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Introduction Research methodology Objectives of the Study Chapterization Findings and Suggestions Bibliography

INTRODUCTIONA video game is an electronic game that involves interaction with a user interface to generate visual feedback on a video device. The

word video in video game traditionally referred to a raster display device, but following popularization of the term "video game", it now implies any type of display device. The electronic systems used to play video games are known as platforms; examples of these are personal computers and video game consoles. These platforms range from large mainframe computers to

small handheld devices. Specialized video games such as arcade games, while previously common, have gradually declined in use. The input device used to manipulate video games is called a game controller, and varies across platforms. For example, a controller might consist of only a button and a joystick, while another may feature a dozen buttons and one or more joysticks. Early personal computer games often needed a keyboard for game play, or more commonly, required the user to buy a separate joystick with at least one button.[2]Many modern computer games allow or require the player to use a keyboard and a mouse simultaneously. Video games typically use additional means of providing interactivity and information to the player. Audio is almost universal, using sound

reproduction devices, such as speakers and headphones. Other feedback may come via haptic peripherals, such as vibration or force feedback, with vibration

sometimes used to simulate force feedback. We argue here for a particular view of gamesand of learningas activities that are most powerful when they are personally meaningful, experiential, social, and epistemological all at the same time. From this perspective, we describe an approach to the design of learning environments that builds on the educational properties of games, but deeply grounds them within a theory of learning appropriate for an age marked by the power of new technologies. We argue that to understand the future of learning, we have to look beyond schools to the emerging arena of video games. We suggest that video games matter because they present players with simulated worlds: worlds which, if well constructed, are not just about facts or isolated skills, but embody particular social practices. Video games thus make it possible for players to participate in valued communities of practice and as a result develop the ways of thinking that organize those practices. Most educational games to date have been produced in the absence of any coherent theory of learning or underlying body of research. We argue here for such a theoryand for research that addresses the important questions about this relatively new medium that such a theory implies. Computers are changing our world: how we work how we shop how we entertain ourselves how we communicate how we engage in politics how we care for our health. The list goes on and on. But will computers change the way we learn?We answer: Yes. Computers are already changing the way we learnand if you want to

understand how, look at video games. Look at video games, not because games that are currently available are going to replace schools as we know them any time soon, but because they give a glimpse of how we might create new and more powerful ways to learn in schools, communities, and workplacesnew ways to learn for a new information age. Look at video games because, although they are wildly popular with adolescents and young adults, they are more than just toys. Look at video games because they create new social and cultural worlds: worlds that help people learn by integrating thinking, social interaction, and technology, all in service of doing things they care about. We want to be clear from the start that video games are no panacea. Like books and movies, they can be used in anti-social ways. Games are inherently simplifications of reality, and current games often incorporateor are based on violent and sometimes misogynistic themes. Critics suggest that the lessons people learn from playing video games as they currently exist are not always desirable. But even the harshest critics agree that we learn something from playing video games. The question is: how can we use the power of video games as a constructive force in schools, homes, and at work? In answer to that question, we argue here for a particular view of gamesand of learningas activities that are most powerful when they are personally meaningful, experiential, social, and epistemological all at the same time. From this perspective, we describe an approach to the design of learning environments that builds on the educational properties of games, but deeply

grounds them within a theory of learning appropriate for an age marked by the power of new technologies. More than a multi-billion dollar industry, more than a compelling toy for both children and adults, more than a route to computer literacy, video games are important becausethey let people participate in new worlds. They let players think, talk, and actthey let players inhabitroles otherwise inaccessible to them. A 16 year old in Korea playing Lineage can become an international financier, trading raw materials, buying and selling goods in different parts of the virtual world, and speculating on currencies. A Deus Ex player can experience life as a government special agent, where the lines between statesponsored violence and terrorism are called into question.These rich virtual worlds are what make games such powerful contexts for learning. In game worlds, learning no longer means confronting words and symbols separated from the things those words and symbols are about in the first place. The inverse square law of gravity is no longer something understood solely through an equation; students can gain virtual experience walking on worlds with smaller mass than the Earth, or plan manned space flights that require understanding the changing effects of gravitational forces in different parts of the solar system. In virtual worlds, learners experience the concrete realities that words and symbols describe. Through such experiences, across multiple contexts, learners can understand complex concepts without losing the connection between abstract ideas and the real problems

