LEE- Oyun ve Etkileşim Teknolojileri-Yüksek Lisans
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ÖgeReinforcement learning in fighting games(Graduate School, 2022)Reinforcement learning is one of the most popular learning methods used on games because of its similar nature to competitive play. Winning the game and the means to win the game can be used as rewards easily, which enables us to create a reasonable benchmark. The field has many algorithms and approaches that can solve simple Atari games and robotic problems, however, it still has many unexplored areas with difficult problems to solve. After the introduction of Deep Q-Learning (DQN) by DeepMind, learning from pixel data become popular and applied to many other games. Agents could reach and exceed human level play in simple games. But for more complex games like Montezuma's Revenge, different approaches such as hierarchical DQN is needed to search the huge search space of the game. Furthermore, the classical +1 reward for win, -1 reward for lose strategy is not always enough for complex games. As the complexity increases, the algorithm and model should change and adapt. Even though Atari games look simple, they are hard problems to solve for an AI agent. The most recent work on Atari games published in 2020, claims to outperform humans on all Gym Atari games. However, there are still many difficult games to solve that requires novel approaches. The work on this thesis focuses on reaching a human-like play at the end stage boss fight in the game called Megaman X. Existing RL algorithms have been tested with different replay buffer types, parameters and exploration strategies and their performances were compared. To make a better comparison of the algorithms, a simple game called Super Mario World and a fighting game with similar characteristics to the main game called Ultimate Mortal Kombat has been tested as well. We proposed new game specific methods to make the agent play better, including reward shaping and feature extraction methods. This thesis shows the all the results of those trainings and analyses the results. In order to get better results from the trainings, reward shaping and feature extraction methods have been suggested and tested. For feature extraction, CNN based methods and auto-encoder frameworks have been tested and in addition to that, direct data read from the RAM such as character and enemy positions. Reward shaping is applied for the main focus on this thesis, the game Megaman X. Variables such as the charge status of the weapon, distance between the enemy and the agent, health and time are used as reward shaping parameters. Both Q-learning and policy gradient methods are tested. In addition, the latest exploration focused methods and hierarchical methods, which are said to be enhancing exploration, are tested. Also, human players who are familiar with platform games are also played the game and their experiences are recorded in a survey. In this thesis, all those methods and results are analysed.
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ÖgeGame-based learning in architecture education: Consolidating visual design principles in freshmen(Graduate School, 2023-07-21)Using games to teach people concepts has always been an attention-catching topic in the area of education. That is the main premise of game-based learning. Providing the players with manipulation tools such as the ability to change scale etc. to change the game environment by giving them more flexible options further facilitates their learning through trial and error, and encourages more involvement. With this aim, it was decided to create an artificial intelligence (AI) evaluated free creation video game aimed to consolidate visual design principle (VDP) knowledge in freshmen architecture students. VDPs are the underlying patterns that are present in designs people usually find appealing. The artificial intelligence that was used in the game was trained to detect some of these principles. There are more than only three main elements, however the artificial intelligence is trained on 3 main principles and their derivatives, which end up making up 9 sub VDPs. These VDPs are emphasis (color, isolation, shape), balance (symmetric, asymmetric, crystallographic), rhythm (regular, progressive, flowing). Artificial intelligence was decided to be used in the game because it can detect the trained VDP with success, as well as create a reliable checkpoint before students present their ideas to their instructors, which is time-consuming and might induce stress on some students. The usage of AI aims to eliminate some of that stress and the gaming nature of game-based learning is expected to motivate students further. The game welcomed the players with a menu screen in which they could choose to learn about VDPs with several example pictures and explanations. Following that, they could play a quiz mini-game where they were asked to choose a picture out of three pictures that held the VDP that was