Game design

An exploration of the way videogames mount arguments and make expressive statements about the world that analyzes their unique persuasive power in terms of their computational properties.Videogames are an expressive medium, and a persuasive medium; they represent how real and imagined systems work, and they invite players to interact with those systems and form judgments about them. In this innovative analysis, Ian Bogost examines the way videogames mount arguments and influence players. Drawing on the 2,500-year history of rhetoric, the study of persuasive expression, Bogost analyzes rhetoric's unique function in software in general and videogames in particular. The field of media studies already analyzes visual rhetoric, the art of using imagery and visual representation persuasively. Bogost argues that videogames, thanks to their basic representational mode of procedurality (rule-based representations and interactions), open a new domain for persuasion; they realize a new form of rhetoric. Bogost calls this new form procedural rhetoric, a type of rhetoric tied to the core affordances of computers: running processes and executing rule-based symbolic manipulation. He argues further that videogames have a unique persuasive power that goes beyond other forms of computational persuasion. Not only can videogames support existing social and cultural positions, but they can also disrupt and change these positions themselves, leading to potentially significant long-term social change. Bogost looks at three areas in which videogame persuasion has already taken form and shows considerable potential: politics, advertising, and learning.

Welcome to a book written to challenge you, improve your brainstorming abilities, and sharpen your game design skills! Challenges for Game Designers: Non-Digital Exercises for Video Game Designers is filled with enjoyable, interesting, and challenging exercises to help you become a better video game designer, whether you are a professional or aspire to be. Each chapter covers a different topic important to game designers, and was taken from actual industry experience. After a brief overview of the topic, there are five challenges that each take less than two hours and allow you to apply the material, explore the topic, and expand your knowledge in that area. Each chapter also includes 10 -non-digital shorts- to further hone your skills. None of the challenges in the book require any programming or a computer, but many of the topics feature challenges that can be made into fully functioning games. The book is useful for professional designers, aspiring designers, and instructors who teach game design courses, and the challenges are great for both practice and homework assignments. The book can be worked through chapter by chapter, or you can skip around and do only the challenges that interest you. As with anything else, making great games takes practice and Challenges for Game Designers provides you with a collection of fun, thoughtprovoking, and of course, challenging activities that will help you hone vital skills and become the best game designer you can be.

An Introduction to Game Studies is a core textbook for game studies as an academic discipline, and is the comprehensive guide to the field. It introduces the student to the history and character of games studies as an analytical study of games in culture, and then moves to provide an overview of games as signifying and dynamic cultural constructs. This book shows how to analyze games by introducing the core analytical concepts in the contexts of games and game cultures of four periods. It covers the prehistory of games, the 70s, 80s, and 90s and also contemporary developments. Students will be introduced to both the theoretical core and the essential genres and classics of the subject.

I'm pretty sure I was born a gamer. From when I was 1 and a half years old and I started mastering Prince of Persia to today when I still spend my evenings with my friends gaming and bonding over the Leeeeroy Jenkins meme, gaming has been the one thing that I persisted with. It was entertaining, challenging and fun, and probably the only thing that I could do that engaged me so deeply that I was unaware of the world. Gaming offers experiences to the audience that other art forms simply cannot. A game will refuse to let you proceed any further unless you have a certain level of skill, and to me that is delightful. Imagine being slapped in the face by a book you're reading because you're not smart enough to understand the context. The world would be a better place. Imagine my delight when I discovered a series of books about gaming and the effects it has on gamers. The title was what drew me in, and I expected a lot of things from it, so there was no way this book was going to live up to that. The book analyses the peculiarity of failure being integrated into gaming as a concept, and how a gamer doesn't actually like a game that doesn't make them try hard and fail at least a few times. This book is about performance and reward structures, and about the psychology of gamers, and the design of a game, and the thought process that goes into making one. It's the psychological analysis of a small subculture, which has broader connotations.I would say that the topic has a lot more scope than what the writer covered, but I do applaud the writer's taste in games.I don't know if you should read this book or not. Many gamers can't be bothered. Many non gamers might find it fascinating. I found it decent and refreshingly short. The author didn't drag the small amount of content he had for a long time for no reason, he said what he wanted to say and waved goodbye, and that makes this book good for me.There is another consideration, that I'm adding as an afterthought. This book would have been relevant in a pre-Witcher 3 era, but today, whatever it talks about is outdated. Witcher 3 is the case that defies most of the theories highlighted in the book. It still sits within the general framework of gaming, but a lot of rules have changed since Witcher 3. This book needs to be revised, to stay up to date with a post-Witcher era.

