AI In Games

Ever since the advent of video games there existed the concept of automating behaviour. Where an NPCs (enemies and allies) does things of their own "will". Of course we all know NPCs in video games do not have their own wills (or do they?) but instead enact certain actions depending on a predefined set of parameters.

"GOOOOMBAA! GOOOOMBAAA!"

A good example is the goomba in Super Mario Bros. Within the game the goomba's behaviour is rather simple, after it spawned or loaded into the game it acts in a specific way depending on preexisting parameters. Those most likely being:
-  move in given direction (left or right) until gooba collides with wall (or pipe) then reverse movement direction
- if collides with player, deal damage. UNLESS the player collides with the goomba from the top A.K.A the player jumps on the goomba, in that case DIE (stop movement, play death animation, and remove goomba from the game).

But as time went on and games became more and more sophisticated they required the NPCs to perform more complex behaviours such as flanking in an FPS or getting offended by a player's response in an RPG. Eventually These behaviours got around to being called artificial intelligence even though the behaviours are still being based on these predefined parameters.

Though there are still problems that arose with the increase in complexity of NPC AI such as:

OR

The field of AI is constantly improving and expanding, striving to improve itself to make NPCs more dynamic in performing complex and simple actions, such as navigating a level (but when I say "simple" I mean in terms of the action itself not the design and implementation). An old method of AI navigation through a level was to create path or a set of points or nodes in a level which the NPC would follow like a bread crumbs, though with the nodes the NPC would have to either already have the location of the next node or they would detect the location of the next node. This was created very rigid AI in that the NPCs were limited in there behaviour to a certain path. But don't get me wrong, this does not mean that this method is bad. In fact, this can be quite useful for sequence heavy games, in other words games that progress in a very controlled manner such as the Sherlock Holmes games where the player cannot really influence the environment outside what the what the game allows. Facepalm* ugh, I can't believe I just wrote that. I was going to erase that sentence but I decided to leave it in, let the world bear witness to my shame! Of course, the player can't influence the environment outside what the game allows! That would be cheating! What I meant to say was that the player cannot do much other than what the game wants them to do.

But what about games such as Resistance 2 where players are expected to move freely within a level? These games use something called a nav mesh which is, essentially, a very low poly version of the level. This mesh, which is invisible to the player, is laid on top of the actual level and is used by the NPCs to navigate the level. Each polygon of the mesh acts like a node which the NPCs can follow. But instead of being limited to one node such as in the previous method, the NPCs are capable of using most if not all the polygons on the mesh. These polygons can grouped together, sometimes denoted by different colours, to signify different features of the level such as elevated surfaces. These groups can be used to trigger behaviours such as climbing up onto a platform.

All in all, game AI helps to provides players with games where players can act freely with their environment, immersing them deeper into the game world as they walk with, talk with, and sometimes horribly murder NPCs.

sources
http://www.gdcvault.com/play/1014700/Finding-Your-Way-with-Havok

http://www.insomniacgames.com/navigation-gdc11/

http://images3.wikia.nocookie.net/__cb20121207200146/nintendo/en/images/2/2a/New_Super_Mario_Bros_Wii_Goomba.jpeg

http://www.youtube.com/watch?v=sYmSi9JWFgw

http://www.youtube.com/watch?v=MI8NxYb8A0M

http://www.youtube.com/watch?v=ns4yPqrlOdk

http://www.youtube.com/watch?v=4KtklVO84no

Seas of Sand

Journey is an adventure game that was released on the PlayStation Network on March 19^th, 2012. Since the time of its release it has received international acclaim and, personally, I think it can be used as very strong evidence for the argument that games are art or at least can achieve the level of art.

Recently I was finally able to play a bit the game and found that it provided a compelling and awe inspiring experience. Right from the beginning the story hooked me immediately with its mystical and mysterious elements. The questions of who you are? What you are? And what happened to the mysterious civilization that now laid in ruin and near buried by the oceans of sand drove me further into the world of the game.

Though a good part of what made the game so compelling was the amazing visuals that the game provided through its unique art design. But the most beautiful part of the game was not the flowing scarf or the landscape/architecture, it was the sand. It was how it flowed, how it billowed and waved. It looked so natural yet at the same time seemed magical in how it glittered and moved. When I saw it I wondered how they did it and came to the conclusion that they probably used some height map to get that wavy effect then used an assortment of shaders to get the glitter effect of the sand. But how did they really do it? Thanks to the miracle of the internet I was able to find a PowerPoint presentation that details how they did it. To be honest my answer was mostly correct but then again my answer was so broad I can’t see how my answer could not be at least partially right. It’s like asking someone “how did people achieve flight?” and that person answering “with a flying machine”.