asked from them. All 9 sub VDPs, derived out of 3 main design principles, the artificial intelligence can detect were asked in order. Once they were done with the quiz, the game moved on to the "creation" section where the players were given an objective to create a composition with an emphasis on a specific VDP. The composition was managed by placing and manipulating design elements (basic shapes such as square, triangle, hexagon etc. or object textures) on a canvas with a grid. The design elements could snap onto the grid so that it would be easier to create more calculated compositions. When the players were happy with their composition, they submitted their compositions to the application in the background where artificial intelligence resides and that artificial intelligence evaluated that composition, giving a score to the player. The score showed the top 3 VDPs the composition had and the percentages of how much they governed the composition. Once players were done playing and creating their compositions, they were asked to fill out a questionnaire. Players' experiences about the game were obtained via the questionnaire, which based its scientific validity on the research named "Assessing the Core Elements of Gaming Experience (CEGE)". The questionnaire consisted of 24 statements in which students were asked to grade their level of agreement to using a 5-point Likert scale. 43 students participated in the questionnaire and all 43 of them answered every question. There was only one group and no control group. Following the questionnaire, a follow-up survey was given to 10 students. The follow-up survey consisted of 7 open-ended questions aimed to further understand what elements of the game were liked or disliked. According to the results gathered through that questionnaire, the majority of players stated that playing the game helped them consolidate their VDP knowledge, that they would want to see the game used in VDP education, and that they would want serious games to be used in education more. In addition, the results of the follow-up survey were helpful to see what was done right in the serious game, and what else could have been added to improve the game. This result points to the need for further research on game-based learning in architecture and shows some students' wish for more game-based learning in architecture education.
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ÖgeExploring the factors that affect game production process in casual mobile games(Graduate School, 2024-07-16)Video oyunu, sanal bir ortam sunmak için etkileşimli oyun ve bilgisayar teknolojisinin kullanımını içeren bir dijital medya biçimidir. Video oyunları kişisel bilgisayarlar, oyun konsolları ve mobil cihazlar da dahil olmak üzere çeşitli platformlarda oynanabilir. Oyunculara bir eylemlilik duygusu sağlama yetenekleri ve etkileşimli yapıları ile karakterize edilirler ve genellikle oyuncuların becerilerine ve problem çözme yeteneklerine meydan okumak için tasarlanmıştır. Video oyunları, oynanış mekanikleri ve diğer özelliklerine göre çeşitli türlerde sınıflandırılabilir. Video oyunu türlerinin bazı yaygın örnekleri arasında aksiyon, macera, rol yapma, simülasyon ve strateji yer almaktadır. Aksiyon oyunları tipik olarak hızlı refleksler ve el-göz koordinasyonu gerektiren hızlı tempolu oyun ve zorlukları içerir. Macera oyunları genellikle hikaye ve keşfi vurgular ve oyuncuların problem çözme becerilerini kullanmalarını gerektiren bulmacalar ve diğer zorlukları içerebilir. Rol yapma oyunları oyuncuların bir karakter yaratmasına ve kontrol etmesine izin verir ve genellikle karakter ilerlemesi ve özelleştirme unsurlarını içerir. Simülasyon oyunları gerçek dünya sistemlerini veya faaliyetlerini taklit etmeye çalışır ve genellikle strateji ve kaynak yönetimi unsurlarını içerir. Strateji oyunları oyuncuları stratejik kararlar almaya ve gelecek için plan yapmaya zorlar ve kaynak yönetimi ve birim kontrolü unsurlarını içerebilir. Oyun geliştirme, bir video oyunu oluşturma sürecidir. Çok çeşitli görevleri içerir ve karmaşık ve zaman alıcı bir süreç olabilir, ancak aynı zamanda oyun yaratma konusunda tutkulu olanlar için inanılmaz derecede ödüllendirici bir deneyim olabilir. Oyun geliştirme süreci tipik olarak oyunun kavramsallaştırılmasıyla başlar. Bu, oyun için bir fikir bulmanın yanı sıra hedef kitlenin, türün ve oyun mekaniğinin belirlenmesini içerir. Geliştirme sürecinin geri kalanına rehberlik edeceği için bu aşamada oyun için net bir vizyona sahip olmak önemlidir. Oyun için konsept oluşturulduktan sonra, bir sonraki adım oyunu tasarlamaktır. Bu, oyunun sanat stilini, karakter tasarımlarını, seviyelerini ve diğer görsel unsurlarını oluşturmayı içerir. Ayrıca oyun için bir hikâye veya senaryo oluşturmayı da içerebilir. Oyun tasarlandıktan sonra, bir sonraki adım oyunu programlamaya başlamaktır. Bu, oyunun amaçlandığı gibi çalışmasını sağlayacak kodun yazılmasını içerir. Oyunun karmaşıklığına bağlı olarak, bu süreç nispeten basit veya oldukça karmaşık olabilir. Bir