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Create widget. Popular user-defined tags for this product:? This full-court defense is best suited for a team of athletes that want to play an uptempo style game.
Big and slow teams should avoid this offense as the rotations require quick movements to be effective. Unlike most other full-court defenses, there are no set spots on the court for trapping and switching.
Rather, the players make their own decisions where to trap and switch based on a few simple rules. The defense is effective because it forces guards out of their comfort zones with high amounts of ball pressure and then uses switching and blind-side traps to create turnovers.
Players do not guard zones on the court, they guard players. By jumping them, the help defender quickly closes out in the path of the dribbler with high hands forcing them to either stop the dribble, change directions, or throw a tough pass that the defender hopes to deflect.
This tells the current on-ball defender to switch onto the player the help defender was guarding. As they pass the player jumping the basketball, the switching player must extend a hand into the passing lane in hopes of getting a deflection and a steal.
Running a full-court, aggressive defense allows your team to dictate the tempo of the game. Your players will be working on their man-to-man principles which are important for the future success of each player.
The aggressive Run and Jump defense will encourage the offensive team to shoot quicker and will keep them out of their offense when they do get the basketball to their front court.
More players getting quality court time is great for development and keeps everyone happy. The players closest to the rim defends the inbounds pass after a score — In order to stop the opposition from inbounding the basketball quickly, the player who is closest to the rim after a score must put immediate pressure on the inbounds passer.
There are no set match-ups — Since the inbounds defender can change after each shot, that means the rest of the matchups must change too. Instead of having set match-ups, players must talk to each other and make sure the all opposition players are covered quickly.
As soon as the basketball is advanced, we must get behind the line of the basketball. In the run and jump defense, we allow the opposition to make the backwards pass.
Players have to fully commit to each rotation decision. Players must not reach on traps — The goal of each trap is to make the offensive player throw a high pass to a teammate that one of our help defenders can steal.
Let the offense make mistakes. The main responsibility of the on-ball defender is to put a massive amount of pressure on the basketball.
Doing so will prevent the point guard from surveying the floor or making the easy forward pass. This pressure must encourage the point guard to dribble with the aim being to force them into an uncontrolled dribble.
The first help defender will usually be the player who pressured the inbounds pass not necessarily always X4.
This player must be smart in their decision-making as they have one of the toughest roles on the floor. The other three players on the floor are initially responsible for denying the easy pass up the floor by playing their opponents side-by-side.
The run and jump defense starts immediately after your team scores the basketball. A defensive player must put immediate pressure on the inbounds pass to allow the defense time to set up and also to discourage the long pass down the floor.
The player that pressures the in-bounds pass should be the player closest to the ring after an offensive score. This rule is in place to ensure that the basketball is pressured as quickly as possible x4 in the diagram.
This player might be a guard after a layup or a big after your team makes an outside shot. But if your players find themselves deciding who should guard the inbounds pass out of a guard and a post player, we would prefer the post player.
As the opposition is in-bounding the basketball, your team must have one defender pressuring the in-bounds pass, and the other four defenders should be matched up in man-to-man.
The most important rule to remember on an inbounds pass is that we want the opposition to catch the basketball below the free-throw line.
Preferably as close to the baseline as possible. To do this, the front defenders x1 and x2 play behind their opponents and allow them to cut to the basketball and make the catch.
The players that are defending at half-court should be standing on the side of their opponent so that they can pick off any passes that are made over the top of the front line.
We never allow the lob pass. Another platform-adventure released that year, Pony Canyon 's Super Pitfall , was critically panned for its vagueness and weak game design.
That same year Jaleco released Esper Boukentai , a platform-action sequel to Psychic 5 that scrolled in all directions and allowed the player character to make huge multistory jumps, which were necessary to navigate the giant, vertically oriented levels.
In , Capcom 's Mega Man introduced non-linear level progression where the player is able to choose the order in which they complete levels.
This was a stark contrast to both linear games like Super Mario Bros. GamesRadar credits the "level select" feature of Mega Man as the basis for the non-linear mission structure found in most open-world, multi-mission, sidequest -heavy games.
The advent of bit home consoles marked an evolutionary step for the genre. By the time the Genesis and Super NES launched, platform games were the most popular genre in home console gaming and were seen as vital for winning the console war.
There was a particular emphasis on having a flagship platform title exclusive to a format, featuring a mascot character.
The title was only modestly successful, and Sega realized it needed a stronger mascot to move Genesis units.