they can be used to solve. In other words, the virtual worlds of games are powerful because they make it possible to develop situated understanding. Although the stereotype of the gamer is a lone teenager seated in front of a computer, game play is also a thoroughly social phenomenon. The clearest examples are massively multiplayer online games: games where thousands of players are simultaneously online at any given time, participating in virtual worlds with their own economies, political systems, and cultures. But careful study shows that most gamesfrom console action games to PC strategy games have robust game playing communities. Whereas schools largely sequester students from one another and from the outside world, games bring players together, competitively and cooperatively, into the virtual world of the game and the social community of game players. In schools, students largely work alone with school-sanctioned materials; avid gamers seek out news sites, read and write facts, participate in discussion forums, and most importantly, become critical consumers of information. Classroom work rarely has an impact outside of the classroom; its only real audience is the teacher. Game players, in contrast, develop reputations in online communities, cultivate audiences as writers through discussion forums, and occasionally even take up careers as professional gamers, traders of online commodities1, or game moulders and designers. The virtual worlds of games are powerful, in other words, because playing games means developing a set of effective social practices. By

participating in these social practices, game players have an opportunity to

explore new identities. In one well-publicized case, a heated political contest erupted for the president of Alphaville, one of the towns in The Sims Online. Arthur Baynes, the 21 year old incumbent was running against Laura McKnight, a 14 year old girl. The muckraking, accusations of voter fraud, and political jockeying taught young Laura about the realities of politics; the election also gained national attention on NPR as pundits debated the significance of games where teens could not only argue and debate politics, but run a political system where the virtual lives of thousands of real players were at stake. The substance of Lauras campaign, political alliances, and platforma platform which called for a stronger police force and an overhaul of the judicial systemshows how deep the disconnect has become between the kinds of experiences made available in schools and those available in online worlds. The virtual worlds of games are rich contexts for learning because they make it possible for players to experiment with new and powerful identities. The communities that game players form similarly organize meaningful learning experiences outside of school contexts. In the various web sites devoted to the game Civilization, for example, players organize themselves around shared goal of developing expertise in the game and the skills, habits, and understandings that requires. At (asite devoted to the game), players post news feeds, participate in discussion forums, and trade screenshots of the game. But they also run a radio station, exchange saved game files in order to collaborate and compete, create custom modifications, and, perhaps,

most uniquely, run their own University to teach other players to play the game more deeply. Apolyton University shows us how part of expert gaming is developing a set of valuesvalues that highlight enlightened risk-taking, entrepreneurial ship, and expertise, rather than formal accreditation emphasized by institutional education (Beck & Wade, 2004). If we look at the development of game communities, we see that part of the power of games for learning is the way they develop shared values. In other words, by creating virtual worlds, games integrate knowing and doing. But not just knowing and doing. Games bring together ways of knowing, ways of doing, ways of being, and ways of caring: the situated understandings, effective social practices, powerful identities, and shared values that make someone an expert. The expertise might be of a modern soldier in Full Spectrum Warrior, a zoo operator in Zoo Tycoon, a world leader in Civilization III. Or it might be expertise in the sophisticated practices of gaming communities, such as those built around Age of Mythology or Civilization III. There is a lot being learned in these games. But for some educators it is hard to see the educational potential in games because these virtual worlds arent about memorizing words, or definitions, or facts. Video game development and authorship, much like any other form of entertainment, is frequently a cross-disciplinary field. Video game developers, as employees within this industry are commonly referred, primarily