oyunun programlanması tipik olarak aşağıdakiler gibi birkaç alt görev içerir: - Oyun motorunun kurulması: Oyun motoru, oyuna güç veren ve grafik oluşturma, ses çalma ve kullanıcı girdisini işleme gibi görevleri yerine getiren yazılımdır. - Oyun mekaniğinin uygulanması: Bu, karakter hareketi, çarpışma algılama ve oyun fiziği gibi oyunun çeşitli oynanış unsurlarının kodlanmasını içerir. - Oyun mantığının uygulanması: Bu, seviye ilerlemesi ve oyun bitti koşulları gibi şeyler de dahil olmak üzere oyunun akışını kontrol eden kodun yazılmasını içerir. - Varlıkları entegre etme: Bu, oyun için oluşturulan modeller, dokular ve sesler gibi çeşitli varlıkların içe aktarılmasını ve entegre edilmesini içerir. Oyun programlandıktan sonra sıra test etmeye gelir. Bu, oyunun düzgün çalıştığından emin olmak ve herhangi bir hatayı veya aksaklığı tespit edip düzeltmek için oyunu oynamayı içerir. Oyunun son kullanıcı için mümkün olduğunca cilalı ve eğlenceli olmasını sağlamak için kapsamlı bir şekilde test edilmesi önemlidir. Bir oyunun test edilmesi tipik olarak aşağıdakiler gibi birkaç alt görev içerir - Oyun testi: Bu, insanların oyunu oynamasını ve oynanış, kontroller ve oyunun genel keyfi hakkında geri bildirim sağlamasını içerir. - Hata testi: Bu, oyundaki hataların veya aksaklıkların belirlenmesini ve düzeltilmesini içerir. - Uyumluluk testi: Bu, oyunun çok çeşitli sistemlerde düzgün çalıştığından emin olmak için çeşitli farklı donanım ve yazılım yapılandırmalarında test edilmesini içerir. Oyun test edildikten ve gerekli değişiklikler yapıldıktan sonra sıra oyunu piyasaya sürmeye gelir. Bu, pazarlama materyalleri oluşturmayı, dağıtım kanalları kurmayı ve oyunu hedef kitleye tanıtmayı içerebilir. Özetle, oyun geliştirme, kavramsallaştırma ve tasarımdan programlama ve test etmeye kadar çok çeşitli görevleri içeren karmaşık bir süreçtir. Yaratıcılık, teknik uzmanlık ve detaylara gösterilen dikkatin bir kombinasyonunu gerektirir. Zorlu bir süreç olsa da, başarılı bir oyun yaratmanın sonucu, oyun geliştirme konusunda tutkulu olanlar için inanılmaz derecede ödüllendirici olabilir. Çalışma kapsamında, oyun geliştirme sürecine ilişkin daha önce yapılmış çalışmaları incelemek üzere sistematik bir literatür taraması gerçekleştirilmiştir. Tarama çalışması Web of Science, Scopus ve ACM Digital Library gibi kapsamlı veri tabanları üzerinde gerçekleştirilmiştir. Bu veri tabanları "Oyun Geliştirme" ve "Süreç" anahtar kelimeleri kullanılarak taranmıştır. Şirketlerin çalışan sayıları 3 ila 10 yıl arasında değişmektedir ve nadir de olsa 50'yi aşar. Ürün geliştirme ve oyun tasarımı departmanları rol oynarken, Yazılım ve Sanat ekipleri esastır. Şirketler, özellikle sanat ve seslendirme konularında genellikle dış kaynak kullanırlar ve bazılarının kendi altyapıları vardır. Oyun sektöründeki şirketler projelerini yönetmek için Waterfall, Agile, Scrum, Kanban, Scrumban ve PPP gibi çeşitli proje yönetim yöntemleri kullanmaktadır. Sanat içeriğindeki tutarlılık, deneyimli ekiplerin daha iyi çalışmasıyla deneyler yoluyla elde edilir. Oyun mekaniği ve yazılımı yinelemelidir, bazı ekipler daha büyük değişiklikler yaparken diğerleri daha küçük değişiklikler yapar. Proje yönetim yöntemine bağlı olarak kontrol ve değerlendirme toplantıları haftalık olarak yapılır. Çok oyunculu özellikler yaygın değildir. Analizler tasarım sürecinin sonlarına doğru kullanılır ve önemli analizler yumuşak lansman aşamasında yapılır. Oyunlarda kullanıcı geri bildirimi önemlidir. Şirketler atlas ve içerik boyutu gibi kendi optimizasyon yöntemlerini geliştirir. Hikaye ve anlatım genellikle basit mobil oyunlarda kullanılmaz. Bir oyun geliştirme projesinin yönetimi tipik olarak CEO ve ürün müdürünü içerir ve her 1 veya 2 haftada bir kontrol toplantıları yapılır. Daha esnek çalışan şirketler genellikle görevleri açıkça yazmazlar ve bunları uzatabilirler. Sektörde geliştiricilere, sanatçılara ve oyun tasarımcılarına ihtiyaç duyulur; muhasebe, finans ve İK gibi roller ise yönetim kademesindeki çalışanlar veya dış kaynak hizmetleri tarafından yerine getirilir. Çizelgeleme genellikle katmanlıdır ve ekipler zamanı kendi aralarında daha küçük görevlere bölerler. Bazı görevler zamana tabi değildir ve görevler zamanında ulaşmadığında, daha az önemli özellikler kaldırılır. Şirket kültürü, görev çeşitliliğinde önemli bir rol oynar; belirli durumlarda sabit atamalar kullanılır ve iş tanımları gerektiğinde değişir. Test yaklaşımları farklılık gösterir; bazı şirketlerde sorumlu belirli kişiler bulunurken bazılarında bulunmaz. Yerelleştirme ve seslendirme çoğunlukla dış kaynaklıdır, bazı şirketler ise pazarlama ve muhasebe için dış şirketlerle çalışır. Para kazanma modelleri, kitleye bağlı olarak oyuncu satın alımları ve reklamların kullanılmasıyla değişebilir. Hedef kitle çok önemlidir, çünkü daha küçük şirketlerin özellikle hukuk ve pazarlama alanlarında süreçleri uyarlamaları gerekebilir. Şirket kültürü önemli bir rol oynar; bazı şirketler daha sabırlı ve esnekken, diğerleri daha esnektir ve daha verimli küçük projelere izin verir. Kanunlar da sektörü etkiliyor. 