When Derek Yu released Spelunky for free in 2008, his roguelike-inspired platformer took the indie game community by storm with its combination of classic platform mechanics, extreme difficulty, and random level generation. Four years later, Spelunky's HD remake went on to become PC Gamer's Game of the Year and earn perfect scores from Polygon and Eurogamer. But how is a "perfect" game made? Spelunky is Boss Fight's first autobiographical book: the story of a game's creation as told by its creator. Using his own game as a vehicle, Derek Yu discusses such wide-ranging topics as randomization, challenge, indifferent game worlds, player feedback, development team dynamics, and what's required to actually finish a game. Grab some ropes, a mattock, and your favorite pug—this book is going to dig deep.

In recent years, computer games have moved from the margins of popular culture to its center. Reviews of new games and profiles of game designers now regularly appear in the New York Times and the New Yorker, and sales figures for games are reported alongside those of books, music, and movies. They are increasingly used for purposes other than entertainment, yet debates about videogames still fork along one of two paths: accusations of debasement through violence and isolation or defensive paeans to their potential as serious cultural works. In How to Do Things with Videogames, Ian Bogost contends that such generalizations obscure the limitless possibilities offered by the medium’s ability to create complex simulated realities.Bogost, a leading scholar of videogames and an award-winning game designer, explores the many ways computer games are used today: documenting important historical and cultural events; educating both children and adults; promoting commercial products; and serving as platforms for art, pornography, exercise, relaxation, pranks, and politics. Examining these applications in a series of short, inviting, and provocative essays, he argues that together they make the medium broader, richer, and more relevant to a wider audience.Bogost concludes that as videogames become ever more enmeshed with contemporary life, the idea of gamers as social identities will become obsolete, giving rise to gaming by the masses. But until games are understood to have valid applications across the cultural spectrum, their true potential will remain unrealized. How to Do Things with Videogames offers a fresh starting point to more fully consider games’ progress today and promise for the future.

Take your business to the next level—for the winMillions flock to their computers, consoles, mobile phones, tablets, and social networks each day to play World of Warcraft, Farmville, Scrabble, and countless other games, generating billions in sales each year. The careful and skillful construction of these games is built on decades of research into human motivation and psychology: A well-designed game goes right to the motivational heart of the human psyche.In For the Win, authors Kevin Werbach and Dan Hunter argue persuasively that gamemakers need not be the only ones benefiting from game design. Werbach and Hunter are lawyers and World of Warcraft players who created the world’s first course on gamification at the Wharton School. In their book, they reveal how game thinking—addressing problems like a game designer—can motivate employees and customers and create engaging experiences that can transform your business.For the Win reveals how a wide range of companies are successfully using game thinking. It also offers an explanation of when gamifying makes the most sense and a 6-step framework for using games for marketing, productivity enhancement, innovation, employee motivation, customer engagement, and more.In this illuminating guide, Werbach and Hunter reveal how game thinking can yield winning solutions to real-world business problems. Let the games begin!

An impassioned look at games and game design that offers the most ambitious framework for understanding them to date.As pop culture, games are as important as film or television--but game design has yet to develop a theoretical framework or critical vocabulary. In Rules of Play Katie Salen and Eric Zimmerman present a much-needed primer for this emerging field. They offer a unified model for looking at all kinds of games, from board games and sports to computer and video games. As active participants in game culture, the authors have written Rules of Play as a catalyst for innovation, filled with new concepts, strategies, and methodologies for creating and understanding games. Building an aesthetics of interactive systems, Salen and Zimmerman define core concepts like play, design, and interactivity. They look at games through a series of eighteen game design schemas, or conceptual frameworks, including games as systems of emergence and information, as contexts for social play, as a storytelling medium, and as sites of cultural resistance.Written for game scholars, game developers, and interactive designers, Rules of Play is a textbook, reference book, and theoretical guide. It is the first comprehensive attempt to establish a solid theoretical framework for the emerging discipline of game design.