include programmers and graphic designers. Over the years this has expanded to include almost every type of skill that one might see prevalent in the creation of any movie or television program, including sound designers, musicians, and other technicians; as well as skills that are specific to video games, such as the game designer. All of these are managed by producers. In the early days of the industry, it was more common for a single person to manage all of the roles needed to create a video game. As platforms have become more complex and powerful in the type of material they can present, larger teams have been needed to generate all of the art, programming, cinematography, and more. This is not to say that the age of the "one-man shop" is gone, as this is still sometimes found in the casual gaming and handheld markets, where smaller games are prevalent due to technical limitations such as limited RAM or lack of dedicated 3D graphics rendering capabilities on the target platform (e.g., some cell phones and PDAs). With the growth of the size of development teams in the industry, the problem of cost has increased. Development studios need to be able to pay their staff a competitive wage in order to attract and retain the best talent, while publishers are constantly looking to keep costs down in order to maintain profitability on their investment. Typically, a video game console development team can range in sizes of anywhere from 5 to 50 people, with some teams exceeding 100. In May 2009, one game project was reported to have a development staff of

450. The growth of team size combined with greater pressure to get completed projects into the market to begin recouping production costs has led to a greater occurrence of missed deadlines and unfinished products. Although departments of computer science have been studying the technical aspects of video games for years, theories that examine games as an artistic medium are a relatively recent development in the humanities. The two most visible schools in this emerging field are ludology andnarratology. Narrativists approach video games in the context of what Janet Murray calls "Cyberdrama". That is to say, their major concern is with video games as a storytelling medium, one that arises out of interactive fiction. Murray puts video games in the context of the Holodeck, a fictional piece of technology from Star Trek, arguing for the video game as a medium in which we get to become another person, and to act out in another world. This image of video games received early widespread popular support, and forms the basis of films such as Tron, eXistenZ, and The Last Starfighter. Ludologists break sharply and radically from this idea. They argue that a video game is first and foremost a game, which must be understood in terms of its rules, interface, and the concept of play that it deploys. Espen J. Aarseth argues that, although games certainly have plots, characters, and aspects of traditional narratives, these aspects are incidental to gameplay. For example, Aarseth is critical of the widespread attention that narrativists have given to the heroine of

the game Tomb Raider, saying that "the dimensions of Lara Croft's body, already analyzed to death by film theorists, are irrelevant to me as a player, because a different-looking body would not make me play differently... When I play, I don't even see her body, but see through it and past it. Simply put, ludologists reject traditional theories of art because they claim that the artistic and socially relevant qualities of a video game are primarily determined by the underlying set of rules, demands, and expectations imposed on the player. While many games rely on emergent principles, video games commonly present simulated story worlds where emergent behaviour occurs within the context of the game. The term "emergent narrative" has been used to describe how, in a simulated environment, storyline can be created simply by "what happens to the player. However, emergent behaviour is not limited to sophisticated games. In general, any place where event-driven instructions occur for AI in a game, emergent behavior will exist. For instance, take a racing game in which cars are programmed to avoid crashing, and they encounter an obstacle in the track: the cars might then manoeuvre to avoid the obstacle causing the cars behind them to slow and/or manoeuvre to accommodate the cars in front of them and the obstacle. The programmer never wrote code to specifically create a traffic jam, yet one now exists in the game. Video games have the potential to change the landscape of education as we know it. The

answers to fundamental questions such as these will make it possible to use video games to move our system of education beyond the traditional academic disciplines, derived from medieval scholarship and constituted within schools developed in the industrial revolution, and towards a new model of learning through meaningful activity in virtual worlds as preparation for meaningful activity in our post-industrial, technology-rich, real world.

Objectives of the study Our objective of study will be to know the detail the mechanism of computer games, its working and how its developed from various computing languages. Its beneficial to the society and the use of artificial intelligence in gaming industry. Moreover we will also look into the future what the gaming industry holds for us with reference to a gaming giant ELECTRONIC ARTS (EA).