That same year, Capcom released the platformer Strider , which scrolled in multiple directions and allowed the player to summon artificial intelligence AI partners, such as a droid, tiger, and hawk, to help fight enemies.
In order to fend off the new competition, Sega released Sonic the Hedgehog. Sonic featured large stages that scrolled effortlessly in all directions, as well as all manner of uneven terrain, curved hills, and a complex physics system that allowed players to rush through its levels with well-placed jumps and rolls.
Lastly, there was the game's eponymous main character. Whereas prior platforming mascots tended to be either middle-aged men or young children, Sega decided to characterize Sonic as a teenager, with a rebellious personality in order to appeal to older gamers,  and super speed to help show off the Genesis' hardware capabilities.
The game proved to be a massive hit, was a successful pack-in with new systems, and cemented the view that platform games would make or break a console.
The Sonic character was seen as a new model for mascots in the early s, particularly for his perceived attitude, which characterized him as a rebel.
This attitude soon became the status quo, as companies attempted to duplicate Sonic's success with their own brightly colored anthropomorphisms.
These mascots, which included Gex , Mr. Although there had long been important platform games on home computers, a second generation of platform games for computers appeared alongside the new wave of consoles.
In the late s and early s, the Amiga was known as a stronger gaming platform than IBM PC compatibles , thanks to its more powerful stock video hardware and sound hardware.
Games like Shadow of the Beast and Turrican showed that computer platform games could rival the graphics and sound of their console contemporaries.
Prince of Persia , originally released for the Apple II in , long after that system's heyday, featured an unprecedented level of animation.
The abundance of platformers for bit consoles continued late into the generation, with successful games such as Vectorman , Donkey Kong Country 2: Diddy's Kong Quest , and Super Mario World 2: Yoshi's Island , but the release of new hardware caused players' attention to shift away from traditional 2D genres.
The 2D Rayman was a big success on bit consoles. Castlevania: Symphony of the Night revitalized its series and established a new foundation for later Castlevania games.
Oddworld and Heart of Darkness kept the subgenre born from Prince of Persia alive. The difficulties of adapting platform gameplay to three dimensions led some developers to compromise by pairing the visual flash of 3D with traditional 2D side scrolling gameplay.
These games are often referred to as 2. The game featured levels and boss characters rendered in 3D, but retained 2D gameplay and used pre-rendered 2D sprites for regular characters, similar to Donkey Kong Country.
Its sequel improved upon its design, featuring some 3D effects such as hopping between the foreground and background, and the camera panning and curving around corners.
Meanwhile, Pandemonium and Klonoa brought the 2. In a break from the past, the Nintendo 64 had the fewest side scrolling platformers with only four; Yoshi's Story , Kirby The Crystal Shards , Goemon's Great Adventure , and Mischief Makers —and most met with a tepid response from critics at the time.
The term 3D platformer usually refers to games that feature gameplay in three dimensions and polygonal 3D graphics.
Games that have 3D gameplay but 2D graphics are usually included under the umbrella of isometric platformers , while those that have 3D graphics but gameplay on a 2D plane are called 2.
The first attempts to bring platform games into 3D used 2D graphics and had an isometric perspective. These games are nearly as old as the genre itself, one of the earliest examples being Sega's Congo Bongo in The first platformers to simulate a 3D perspective and moving camera emerged in the early-mids.
An early example of this was Konami 's platform game Antarctic Adventure ,  where the player controls a penguin in a forward-scrolling third-person perspective while having to jump over pits and obstacles.
It was notable for being one of the first stereoscopic 3-D games. It allowed players to move in all directions, but it did not allow movement along more than one axis at once; the player could move orthogonally but not diagonally.
Its characters were pre-rendered sprites, much like the earlier Clockwork Knight. The game played very similarly to 2D platformers, but it was considered a true 3D title, and let players walk up walls and on ceilings.
It was a moderate success, and spawned a sequel called Bug Too! Entitled Fade to Black , it was the first attempt to bring a popular 2D platform game series into 3D.
While it retained the puzzle-oriented level design style and step-based control, and bore a strong resemblance to its predecessor, it did not meet the criteria of a platform game, and was billed as an action adventure.
Fade to Black set the stage for other series, such as Metroid and Duke Nukem , that gradually shifted away from the traditional platform formula while retaining many of its gameplay conventions.
There was a great deal of pressure on Sony, Sega, and Nintendo to release mascot platformers before the holiday season.
Sony chose to adopt an existing project by developers Naughty Dog , a small developer at the time, who had recently released the questionable Way of the Warrior.