So, how did they create those mystifying sands? First used a detailed mipmap to bring out and maintain the grainy look of the sand at varying distances from the camera. This is different that using a normal mipmap because in a normal mipmap the details of the texture get smaller or less defined as you downsample, this did not create the desired effect so in order to fix this doubled the normals when they downsampled which maintained graininess of the sand textures.

Next they wanted to simulate the sparkling effect of sand as light is reflected off those tiny glass pebbles into your eyes. Initially they tried using specular reflection but found that the glitter points seemed to be too spread out, it was like being “clubbed in the head” as John Edwards put it. To rectify this they instead use an “ambient specular” in relation to the “normal dot view” which created less spread. But there was a problem with this, and that was in some areas of the level the specular shader goes a little crazy. This is where the anisotropic filtering they game uses fails, and removing the filtering all together is not possible since it made the world look like it was covered in dollar store glitter. They fixed this by covering up wherever they filtering failed with a texture that provided predictable values given perfect anisotropic filtering. Then when they added in the effects from the other shaders, the problem areas were displayed in black and were covered therefore fixing their filtering problem.

But this left their glittery sand not as glittery. So how did they fix this? By adding MORE specular! They added in a column of specular reflection, this effect is typically seen on large bodies of water but never on sand. But you know what? It looked good, so who cares.

ocean of sand

They also used a modified diffused shader since they found that a lambert shader was boring. Essentially they used hacky method that increased the contrast between the light side of and the dark side of objects which is the prime characteristic of another method they wanted to use called the Oren-Nayer method but it was too expensive in terms calculations.

you can really see that contrast in the dune to the right

Lastly, they used detailed height map. The main dunes in Journey were created using a low resolution height map but for those smaller waves the dev team used four “tiles” of height maps which they lerped between, depending the values of each vertex’s x or z values.

Overall, the dev team over at That Game Company did a spectacular job in creating the amazing sands that mesmerized all who played their great game.  

sources 

Edwards, John. "Sand Rendering In Journey". Date Last Modified 12 Nov. 2013. Microsoft PowerPoint file.

http://thatgamecompany.com/wp-content/themes/thatgamecompany/_include/img/journey/journey-game-screenshot-1-b.jpg

http://media.moddb.com/images/games/1/21/20088/journey-game-screenshot-8-b.jpg

http://media-c.shopto.net/ShopToMedia/images/screenshots/PS3JO03/A.jpg

http://static.giantbomb.com/uploads/original/8/88760/2204681-vlcsnap_2012_05_11_19h58m37s41.png

God of Cameras

They are by far one of the most important elements of a game because without them, you wouldn’t be able to see anything! Yet cameras seem to be one of the most overlooked elements of games from the player’s standing when done right, and that’s the point. Cameras provide (literally) a view into the world of the game and the lives of the characters within it by providing a dynamic, fluid experience that, with the help of other game elements, draws the player into the game. When done right, the players should forget that the cameras even exist but when something goes wrong this illusion is broken which usually results in disgruntled players and badly made “let’s play” YouTube videos.

A great example of a game that makes good use of cameras is God of War 3 in that it provides an exciting, empowering experience that often leaves the player in awe. But what do cameras have to do with beating the snot out of monsters? The Answer? EVERYTHING! God of War 3 strives to a cinematic experience, so everything from those epic boss fights to those amazing landscape shots, which are characteristic of the God of War games, would be lessened in greatness if not for the heavy scripting of the cameras.

But how did the development team do it? Well it first starts with the level layout coming from the level designer and ending up in the hands of the camera designers. These are the guys the place the cameras within the levels which give you those changing views within the game. Once the camera designers have finished placing the cameras within the scene, they have it play-tested to make sure they provide an enjoyable experience. They then hand the level off to the art department where the level undergoes a super amazing makeover and is sent back to the camera designers for final adjustment of the cameras. The adjustments are needed due to the level being changed slightly by the cosmetic surgery done by the art department. The camera designers also have to take into account and show off those amazing environment shots that we all know and love (and which the art department slaved over to make). Then when the game runs, the code takes in the camera positions in the level and simply takes the view from the current camera and smoothly interpolates it to the next camera position which results in those smooth changes between camera view angles we see in game.