Research methodologyMethodology can be: 1. " the analysis of the principles of methods, rules, and postulates employed by a discipline". 2. " the systematic study of methods that are, can be, or have been applied within a discipline". 3. A documented process for management of projects that contains procedures, definitions and explanations of techniques used to collect, store, analyze and present information as part of a research process in a given discipline. 4. the study or description of methods

Research Methodology refers to a back philosophy of research. As an example of methodology in theoretical work, the development of paradigms satisfies most or all of the criteria for methodology. A paradigm, like an algorithm, is a constructive framework, meaning that the so-called

construction is a logical, rather than a physical, array of connected or intercalated elements

Research is the careful investigation or inquiry especially through search for new facts in any branch of knowledge. Research methodology is a way to systematically solve the research problem. When we talk of research methodology we not only talk of the research methods but also consider the logic behind the methods we use in the context of our research study and explain why we are using a particular method or technique and why we are not using others.

Objective - To study gaming technology in computers in detail with special reference to Ensemble Studios, Microsoft Corporation.
Type of Research- Explanatory Target Segment- The users especially the software users and computer users and professionals from various industry who need the help of computer in their everyday life of office schedule. Sample Size- The sample size of users are 1500 as it include various professionals from various industry and even students and software developers.

Sampling Method- After taking into account the practical consideration, convenience sampling is to be employed for the survey. The sample will be assumed to be representative of the whole Population. Primary research entails the use of immediate data in determining the survival of the market. The popular ways to collect primary data consist of surveys, interviews and focus groups, which shows that direct relationship between potential customers and the companies. Whereas secondary research is a means to reprocess and reuse collected information as an indication for betterments of the service or product. Both primary and secondary data are useful for businesses but both may differ from each other in various aspects. In secondary data, information relates to a past period. Hence, it lacks aptness and therefore, it has unsatisfactory value. Primary data is more accommodating as it shows latest information. Secondary data is obtained from some other organization than the one instantaneously interested with current research project. Secondary data was collected and analyzed by the organization to convene the requirements of various research objectives. Primary data is accumulated by the researcher particularly to meet up the research objective of the subsisting project. Secondary data though old may be the only possible source of the desired data on the subjects, which cannot have primary data at all. For example, survey

reports or secret records already collected by a business group can offer information that cannot be obtained from original sources. Firm in which secondary data are accumulated and delivered may not accommodate the exact needs and particular requirements of the current research study. Many a time, alteration or modifications to the exact needs of the investigator may not be sufficient. To that amount usefulness of secondary data will be lost. Primary data is completely tailor-made and there is no problem of adjustments. Secondary data is available effortlessly, rapidly and inexpensively. Primary data takes a lot of time and the unit cost of such data is relatively high. In this project data collection has taken place in the following processPrimary data- The methodology of study will start by analysing the detailed study on computer gaming especially the ones we meet face to face. This method will go through all the process of analyzing the details from the respondents we get through the questionnaire method esp. the software developers and the various professionals and even the crazy game maniacs. Direct interview were taken especially of the professionals involved in developing games for computers. Secondary DataSecondary data include the information and feedback

information we get from the articles, social networking sites , blogs and various tech related sites.

LimitationsEvery research has its own limitations. In this research these are the following limitations. The research will include great efforts in analyzing the technical details. But the technical flaws cannot be ruled out as each respondent has his own idea about the subject. The time factor can be major concern and the respondents answers can be tricky as the possibility of bias cannot be ruled out. Sometimes the respondent may not co-operate as they can find it somebody intruding their guarding privacy. The sample size is 1500 , this sample size represents the findings. So generalization of results cannot be ruled out. Last but not the least technical dos and donts cannot be ruled out as every professional has its own ideas.




INTRODUCTION TO GAMINGGames have always been a popular pastime, but with the advent of computer games they have become even more pervasive. Despite all this progress, we may still stop and ask what makes a game. Because computer games are a subset of games, everything we can say about games in general

applies also to them. Nevertheless, computer games are also computer programs, and therefore lessons learnt in software construction can be applied to them. A third perspective to computer games is subjective and it concerns finding out what features the players expect from a computer game. To answer these questionsand perhaps to raise some morewe begin in by analysing the structure of games in general focus on computer games and try to recognize their common software components in the other sections. We also present a list of sought-after features that a computer game should have; although we align ourselves with the players position, we try to form our statements so that they can be considered when designing the implementation.

