beholden to a single publisher. Some of these developers self-publish their games, relying on the Internet and word of mouth for publicity. Without the huge marketing budgets of mainstream publishers, their products never get as much recognition or popular acclaim as those of larger publishers. However, they are free to explore experimental themes and styles of gameplay that mainstream publishers would not risk their money on. With the advent of digital distribution of inexpensive games on current game consoles, it is now becoming possible for independent developers to make direct deals with console manufacturers to get wide distribution for their games, such as Everyday Shooter, a downloadable PS3 game entirely created by a single person. Other independent developers create game software for a number of video game publishers on various gaming platforms. In recent years this model has been in decline, with the larger publishers such as Electronic Arts and Activision increasingly turning to internal studios, usually former independent developers that they have acquired for the majority of their development needs. Quality of life Video game development is usually performed in an extremely casual business environment. T-shirts and sandals are common work attire. Work hours are usually flexible; many developers start the work day at 10:00 AM, though employees usually work at least a full 40 hours a week. Employees are paid fairly well for what seems to outsiders to be light work. Many developers have some sort of profit-sharing plan to reward their employees.[1] Many find this type of environment to be rewarding and pleasant, both professionally and personally. However, the industry is also known to require generally high working hours of its employees, sometimes at a level seen as unsustainable and destructive. [2] It should be noted that in addition to being within the software industry, game development is also within the entertainment industry, and most sectors of the entertainment industry (such as movies and television) are generally known to require long working hours and dedication from their employees. The creative rewards of entertainment industries in general attract more potential labor to the industry than some others, creating a competitive labor market within the industry and thus requiring a higher level of performance from those who wish to remain competitive as employees. However, even given this, many feel that current working conditions in the industry are causing significant deterioration of the quality of life of its employees, and within industry communities (such as the IGDA) there is an increasing amount of discussion about the problem. Factors such as 'crunch time', described below, tend to heighten the overload. Crunch time Most video game developers are notorious for overworking their employees. "Crunch time" is the point at which it is not going to achieve everything needed in order to complete the milestone on time, meaning the publisher will not pay the developer until the milestone is indeed completed; and since most development companies are such small operations, this presents a real risk that the company won't be able to pay its employees on time. Worse threats occur when it becomes apparent that the team won't be able to ship the game, as a whole, on time. An extremely common management response to this is to invoke "crunch time", dictating a 60- to 80-hour week with work over the weekends, in the hope that the team will be able to catch up. The complexity of the work flow in video game creation makes it very difficult to manage the team's schedules, meaning that it is an unusual project that does not surprise its managers with slippage at some point. Controversially, employees in the United States are not paid overtime pay when crunching, as all developers maintain salaried employees. Salaried employees are classified as exempt, who are not paid by the hour, and are classified as "professionals". Therefore, most state laws on overtime pay do not apply. A notable exception is California where software developers are specifically protected by enforcing a minimum hourly wage (for every hour worked) to be considered exempt.[3] As of 2008, due to the amendment to California Labor Code Section 515.5 by Bill SB 929 [4], this minimum wage of $36/hour works out to be USD $74,880 per year. Attention to crunching came to something of a head in 2004 when a blog entry titled "ea_spouse", a manifesto of sorts, was published. Railing against the cruelty of crunch time, it was posted by Erin Hoffman, the then-fiancee of Electronic Arts developer Leander Hasty (Hasty and Hoffman have since joined an independent development studio, 1st Playable Productions [1], and founded a website oriented towards the discussion of the game development environment industry wide, Gamewatch [2]). Hoffman said her life was being indirectly destroyed by the company's work policy. This led to a great deal of debate in the industry, but without any visible changes until March 2005, when Electronic Arts internally announced that it was planning to extend overtime pay to some of its employees not currently eligible
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A handheld video game is a video game designed for a handheld device. In the past, this primarily meant handheld game consoles such as Nintendo's Game Boy line. In more recent history, mobile games have become popular in calculators, personal digital assistants (PDA), mobile phones, mp3 players, and other similar portable gadgets. In the past decade, handheld video games currently have become a major sector of the video game market. In 2004 sales of portable software titles exceeded $1 billion in the United States for the first time, an 11% increase from the previous year.[1] For dedicated handheld games that do not have interchangeable cartridges, disks, etc., or are not reprogrammable, see handheld electronic games. For games on mobile phones, see mobile games. Contents [hide]
History Handheld video games grew out of handheld electronic games that were popular from the 1970s through the mid 1990s. The key factors in contributing to the advance of handheld video games were the increase in processing power, technological advances in liquid crystal displays (LCDs), and the reduction of power requirements. Handheld video games grew immensely in popularity, thanks to the Game Boy released in 1989. Tetris was considered the "killer app" for the console, and popularized the action puzzle genre. Popular genres Due to the portable nature of the platform, the game genres that are popular on video game consoles are not necessarily the same genres that are popular on handhelds. This is partly due to a constant game of technological catchup for handhelds; they are usually about 1-2 generations behind in terms of graphic capabilities than their AC-powered brethren. In addition, there is a demand to keep the device small, so there are much fewer controls on handhelds than on other systems; this results in games that cannot be as complex. Typically due to the limited time that most users have when on the go, the average gametime duration is much shorter. Hence games that are quick to play, such as sidescrolling platformers and action puzzle games are very popular. It is important to note that there is solid-state storage for handheld titles, whether it be in the form of a memory card, or EEPROM. On the whole, even with the capability to save games, consumers prefer less time-consuming titles. More complex game types, such as adventure or first person shooters, are less popular. Puzzle
Platform
RPG Due to the low technical demands of the turn based, menu driven RPG, they have often found homes on handheld systems, often based on a console RPG. Those games that have met with the most success have been collection-centered or anime-based RPGs such as:
The Pokémon series has met with so much success that Nintendo has released special editions of the Game Boy Advance and Game Boy. These bundles had the game systems in exclusive colors (such as Pikachu yellow) and were bundled with the popular game of the time. Nintendo has reported that over 15 million dollars in sales have been generated by the Pokémon franchise.