In closing, God of War 3 relies heavily on camera scripting, controlling what the player sees, and how they see it in game. This is crucial in providing the kind of awe inspiring, adrenaline pumping, and rage inducing experience that God of War 3 gives you.  

sources

http://b.vimeocdn.com/ts/335/108/335108569_640.jpg

http://www.docgamer.com/wp-content/uploads/GoW3-1.jpg

https://www.youtube.com/watch?v=grAiRpLYMW0#t=10

Grind Quest: Information Structures

Information, it is crucial to the creation and playing of games. With it players form their plans and strategies and make their decisions. How this information is given to the player as well as how much of it is given greatly effects how a player acts within game. There are four main types of information structures: open, hidden, mixed, and dynamic; each giving a different feel to games. Traditionally, when one thinks of board games one thinks of chess or checkers. These games are a great example of open information structures as all the information is laid bare for the players, there is nothing hidden to anyone. While games such as, guess who and charades, which consistently keep information from the players can be though of as using hidden information structures as these type of games require the players to guess, deceive, and/or bluff their way through the game. Though most games, especially video games, use some sort of mixture of open and hidden information structures, giving the players some information (such as info on their own resources) while consistently keeping the rest hidden (such as info on their opponent's resources). Dynamic information structures on the other hand change throughout the game, revealing information one moment then hiding it the next. A good example of this is the Age of Empires game where a player can reveal portions of the map by moving units to that location but when those units leave the area is shrouded in darkness once again.

Far Cry 3 is a first person shooter that allows you to explore and traverse a sweeping landscape as you battle the bandits and hunt exotic game. This uses a mixed information structure as it reveals all the information required for the player to finish the game but keeps some information hidden from them such as secret stash locations.

Minecraft is an adventure/building game where you explore the world and gather resources to construct whatever you can imagine. Minecraft uses a open information system as all the information that player needs to play the game is made known to them. This includes the information the player gets form wikis as it would be a mess to put all the information regarding materials and crafts into the game, especially because of the widespread use of mods which can add new materials and crafts to the game. So having a common place that can clearly display any information the player could want and still be easily updated is perfectly justifiable. The specific locations of materials within the game world does not count as hidden information because making something hidden is intentional and the locations is the materials is intentional since they are randomly generated at the creation of the world. It would be like rolling a D20 and it landing on 20 and you saying that you meant to do that.

Uncharted is and action/ adventure game where you take control of the treasure hunter Nathan Drake on his hunt for the the lost city of gold. The game uses a mixed information structure as the information that the player makes use of changes throughout the game as they have a shootout with enemies, then climb an ancient statue, then solve a mysterious puzzle.

Madden NFL 13 is a sports game where you take control of a football team as they face off against another team, either computer controlled or player controlled. This game uses a open information structure as all the information of what is happening in the game is given to the player. This is much like chess in that, despite not know opponent strategies or future moves, both players are fully aware of the positions and movements of their opponent's pieces as well as their own.

Lemmings is a 2D puzzle game where the player must use the skills of their lemmings to create a safe path that leads the lemmings to the end of the level. This game uses an open information structure as there is nothing hidden from the player. All information regarding the skills of their lemmings is given to them and the player is able to survey the entire level so that they are able to plan their actions ahead of time.

Scrabble is a board game that requires the players to form words from the randomly letters they are given in order to obtain points. The game uses a open information system as all the letters that you have, as well as the letters your opponents have can be made known to you and all the words formed on the board can be seen by all players.

Mastermind is a board game that requires the player to guess a sequence of colours. Mastermind uses a hidden information structure because it consistently keeps some information (the colour sequence) hidden from the player forcing them to guess the colour sequence.

Clue is a board game that requires the player to find the murderer of a, well, murder. This uses a hidden information structure as the information regarding who committed the murder and with what weapon is hidden from the player until the end of the game.


http://www.gamingcounter.com/wp-content/uploads/2013/04/Far-Cry-3-wallpaper.jpg
http://assets1.ignimgs.com/vid/thumbnails/user/2013/09/03/minecraft.jpg
http://www.konsolekingz.com/blog/wp-content/uploads/2012/03/LOGOVAR_16.jpg
http://ps3hits.ru/wp-content/gallery/uncharted-drakes-fortune/uncharted_drakes_fortune_1080p_008.jpg
http://s3.amazonaws.com/rapgenius/filepicker/qzNpSWhQiIhcBbkPMsAv_scrabble.jpg
http://siriusbuzz.com/wp-content/uploads/2012/08/Lemmings.jpg
http://www.tnelson.demon.co.uk/mastermind/images/mastermind14.jpg
http://www.misanthropista.com/wp-content/uploads/2012/09/Clue1.jpg