Defining a game
J. Huizinga in his classical work Homo Ludens (1938) gives the following definition for play [Hui55, p. 132]: [Play] is an activity which proceeds within certain limits of time and space, in a visible order, according to rules freely accepted, and outside the sphere of necessity or material utility. The play-mood is one of rapture and enthusiasm, and is sacred or festive in accordance with the occasion. A feeling of exaltation and tension accompanies the action, mirth and relaxation follow. A dictionary defines game as a universal form of recreation generally including any activity engaged in for diversion or amusement and often

establishing a situation that involves a contest or rivalry [Enc03]. A game seems to involve three components: players who are willing to participate the game (e.g., for enjoyment, diversion or amusement), rules which define the limits of the game, and goals which give arise to conflicts and rivalry among the players. Moreover in this chapter we will explain the details of gaming on computers , its history and the popularity of various games its advantages and disadvantages to the society.


A game Engine can be easily defined in the following way it is a system designed for the creation and development of video games. There are many game engines that are designed to work on video game consoles and personal computers. The core functionality typically provided by a game engine includes a rendering engine (renderer) simulation for 2D or 3D graphics, organiser theory a physics detection (and

engine or collision

collisionresponse), sound, scripting, animation, artificial intelligence, networking, streaming, memory management,

threading, localization support, and a scene graph. The process of game development is often economized by in large part reusing/adapting the same

game engine to create different games. These engines rely upon the game developer to implement the rest of this functionality or assemble it from other game middleware components. These types of engines are generally referred to as a "graphics engine," "rendering engine," or "3D engine" instead of the more encompassing term "game engine." This terminology is inconsistently used as many full-featured 3D game engines are referred to simply as "3D engines. For example Genesis 3D and Crystal Space etc.


The term "platform" refers to the specific

combination of electronic or computer hardware which, in conjunction with low-level software, allows a video game to operate.[12] The term "system" is also commonly used. As well, newer video game platforms are also known as next "gen" consoles. In common use a "PC game" refers to a form of media that involves a player interacting with a personal computer connected to a high-resolution video monitor. A "console game" is played on a specialized electronic device that connects to a common television set or composite video monitor. A "handheld" gaming device is a self contained electronic device that is portable and can be held in a user's hands. "Arcade game" generally refers to a game played on an even more specialized type of electronic device that is typically designed to play only one game and is encased in a special cabinet. These distinctions are not

always clear and there may be games that bridge one or more platforms. There are also devices with screens which have the ability to play games but are not dedicated video game machines (examples are mobile

phones, PDAs and graphing calculators). The common platforms are PS3 are PC, XBOX, NINTENDO etc. DESIGN- Game design, a subset of game development, is the process of designing the content and rules of a game in the pre-production stage and design of gameplay , environment, storyline, and characters during production stage. The term is also used to describe both the game design embodied in a game as well as documentation that describes such a design. Game design requires artistic and technical competence as well as writing skills. We will explain all these phrases and their subparts in detail in this chapter.

Chapter-3 GAME DEVELOPMENT AND GAME COMPUTING LANGUAGE Game development is the software development process by which a video game is developed. Development is undertaken by a game developer, which may range from a single person to a large business. Mainstream games are normally funded by a publisher and take several years to develop. Indie games can take less time and can be produced cheaply by individuals and small

developers. The indie game industry has seen a rise in recent years with the growth of new online distribution systems and the mobile game market. The first video games were developed in 1960s, but required mainframe computers and were not available to general public. Commercial game development began in 1970s with the advent of first generation video game consoles and home computers. Due to low costs and low capabilities of computers, a lone programmer could develop a full game. However, approaching 21st century, ever-increasing computer processing power and user expectations made it impossible for a single developer to produce a mainstream game. The average price of game production slowly rose from US$1M-4M in 2000 to over 5M in 2006 to over 20M in 2010. Mainstream games are generally developed in phases. First, in pre-production, pitches, prototypes, and game design documents are written. If the idea is approved and the developer receives funding, a full-scale development begins. This usually involves a 20-100 man team of various responsibilities, such as designers, artists, programmers, testers, etc. The games go through development, alpha, and beta stages until finally being released. Modern games are advertised, marketed, and showcased at trade show demos. Even so, many games do not turn a profit. Moreover this development process takes place through various computing languages may be in C, C++, JAVA or in LINUX

etc. In this chapter we will explain how a programmer writes a game and develops it in detail.