2019'da dünya çapında kişisel verilerle ilgili yapılan değişiklikler araçları kullanılamaz hale getiriyor ve şirketlerin kendi analiz araçlarını oluşturmalarını gerektiriyor. Şirketlerin çoğu şirket ve çalışan deneyimine öncelik veriyor ve on şirketten dördünde ilk sırada yer alıyor. Bu da şirketlerin süreçleri oluştururken know-how'a öncelik verdiğini gösteriyor. Çalışan devir hızı da önemlidir ve iki şirket bu kategoride ilk sırada yer almaktadır. Bu faktöre öncelik veren şirketler, daha uzun süreli bir çalışan deneyimi sağlayarak kurumsal kimliklerini koruyor. Bir diğer önemli kriter ise para kazanma modelindeki hedef kitle, kullanıcı geri bildirimi kontrol noktaları, oyun türü, özellikleri ve mekanikleridir. Bu faktörler sektörün gerçeğidir ve geliştirme sürecini değiştirir. Şirketler vizyonları veya bakış açıları ne olursa olsun bu faktörleri göz önünde bulundururlar. Şirket büyüklüğü, dış kaynak kullanımı stratejisi ve şirket yaşı gibi kriterler birçok şirket tarafından daha alt sıralarda yer almaktadır. Dış kaynak kullanımı stratejisi ve şirket yaşı, süreç inşasında daha sonra dikkate alınır. Şirketler süreçleri oluştururken on yaşındaki veya 20 yaşındaki şirketlerini göz önünde bulundurmalıdır, çünkü her zaman aynı yaklaşımı izlemeyebilirler.
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ÖgeOptimizing artistic process: Exploring efficient environment creation workflows in gaming industry(Graduate School, 2024-07-05)Although there is no specific data about when researchers demand to study video games, it is understandable to experience an industry which reach 200B in just two decades and making 400 million in just 24 hours with a single title. The technological innovations and hardware improvements in early twenty-first century bring huge productions which eventually made consoles, computers and games more affordable and increase number of players in all groups, ages and genders. Game industry growing fast which pressure academicians and studios make more research about every aspect of developing, marketing, player and experience. Despite many research focusing why, only few of them describe how. This is most likely video game industry is relatively young and to develop certain tools, software and plugins for production; it is required to make research about why we need it, why we develop it. But asking why in many research raise another question which is how. Demand for comprehensive research becomes evident, not only to understand the underlay motivations of development but also explore practical methodologies and how to do. This need for practicality is mirrored to environment art realm where artist and designers are tasked to crating virtual worlds that all digital stories drive. Game development is consisting of four main disciplines. The first discipline is programming where developers create codes and blueprints to drive gameplay and mechanics like elements. The second discipline is design where designers craft gameplay and create room for interactions and mechanics that fit player experience. The third discipline is technical art and design where first two disciplines connect in a way to make overall gameplay, mechanics, player experience and interactions flow as expected. The fourth discipline is art which is visual representation of all other disciplines on top of story and narrative that pull the player into game world. Art in video games involves of concept art, prop art, texture art, lighting art and more. Environment art can be defined as combination of all art disciplines in a video game. Each environment is a synthesis of location, culture, history, theme, lifestyle and atmosphere like elements and has a purpose of answering questions like where gameplay located, who lives there and how they live, what is their culture and lifestyle or what happened there. Overall, an environment is all visual elements of digital world that game characters and player live and interact. Environment artist are specialized artists responsible to make environment scenes. These artist uses various techniques and methods to create desired looking that pull player into game world. In this creation process, they follow various environment art creation steps. These steps are initial planning and referencing, conceptualization, blackout and proxy meshing, modeling and sculpting, texturing, set dress, lighting and finalization. Environment artists use various methods, strategies and approaches as their workflow to create an environment. Workflow as a term means a repeatable pattern or series of steps to produce an activity. Workflows in game context means the sequence of steps from initial planning and concepting to final game art creation process. The purpose of a workflow provides a repeatable process from beginning to end; therefore, the process can apply to multiple projects in multiple time frame. It is essential to note that while environment art creation involves steps to the medium or underly