Blog Quest 2:Design Your Game Item Part 2

Amnesia:The Dark Descent is a survival horror game developed by Frictional Games and released on September 8th, 2010 for the PC. The game begins as you wake on a the stone floor of a mysterious castle, you don't know where you are or, more importantly, who you are. Explore the deeper levels of the castle by solving daunting puzzles on your quest to uncover the mystery behind the dark castle in which you are trapped and, perhaps, find out who you are. All the while avoiding the horrible monsters that hunt you.

Amnesia: The Dark Descent relies heavily on mechanics regarding light as all the items that you can collect, aside from puzzle items, relates to either providing you light through the use of tinderboxes or your lantern, or maintaining the light that you have through the consumption of lamp oil. The game usually requires the player to navigate through darkened areas using lit objects or their lantern to aid them. Though the light you create can also hinder you as it makes you more visible to the monsters in the area. This mechanic forces the player to choose between seeing what they are doing and monsters being able to see them or being hidden from monsters and potentially going insane in the darkness.

Within the game there are only two ways to deal with the monsters that roam the halls of the dark castle, to run or to hide. This creates a sense of helplessness within the player which maintains or even heightens the sense for fear and anxiety that the player feels while playing the game. Though I think the addition of another item, string, can add some new mechanics for the developers to play with and subject the players to new levels of hell and horror.

The string could be unraveled over a distance and then pulled or re-raveled again from a distant spot (like from a hiding place). Players can then pile on items in the world, such as books and bottles, onto the string so that when it is pulled/ re-raveled the pile topples over creating a loud noise. This would allow developers to create situations where the player must distract the monster in order to progress. So despite this item allowing the player to take a more proactive role in their goal to avoid the monsters it maintains the sense of fear and anxiety already prevalent in the game as players will be forced out their hiding spots and into open where they could be seen by the monsters. The string can also give the player a sense of hopelessness and despair as the pile of items on top of the string must be assembled by hand so the player runs the risk of toppling the pile themselves, making a loud noise, and therefore drawing the monster to their location. This combined with the mechanics surrounding the need for light can create some truly terrifying situations.

Imagine piling a few these on top of string, without making a single sound, in complete darkness, just avoid a monster a few meters away. You sweating bullets yet?

Sources
http://amnesia.wikia.com/wiki/Amnesia:_The_Dark_Descent
http://valvearg.com/w/images/9/93/Amnesia_Title.jpg
http://www.nag.co.za/wp-content/uploads/2010/11/Amnesia03.jpg
http://s284355199.websitehome.co.uk/wordpress2/wp-content/uploads/2010/09/Ryan-Amnesia.jpg

Grind Quest: Skills, Goal, and Feedback

Zelda: Twilight Princess

Zelda Twilight Princess is an Action/Adventure game where players take the role of Link as he travels throughout the land of Hyrule where players explore ancient temples, battle ferocious monsters and meet great challenges. Link is aided by the magical being Midna, a member of the Twili tribe, and together you will quest to save the land and princess Zelda from the evil Ganondorf.

 Zelda: Twilight Princess was released on November 19th 2006 in North America for the Wii and GameCube consoles. Although the GameCube version played like its predecessors where the player actions of the game were input via button push and joystic wiggling. The Wii version took advantage of the motion control capabilities of the console allow the player to input many of the actions of the game in similar if not exact movements of real life. So if the player swings the Wiimote as if to swing a sword then Link will swing his sword in game.

Feedback within the game include:
Receiving damage
Dealing damage
Swinging sword in various directions
Blocking with shield
aiming with bow
charging arrow shot
firing bow
arrow hitting something
solving a puzzle
receiving treasure from a chest

Overall, The feedback allows the player to use a range of movements to input the various commands of the game. This can put some physical strain on the player making hte ultimate goal of defeating Ganondorf that much more daunting.

Zelda: Twilight Princess, through its various controls and mechanics requires skills such as:

hand eye coordination
Resource management
Problem Solving
spacial awareness
memorization


FTL: Faster Than Light

FTL is a rogue style game where the you take control of a spaceship crew on a courier mission to deliver vital information regarding hte Rebel Army to the Federation Government. The Rebel Army, desperate to get this information back is constantly hunting you as you traverse through several systems on your way to Federation space. Along the way you will encounter different situations that will force you to make decisions that will drastically change how your journey unfolds.