Classic Due to the simplistic nature of the video and arcade games of the 1980s, many classic titles have been re-released in handheld form. For example, the Nintendo e-Reader for the Game Boy Advance allowed a small library of classic NES titles to be played on the handheld. e-Reader titles included Excitebike and Ice Climber. Classic games have also been released for cellphones, such as the Intellivision game library and arcade classics including Galaga, Afterburner and Pac-Man. The Apple iPod features two games from the late 1970 and early 1980s: Breakout and Parachute. Since the release of the GP32; homebrew and emulated gaming for games previously only playable on living room consoles have magically transformed standard console games from the past into handheld ones. Later, the GBA Movie Player was released to allow NES games to be played on the GBA via PocketNES emulator. Subsequent to that, the GP2X has been released. Since many emulators and interpreters for classic computer games have been written for GP2X, classic games have gone handheld; even old DOS games have gone handheld on the GP2X on GP2X's version of DOSBox. The PSP however, only supports homebrew and emulation to a minor extent. And that its market share in the homebrew community has been slashed after the release of GP2X. Card games While not particularly popular on handheld game consoles, card games such as Texas Hold 'Em, Blackjack, and Solitaire are extremely popular on cellphones and PDAs. Strategy games Final Fantasy Tactics Advance(a Tactical RPG) and the Advance Wars series are examples of strategy games that has shown popularity for the genre on handhelds. Other games such as Luminous Arc, Heroes of Mana, and Age of Empires: The Age of Kings popularized strategy games for handhelds even further on the Nintendo DS thanks to its touch screen interface. Features unique to handheld gaming Linking to other handhelds Most handheld systems are capable of linking to others of the same type via a cable that connects two or more handhelds, usually to a maximum of 4. This feature allows both multiplayer gaming and other uses such as item or data transfer between cartridges. The Atari Lynx supported connectivity for up to 17 units at once. The N-Gage introduced wireless connectivity via Bluetooth, allowing multiplayer games between handhelds with no cable. This was also a feature in the Nintendo DS and PSP, using the Wi-Fi standard. ] Linking to console games Nintendo's Transfer Pak allows transfer of data from compatible Game Boy cartridges to their Nintendo 64 counterparts: e.g. allowing Pokémon from the Game Boy game to be used in Pokémon Stadium for the N64. Similarly, the Game Boy Advance can be linked to the Nintendo GameCube with the Nintendo GameCube Game Boy Advance cable, which allows the GBA to be used as an extra controller with a second screen. The Nintendo DS can wirelessly link with the Wii console. Likewise, the PSP can connect wirelessly to the PlayStation 3. Multi-tasking On non-dedicated gaming platforms, such as Cellphones, it is important for the game running to not be the highest priority of the hardware/software system. On these devices, the operating system will interrupt the gaming session with something like an incoming call, a scheduling alert, a low-battery warning, etc. Availability Gaming platforms As with traditional video game systems, there are dedicated and console systems. Dedicated handheld video games have a specific set of software are almost always bundled with the hardware unit. However, the release of the GP2X has blurred the difference between "dedicated" and "handheld" since high-capacity user-rewritable solid state memory cards (e.g. SD card) can store ROM images to emulate on emulators ported to the GP2X and that TV-out can be done with the GP2X. In terms of handheld game consoles, there are two subcategories of systems; ones that are a re-engineered portable version of a set-top console that are compatible with existing cartridges, or new systems and platforms that are exclusively designed and use portable media types. The Sega Nomad, the PSOne, and the Turbo Express are good examples of re-engineered portable systems, however the PSOne is only semi-portable (i.e. cannot fit in your pocket). The Game Boy Advance, the Sega Game Gear, and Neo Geo Pocket are examples of entirely created platforms, although it should be noted that the Game Boy Advance was built largely upon the Super Nintendo system architecture and that the Sega Game Gear is a retooled version of the Sega Master System.[citation needed] Non-gaming platforms With the increasing convergence of electronic peripherals made possible by rapid technology advancements, handheld video games are now available on a wide variety of platforms, not just exclusive gaming ones. PDAs, although not a gaming platform, had many games, ports or exclusively designed, for the devices. All modern cellphones include and run gaming software, usually Java or BREW based. Graphing calculator gaming is popular among college and high school students. The popular Apple iPod mp3 player includes several bundled games, allows users to download new games from the iTunes Store, and clever enthusiasts have been modifying the software to allow for further gaming utilization. Some mp3 players that do not play games out of the box could be made to do so by installing Rockbox or other alternative firmware. Even some watches, such as the Timex Datalink are capable of playing games. The website It Plays Doom (now no longer online; link goes to an archived page) was dedicated to listing all the portable devices currently capable of playing the popular first person shooter; this ever-growing list includes PDAs, digital cameras, and cellphones.
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