SOCIETY AND FUTURE OF GAMES- Gaming especially parents have always taken a negative stance towards it. Violent video games have been the subject of argument between leading professionals regarding their restriction and prohibition as in other forms of media. Debates often center on topics such as video game graphic violence, sex, violent and gory scenes, partial or full nudity, portrayal of criminal or other provocative and objectionable material. Video games have been studied for links to addiction and aggression. One metaanalysis (an analysis of several studies) found that exposure to violent video games causes at least a temporary increase in aggression and that this exposure correlates with aggression in the real world. A decrease in prosocial behaviour (caring about the welfare and rights of others) was also noted. However other meta-analyses using similar methods or focusing more specifically on serious aggressive behaviour have come to opposing conclusions, stating that video game violence is not related to aggressive behavior. Many potential positive effects have even been proposed. Recent research has suggested that violent games do not have a negative relationship on prosocial behavior and may actually have a positive relationship in some

contexts for example, team play. It has been argued there is generally a lack of quality studies which can be relied upon and that the video game industry has become an easy target for the media to blame for many modern day problems. Although all games are not violent about the perception persists. For whenever one plays a game, and whatever game one plays, learning happens constantly, whether the players want it to, and are aware of it, or not. And the players are learning about life, which is one of the great positive consequences of all game playing. This learning takes place, continuously, and simultaneously in every game, every time one plays. One need not even pay much attention. But we do need to pay some attention in order to analyze how and what players learn. The first thing we need to pay attention to is the difference between a games surface messages, as presented in its in its graphics, audio and text (what is commonly called its content) and a games underlying messages and required skills.

I am not an apologist for all the

content in computer games, but that surface content is all most critics ever see of a much richer experience. The fact is that in every game, a great deal of useful learning goes on in addition to, or even despite the games surface content, whatever that may be. Morover the future of the gaming following Gaming without controllers

industry is bright if we look into the

Glasses-free 3D Touch screen controller

We will explain all these in this chapter to explain the how the future is in a favourable position for the gaming industry.

CHAPTER-4 ELECTRONIC ARTS-(EA) A GAMING GIANTElectronic Arts, Inc. is a major American developer, marketer, publisher and distributor of video games. Founded and incorporated on May 28, 1982 by Trip Hawkins, the company was a pioneer of the early home computer games industry and was notable for promoting the designers and programmers responsible for its games. It is one of the largest video game publishers in the world. Originally, EA was a home computing game publisher. In the late 1980s, the company began developing games in-house and supported consoles by the early 1990s. EA later grew via acquisition of several successful developers. By the early 2000s, EA had become one of the world's largest third-party publishers. On May 4, 2011, EA reported $3.8 billion in revenues for the fiscal year ending March 2011. EA has moved into providing new digital gaming goods and services (including downloadable games, paid downloadable content, mobile games and social games), and reported $833 million in sales of digital