technology, these steps are distinct to be considered as a workflow or a base. Conversely, a workflow in environment art means an optimized or refined variations of art creation steps. Therefore, the creation of an workflows mainly refers to a need, to refine one or more environment art creation stage to possibly reduce time, cost or increase art quality and efficiently. The purpose of this thesis was to understand how game environment art workflows are being used, improved, and developed by artists with a focus on well-organized, optimized and high-quality work to create narratives that enhance player experience. By analyzing approaches and methods used by artists and literature, this study identifying efficient practices and strategies for the creation of video game environment arts. The final purpose of this thesis is presenting finding in a format that is accessible to artists, studios, and educators working in the video game industry whom aims to implement these practices and strategies into their environment art production pipeline. In the introduction part of this research, we discussed the purpose of our work and significance of thesis following by our research questions and scope, we finished this part by defining research method. The second section of this research paper started with literature overview. In literature section we discussed two main questions. These questions were what is environment art in video games and what workflows actually mean. We discussed these two main terminologies Following by detail clarification of workflows stages specialized to environment art, these were important because a workflow mainly refers to a need, to refine, optimize, shorten, increase one or more environment creation stage in terms of time, cost or quality. This section of research continued with background research, particularly previous works and history of environment art in video games from very first two-dimensional(2D) graphics to this moment. This part included examples of environment art and industry developments. We finished this section with current environment art workflows trends and previous studies made for this topic. In the third part, we introduced core part of this work where we explain our methodology for this thesis. We adopted grounded research method for our research. This method has been used in many areas including sociology, psychology and business and become very effective for its ability to generate new insight and theories that based on real world data. This method is especially suitable for dynamic research fields that has fewer existing resources and has a need to construct ideas based on evidence itself, as research field has low literature references, it was essential to benefit from real world data and external contributors. Our methodology consists of three data set and study type; preliminary study, experimental study and main study. These studies created and used data sets, preliminary data, experimental data and semi-structured interview data which later on called as main data. Environment art field evolve rapidly whereas due to dynamic nature of research topic, some of literature finding may already replace with new methods while some of them may completely obsolete over time. This created a problem, because investigating replaced or unused methods were be unpractical for research goals. Therefore, a study for ensuring literature being reviewed is relevant data was needed. This study was preliminary study which only examined recent literature. In this study, we further detail recent literature and observations to identify active literature while eliminate obsoleted part of it. This study only focuses each environment art creation stages because workflows mainly refer to a need, to refine one or more environment art creation stage. Therefore, only focusing environment art creation stages was a logical method for such purpose since any changes on environment art creation stages would dictate workflow and method itself. Also, this approach would be efficient and practical to ensure literature being reviewed was relevant and up to date. This approach allowed us pinpoint areas where refinement, change or obsoleted happened. The study in general showed us; 2 dimensional, manual and time-consuming methods are greatly replaced while more automated, algorithm or AI based workflows has a trend. Furthermore, this study provided strategies and methods for efficient practices visible in literature for each environment art creation stages. The end result of this study created preliminary data. The dynamic nature of research topic created yet another problem. As the research topic was extremely dynamic, some of preliminary study data may be too new and only have theorical background without practical base. Experimental study was a practical study for this need. Therefore, we created an experimental project based on preliminary data. In this study, we created a dedicated environment art project named ''Living in the Bubble of