Faster Than Light was released on Friday 14th, 2012 for the PC and uses the main control apparatus for PCs, the mouse and keyboard. This allows the game to use the common control mechanics that most games use.

Feedback within the game includes:

Intruder warnings

Fire warnings

Equipment  condition indication

Crew health

Crew skills

Power levels

Power distribution

Quest indicator on map screen

Amount of salvage owned

Amount of missiles/drone parts owned

Ship health

Damage taken from different weapons (damage taken from missiles has different animation and sound than damage from lazer)

Enemy crew health

Enemy ship health

Damage done to enemy ship with various weapons

Hows does the feedback

This feedback mostly provides some sort of information either about the crew, the ship or on any external elements such as enemy ships, merchants, or environmental hazards. This gives the player an accurate indication of information so that the player can react accordingly to the events happening in the game. Though the game is designed is such a way that no decision gives the player an overall advantage in the game.

FTL through its mechanics and controls requires skills such as:

Adaptability
Problem Solving
Resource Management

Street Fighter 4

StreetFighter 4 is a 2 and a half D fighting game where you and an opponent chooses from a variety of characters and go head to head to defeat one another. Each character posses their own set moves and statistics (though the states are not shown) that make each selection potentially different.

Feedback within the game includes:

Player health

Opponent health

Player wins

Opponent wins

Player moves

Opponent moves

Player takes damage

Player deals damage

Opponent takes damage

Opponent deals damage

Time limit

Power level indicator

Street Fighter 4 through its mechanics and controls requires skills such as:

Quick Reflexes
Memorization
Adaptability


Other types skills that I could employ that people could enjoy in my games are skills such as deception because usually the main character of games are usually do-gooders and having the main character have the ability to lie and cheat could give an interest turn to a game. Though this skill is probably more suited (for now) for board and card games since videogame NPCs are limited by their code and anonymous online players are harder to read but this could change in the future as technology advances to the point where one can express accurate body and movements as well as more complex AI. Another  type of skill I would like to see in my games would be storytelling as there are very few videogames, if any, that have the player create a great story as a the main goal. This skill exists for many board and card games because, again, they are not limited by code and thrive on person to person interaction. Videogames are not capable of providing an intuitive interface that would allow a player to fluidly create and tell a story on the fly.

Twilight Princess
http://en.wikipedia.org/wiki/The_Legend_of_Zelda:_Twilight_Princess
http://zelda.wikia.com/wiki/Category:The_Legend_of_Zelda:_Twilight_Princess_characters
http://faqsmedia.ign.com/faqs/image/article/750/750737/twilight.jpg

FTL
http://www.vgreleases.com/pc/ReleaseDate-873186.aspx
http://images3.wikia.nocookie.net/__cb20120618050913/ftl/images/3/33/FTL_Title.png

Street Fighter 4
http://iplaywinner.com/storage/images/StreetFighterIV.jpg?__SQUARESPACE_CACHEVERSION=1252664496241

Knowledge Keeper: October 10th

We started off the lecture by discussing the midterm and what it would entail. Dr. Nacke explained that the midterm would involve each student to meet with him for about 10 minutes where he would ask us a series of questions and we would provide answers verbally. This is a very interesting way to run a midterm as it allows for direct connection  between the "test taker" and the "adjudicator" (Dr. Nacke) which would allow an instant notification as to whether one got the question correct or not. Dr. Nacke also explained that if you have not given the answer he is looking for then he will continue to prob you with questions going deeper and deeper into the subject until you give the correct answer or at least show that you understand what he is talking about. This definitely puts emphasizes the need for a deep understanding of the subject matter as it will give you a larger knowledge base to draw from and a higher chance of providing the answer Dr. Nacke is looking for.

The Actual Lecture was about Game Rewards. Firstly we went over some terms such as Agon, meaning competition, and Ilinx, meaning vertigo, as well as the "scale" between Paida and Ludus. Where Paida was purely about play, about making this up, improvising. This term very much reminds me of "Calvinball" from the Calvin and Hobbes comics where Calvin and Hobbes would just start playing a game and the rules would constantly be changed and made up on the spot. There were no goal, no rules, just play. Where as Ludus is about rules, and structure, there is no improvisation. Dr. Nacke discussed how games existed somewhere within that "scale".