goods for the 12 months ending in March, up 46 percent from the year-earlier period. "That figure blew away analysts' estimates of about $750 million, with the company now tracing 22 percent of its $3.8 billion in revenue to virtual wares. It expects digital sales to pass $1 billion this year." Currently, EA develops and publishes games under several labels including EA SPORTS titles, Madden NFL, FIFA Soccer, NHL, and NBA Jam. Other EA labels produce established franchises such as Battlefield, Need For Speed, The Sims, Medal of Honor, Command & Conquer, as well as newer franchises such as Dead Space, Mass Effect, Dragon Age, Army of Two and Star Wars The Old Republic, produced in partnership with LucasArts. EA also owns and operates major gaming studios in Tiburon in Orlando, Burnaby, Vancouver, Montreal and DICE in Sweden. Criterion Software Ltd was created to commercialise 3D graphics rendering technology. It was set up by David Lau-Kee and Adam Billyard within Canon's European Research Lab, before being spun out as a majority Canon-owned startup. Criterion Software was a technology company specialising in the development of the RenderWare family of middleware technology, including graphics, AI, audio and physics components. Originally Criterion Games was a division within Criterion Software, set up to develop games, using the Renderware engine, which would act as show cases as to what was possible with the platform. RenderWare is used in such games as Grand Theft Auto III, Grand Theft Auto: Vice City and Grand Theft Auto: San Andreas,

which are developed by Rockstar Games, and the successful Burnout series, developed in house by Criterion Games. In August 2004, Electronic Arts announced they had acquired Criterion Games and Criterion Software for a rumoured 40 million, taking into account the purchase price and existing debt. This was followed by the release of Black, a first-person shooter set in Eastern Europe, to which they applied the action movie sensibilities characteristic of the Burnout series. After the purchase, both Criterion and EA declared that RenderWare would continue to be made available to third party customers. However, some clients decided it was too risky to rely on technology owned by a competitor. EA has since withdrawn RenderWare from the commercial middleware market, although it is increasingly used by their internal developers. In the summer of 2006, the company closed its Derby satellite office, making all its programmers and support staff redundant. In early March 2007, EA combined its Chertsey-based UK development studio and Criterion Games to a new building in central Guildford, creating a single studio that now has approximately 500 full-time developers. On 14th June 2010, Criterion announced that Need for Speed: Hot Pursuit[1] was set for a release on 16th November 2010 for the PlayStation 3, Xbox 360, Microsoft Windows and Wii. The software utilises a new game engine named Chameleon.

Moreover we will also details about the company its financial details , its process of making games and others in this chapters.

CHAPTER -5 FINDINGS AND SUGGESTIONSIn this chapter we will analyse the respondents views on various questions of the questioner and then depict them on the graph in the form of pie charts , bar graphs to illustrate it. On the basis of findings we will suggest measures to ELECTRONIC ARTS to improve on their developmental things.

CONCLUSIONAn enduring computer game is a platform for surprising innovations. Perhaps the genre closest to extendibility are the first-person shooters, where modifications (or mods) are a usual way to extend the original game. Quite aptly, the core of these games is called a game engine. For example, game engines of Quake and Half-Life are widely used in other commercial games. In real-time strategy games, typical mods include new maps and scenarios. Another approach is the extension packs, which can be considered as mods provided by the original game developer. They usually include new levels,

playing characters, and objects (e.g. Diablo II: Lord of Destruction, Age of Empires II: The Conquerors Expansion), and perhaps some improvement of the interface. Receiving player feedback through the Internet is extensively utilized when designing these extension packs. It is important to recognize a priori what software development mechanism are published to the players and with what interfaces. The game developers typically implement special software for creating content for the game. These editing tools are a valuable surplus to the final product. If the game community can create new variations of the original game, longevity of the game increases. Furthermore, the inclusion of the developing tools is an inexpensive waysince they are already implementedto enrich the contents of a game product. Once is not enough. We take pictures and videotape our lives. The same applies also to games. Traditionally, many games provide the option to take screen captures, but recentlyespecially in sports gamesreplays have become an important feature. Replaying can be extended to cover the whole 11game (e.g., Age of Empires II: The Age of Kings includes this option although it was originally developed for debugging purposes). These recordings allow us to relive and memorize the highlights of the game, and we can share them with our friends and the whole game community. We recognized components, relationships, and aspects common to all games. By fitting computer games into ModelViewController architectural pattern

we discerned common software components. Finally, we listed features that a computer game should include to provide an enjoyable gaming experience, and concluded that a way to achieve them is to allow parameterization.


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