Love''. This study focused preliminary data and measured the practical base of it. Therefore, some of preliminary study findings like procedural workflows and modular workflows has a practical base while AI based workflows may need further definition, tool, learning resources and most importantly regulations for copyright. This study created our second data set which is experimental data. Preliminary study and experiment project study created two data type, these were preliminary data and experimental data. These two data sets used as a base for preparing a semi structured interview. Therefore, based on previous studies we prepared a semi structured interview framework which included an extensive survey along with minimum 4 industry artists and compare their approach for each step of environment art creation pipelines. The end result of this interview created last data set which is main data. This data, preliminary data and experimental data used for final main study. The main study was final analyzing and writing of all data sets using grounded research method to generate theories for literature, research goals and environment art field. The main study started with our goals and scope following a detailed explanation about our data collection and analysis methods. We used Grounded Theory as both analysis methods data collection method. This section of study started with semi structured interview framework, including participant selection criteria like relevant field and experience; recruitments methods like professional networks and referral methods. Semi structured framework setup continued with confidentiality procedures, data sets, final interview layout and interview questions. The section ended with main study analysis and findings. The analyzing used open coding, axial coding, selective coding, theorical sampling, theorical saturation and memo writing to analyze all three data sets. This analysis and finding included discussion about methods and workflows we interviewed and experimented during this research. The final theoretical sampling and memo writing groups created various theories as follows. 1-Base workflows, 2-Tools and compatibility, 3- Prototyping, 4-Feedback and collaboration, 5-Importance of planning stage, 6- Artist Role, 7- AI workflows and 8-Automated workflows. In the last part, we concluded with contribution of this research and future prediction. The thesis specially focused artistic process of game environment and it presented in a format that is accessible to artists, studios and educators working in video game industry, this thesis filled an important gap in literature and proving a valuable insight for those looking to improve their environment art workflows. Furthermore, this research analyzed approaches and methods used by artists working in game industry, identified efficient practices and strategies for creation of game worlds and aid to advance in game environment art workflows. The presentation on this study could be used to inform best practices and aid new developments in industry. Meanwhile, this study brought a deeper understanding of game art in video game and highlight the importance of art in game development and the needs for a greater focus on creative side of game development. This could lead to a greater appreciation for the role of artists in game development and encourage researchers to study artistic perspectives in game development. Research topic has bright feature in computer graphics. Finding can be used for related research or an upper education level like PhD project. These projects could be like Workflows Developments and managements various AI implementation projects and AI training projects for environment creation purposes.
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ÖgeProcedural approaches in open-world games: Game artists' perspective(Graduate School, 2022)Procedural Modeling (PM) or Procedural Content Generation (PCG) is both research and application topic for forty years. That is basically data amplification technique to create immersive media output. Also, the term includes many applications that run with specific inputs for desirable outcomes. Today, with the acceleration of digitalization, the interest in the game and the playing time per individual have increased, and the need for game content has increased accordingly. Since there are relatively large maps and universes in open world games, productive systems must meet this need.For theses in English, the summary in English must have 300 words minimum and span 1-3 pages, whereas the extended summary in Turkish must span 3-5 pages. A summary must briefly mention the subject of the thesis, the method(s) used and the conclusions derived. The main importance of Procedural techniques is labor-efficiency, realism and attractiveness in the product. There are several areas that PCG is using in games as modeling, texturing, narrative, simulation, sound and game design. Also, from the beginning of the game-making, Procedural approaches