We then discussed the eight reward forms from Wang and Sun which involved glory, sustenance, access, and facility and how these four characteristics were combined to create the eight reward forms. Though there is one reward form, feedback messages, which is incorporates another characteristic, praise. I think it should incorporate glory. This is because glory can be thought of as the achievement of greatness, or of a title. In other words it is the obtaining of something incorporeal within the game (glory is not represented by an item) but is still worthy of note. This can be seen in the reward forms such as achievement systems or score systems where the player is achieving some sort of number of title but said things have no effect on the game itself. The only different between the reward forms that use glory and the reward forms that use praise is time, or duration. Where feedback messages are instant and short term (them pop up on screen, congratulate you, then disappear) score systems and achievement systems are much more long term and permanent. For example: the leader boards in arcade games.

Dance Dance Revolution keeps updating you on how well you are doing 

We then talked about the four reward characteristics especially the social value of reward and how obtaining rewards is very much a social event in that it allows a player to show off their skills to the other players. We discussed how this related to the game Rock Band and how the game, though sociable, can focus on the competitive nature of people in that it allows a player to compare the skills of other and relish in the schadenfreude of being better than another. 

We also discussed the time required to earn a reward and how it's, as Dr. Nacke put it, like caramelized popcorn in how there are multitude of different flavours (or rewards) given to the player instantly just the for the action of putting the popcorn in their mouth. In other words we came to the conclusion that shorter time spans between rewards are much better than longer ones as the player is more frequently given stimuli through rewards and therefore more compelled to keep playing. 

We then discussed how players used their rewards for advancement, review, sociality, or for cooperative/competitive reasons or for some combination of those four. We also duscussed Schell's reward categories which included such things as praise, prolonged play, and completion. 

We then moved on to discuss conditioning and how players can be made to feel or do things based on the specific conditioning they are put through. Such as when a player feels panicked and afraid when they are chased by a monster while certain music played. The player then feels panic and fear whenever the music is played regardless of whether or not the monster chases them. This is because even though the player fears the monster, the player associates the music to the monster and therefore has been conditioned to fear the music.

We discussed Pavlov and his "Little Albert" experiment where he conditioned a child to fear rats by associating rats with loud noises. But there is some error involved in the study as Dr, Nacke revealed that it the in fact had some sort of brain abnormality and died a few years later when Dr. Pavlov said that the child was perfectly healthy.

 We also discussed operant conditioning and the skinner box where rats were conditioned to react to certain colours of light, one colour for reward (positive reinforcement) one for punishment (negative reinforcement). 

As I have mentioned before in my last knowledge keeper, this information, though can be used for good to produce more enjoyment from games, is dangerous in that it can be (and it probably already is) used for nefarious purposes. Such as compelling a worker, a pencil-pusher, to be content with their current status. To make them forget about their wages, about their working conditions, or about advancement and the bettering of themselves by keeping them constantly fed on stimuli. This reminds me very much of the matrix movies (or at least the first one) in that the world is populated mainly by human beings that don't do anything other than exist to provide power to another being(s) (the machines). They don't resist, they don't strive for anything better, they are not even aware of their situation because they are constantly being conditioned with stimuli. Dr. Nacki also gave the example of the movie Old Boy for the result of conditioning someone for a long period of time and I highly recommend the movie, it is beautifully twisted.

There is a reason why Neo's day job is a pencil pusher

We then talked about rewards and their schedules and how the timing of rewards should not be too short that the reward becomes superfluous but not too long so that the reward becomes not worth the effort. We also discussed reward triggers and the MAO model which involves Motivation, Ability, and Opportunity.

But rewards are not the only reason we play games. As Dr. Nacki said that the most important thing in playing games, is playing with great people, of which I agree wholeheartedly.



https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcLlR-aeK7Sz4E7f3EOG_npu6HuRwiYu-Giv_NLrAu993DMs1lTK7Ar8Gwk8wJPsol06wwgdKMDplBDZuIjGowmrgrM1U2QNNUkl3RzQhVBWQa23-YusRpcUVam_tDy27bSZEbxvAvjCk/s1600/calvinball.jpg
http://www.plasticpals.com/http://www.plasticpals.com/wp-content/uploads//2011/07/DDR-screenshot.jpg
http://gurovich.com/site/wp-content/uploads/2011/07/tron-28-office-cubicles.jpg
http://cinevenger.com/wp-content/uploads/2012/02/Matrix-A1.jpg