The move paid off; their game, Crash Bandicoot , beat Nintendo's new console to market in North America and was released in time for the holiday in Japan.
Crash remained Sony's unofficial mascot for the next several years before switching to multi-platform releases in the following console generation.
Sega did not fare as well. Their project, titled Sonic Xtreme , was to have featured a radically different approach for the series, with an exaggerated fisheye camera and multidirectional gameplay reminiscent of Bug!
Its development was rocky, due in part to conflicts with Sega Enterprises in Japan and a rushed schedule, and the game never made it to market.
Beginning in the s platforming games began to transform from pseudo-3D to "true 3D" experiences, the distinction being constraints on the degree of control the player over the character and camera.
Rendering of 3D environment from angles controlled by the user necessitates that the graphics hardware be sufficiently powerful, and that the art and rendering model of the game can be viewed from an arbitrary angle.
The improvement in graphics technology allowed publishers to produce such games, but introduced several new issues; for example, if the virtual camera can be positioned arbitrarily, it must be constrained to prevent it from clipping through the environment.
In , a small developer called Exact released a game for the X computer called Geograph Seal. The game was a fully 3D polygonal first-person shooter hybrid with a pronounced platform jumping component.
Players piloted a frog-like mech that could jump and then double-jump or triple-jump high into the air, as the camera panned down to help players line up their landings.
In addition to shooting, jumping on enemies was a primary means of attack. The following year, Exact released their follow-up to Geograph Seal as an early title for Sony's new PlayStation console.
Jumping Flash! The frog-like mech was traded in for a more cartoony rabbit mech, called Robbit. Beyond this, the level design had an even greater focus on platform hopping, and it was released in Europe and North America as a launch title , helping it gain a much higher profile.
The title was successful enough to receive two sequels, and is remembered as the first 3D platformer on a console.
Floating Runner used D-pad controls and a behind-the-character camera perspective. Nintendo released Super Mario 64 in Before then, there was no established paradigm for bringing platform games into 3D.
Mario 64 set a new standard, and it was imitated by many subsequent 3D platformers. Its gameplay allowed players to explore open 3D environments with greater freedom than any previous attempt at a 3D platform game.
To aid this, Nintendo added an analog control stick to its Nintendo 64 controller, something which had not been included in a standard console controller since the Vectrex , and which has since become standard on other controllers.
This allowed for the finer precision needed for a free perspective. Players no longer followed a linear path to the ends of levels, either, with most levels providing objective-based goals.
There were a handful of boss levels that offered more traditional platforming. Nintendo rejected the pitch, which resulted in the game being remade into the title, Croc: Legend of the Gobbos , another early pioneer of the genre.
Super Mario 64 brought a change in the goals of some platformers. In most 2D platformers, the player only had to reach a single goal to complete a level, but in Mario 64 each level contained a mission based structure that rewarded items needed to unlock new areas.
Many 3D platformers followed this trend such as Banjo-Kazooie , Spyro the Dragon , and Donkey Kong 64 creating the "collect-a-thon" genre. This allowed for more efficient use of large 3D areas and rewarded the player for thorough exploration of their environment, but also contained less jumping and involved more elements of action-adventure games.
As platform games settled into this new free-roaming model, it became necessary for developers to program a dynamic, intelligent camera.
This was a non-issue with 2D platformers, which were able to maintain a fixed viewpoint. The addition of a free camera also made it more difficult for players to judge the exact height and distance of platforms, making jumping puzzles more difficult.
Some of the more linear 3D platformers, like Tork: Prehistoric Punk and Wario World used scripted cameras that allowed for minimal player control.
Others with more open environments, such as Super Mario 64 and Banjo Kazooie , needed intelligent cameras that follow the players movements.
RPGs , first person shooters , and more complex action-adventure games were all capturing more market share.
Also, many of the Nintendo 64 's best sellers were first and second-party platformers like Super Mario 64 , Banjo-Kazooie , and Donkey Kong Several developers who found success in the 3D platformer genre, also began experimenting with publishing titles featuring humour and content aimed at a more mature audience, despite their art style.
This was perhaps mirroring the popularity of adult animation in the late s, such as South Park and The Simpsons.
By the sixth generation era , platformers were no longer seen as hot system sellers. It used a hub structure like Mario 64 but featured more linear, action-oriented levels with an emphasis on speed.
Although the game was a hit, it was not enough to save the Dreamcast from an early discontinuation in Run, jump and slay dangerous..
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What you may not see can certainly still kill you.