become more and more important in considering creating larger game spaces and adding layers into player experience. Commercial games use these techniques for quantity and variation of the game content to enrich player experience. Early examples of this approach, which has become widespread in digital game production processes, used randomness for story-based corridor production in role-playing games. Even though Rogue and Elite games were early applications, Procedural Content Production/Procedural Approaches were used in certain areas in the game production process. They could not pass into an advanced, general-use phase. Hardware (deficiencies in game development tools), software (limited algorithms), and a low number of experts can be listed among the main reasons why Procedural Content Production/Procedural Approaches did not spread rapidly when they first emerged. The power of data amplification offers the opportunity to create bigger projects with limited workforce in indie game companies. The main reason for interest in PCG is obviously the generation of a great amount of content. Human labor is neither fast, nor cheap in comparison with PCG. Since the game making has arisen, the quantity of workers has scaled up in particular projects and production times could last many years. Because of this, development costs rise up. The number of profitable games and the ability of the run budget in game making are affected negatively. In addition there is an ongoing argument which claims that there can be optimistic recruitment for game companies about cheaper and more rapid game productions. The argument is based on swapping particular workers who work in the design and art field, into Procedural or Generative Algorithms by keeping desirable game making standards. On the other hand, there is another perception in using PCG to broaden and work with artist creativity and make it possible even the small groups can handle a great number of contents in games. On the other hand, the independent developer model is the way companies produce with relatively little investment and employees. It is seen that the workforce is mainly limited in companies working with the independent developer model. In this context, it is thought that the data amplifier feature of Procedural Approaches creates an opportunity for game companies working with the independent developer model. Compared to Procedural Modeling outputs, the human workforce remains slow and expensive. One of the areas where Procedural Approaches respond in the game production process is optimization. Optimization techniques allow the compression and refinement of the game's partial or total data while supporting the production of games with relatively large file sizes. Thus, the desired geometry is produced at the desired time, and memory optimization is achieved. This optimization in computer hardware allows the effective use of visual data. Procedural approaches are used in many areas of Open World Game production. The literature data on Procedural Approaches, which form the basis of the study, are examined under two main headings: Procedural Content Production in Open-World Games and Procedural Content Production in Game Development, Actor and Processes. Procedural Content Production in Open World Games and Procedural Content Production in Game Development are examined under three sub-titles: Open World Components (Terrain, Plant, Built Environment), Content Types (Models and Textures) and Tools/Algorithms (Artist Friendly Tools, Procedural Game Engines and Plugins for Content Production). Although Procedural Approaches are used in many areas in game production, the scope of the study will focus on open-world environmental elements, modelling and texturing issues. In addition, current tools for Procedural Approaches from the artist's perspective will also be introduced. The main title of Procedural Content Production, Actor and Processes in Game Development is also examined under three sub-titles: Conceptual Design and Procedural Content Generation, Game Artist and Procedural Content Generation Relationship, Handcraft vs Automatization. A two-layer qualitative analysis method was employed in the study. These layers are pilot study and semi-structured expert interviews. Within the scope of the pilot study, open-ended questions obtained from the literature were directed to two professionals, and the data obtained from this constituted the main study scope. Interviews with nine professionals within the scope of the main study are analyzed in the conclusion part. Transcriptions obtained from the transcript of the interview texts, 1. Specification in the use of PA, 2. PCG Tools, 3.Standalone Need /Independent Tool Need, 4.Art Directable – Artist Friendly Tools, 5.Conceptual Design of Games within PCG, 6. Handcraft vs Automatization, 7.Customization in Narration, 8. Online-Offline Generation, 9. Need for Advanced Skills, 10.Opportunities for Indie – Small Sized Studios were examined in the light of lenses.