Il y avait la rock’n’roll attitude, il y a désormais la "hacker attitude", un modèle social pour l’ère post-industrielle », expliquait Libération lors de la parution de ce livre au début de l’année 2001 aux États-Unis. On considérait jusqu’à présent le « hacker » comme un voyou d’Internet, responsable d’actes de piratage et de vols de numéros de cartes bancaires. L’essor du Net a contribué à cette mauvaise réputation, certes tronquée et trompeuse, des flibustiers de la grande toile.Le philosophe Pekka Himanen voit au contraire les hackers comme des citoyens modèles de l’ère de l’information. Il les considère comme les véritables moteurs d’une profonde mutation sociale. Leur éthique, leur rapport au travail, au temps ou à l’argent, sont fondés sur la passion, le plaisir ou le partage. Cette éthique est radicalement opposée à l’éthique protestante, telle qu’elle est définie par Max Weber, du travail comme devoir, comme valeur en soi, une morale qui domine encore le monde aujourd’hui.Cet essai de Himanen — déjà salué par la critique aux États-Unis et au Japon — ouvre de nouvelles voies pour penser l’avenir des sociétés post-industrielles et la transformation en cours du capitalisme.Pekka Himanen, né en 1973, docteur en philosophie, enseigne à l’université d’Helsinski, ainsi qu’à l’université de Berkeley en Californie.Linus Torvalds, illustre hacker, est à l’origine du système d’exploitation Linux.Manuel Castells, professeur de sociologie à l’université de Berkeley, est notamment l’auteur de L’Ère de l’information (Fayard).

Stories define how we think, play, and understand our lives. In this comprehensive and readable book--already a classic statement of the aesthetics of digital media, acclaimed by practitioners and theorists alike--Janet Murray shows how the computer is reshaping the stories we live by. Murray discusses the unique properties and pleasures of digital environments and connects them with the traditional satisfactions of narrative. She analyzes the dramatic satisfaction of participatory stories and considers what would be necessary to move interactive fiction from the formats of childish games and confusing labyrinths into a mature and compelling art form. Through a blend of imagination and techno-wizardry, Murray provides both readers and writers with a guide to the storytelling of the future.

Design and build cutting-edge video games with help from video game expert Scott Rogers! If you want to design and build cutting-edge video games but aren't sure where to start, then this is the book for you. Written by leading video game expert Scott Rogers, who has designed the hits Pac Man World, Maxim vs. Army of Zin, and SpongeBob Squarepants, this book is full of Rogers's wit and imaginative style that demonstrates everything you need to know about designing great video games.Features an approachable writing style that considers game designers from all levels of expertise and experience Covers the entire video game creation process, including developing marketable ideas, understanding what gamers want, working with player actions, and more Offers techniques for creating non-human characters and using the camera as a character Shares helpful insight on the business of design and how to create design documents So, put your game face on and start creating memorable, creative, and unique video games with this book!

A riveting account of the strange birth and remarkable evolution of the most important development in entertainment since television, Replay is the ultimate history of video games. Based on extensive research and over 140 exclusive interviews with key movers and shakers from gaming's past, Replay tells the sensational story of how the creative vision of game designers gave rise to one of the world's most popular and dynamic art forms.

Game Feel exposes feel as a hidden language in game design that no one has fully articulated yet. The language could be compared to the building blocks of music (time signatures, chord progressions, verse)—no matter the instruments, style or time period—these building blocks come into play. Feel and sensation are similar building blocks where game design is concerned. They create the meta-sensation of involvement with a game.The understanding of how game designers create feel, and affect feel are only partially understood by most in the field and tends to be overlooked as a method or course of study, yet a game's feel is central to a game's success. This book brings the subject of feel to light by consolidating existing theories into a cohesive book.The book covers topics like the role of sound, ancillary indicators, the importance of metaphor, how people perceive things, and a brief history of feel in games.The associated web site contains a playset with ready-made tools to design feel in games, six key components to creating virtual sensation. There's a play palette too, so the designer can first experience the importance of that component by altering variables and feeling the results. The playset allows the reader to experience each of the sensations described in the book, and then allows them to apply them to their own projects. Creating game feel without having to program, essentially. The final version of the playset will have enough flexibility that the reader will be able to use it as a companion to the exercises in the book, working through each one to create the feel described.

More than 31 million people in the UK are gamers. The average young person in the UK will spend 10,000 hours gaming by the age of twenty-one. What's causing this mass exodus? According to world-renowned game designer Jane McGonigal the answer is simple: videogames are fulfilling genuine human needs. Drawing on positive psychology, cognitive science and sociology, Reality is Broken shows how game designers have hit on core truths about what makes us happy, and utilized these discoveries to astonishing effect in virtual environments. But why, McGonigal asks, should we use the power of games for escapist entertainment alone? In this groundbreaking exploration of the power and future of gaming, she reveals how gamers have become expert problem solvers and collaborators, and shows how we can use the lessons of game design to socially positive ends, be it in our own lives, our communities or our businesses. Written for gamers and non-gamers alike, Reality is Broken sends a clear and provocative message: the future will belong to those who can understand, design and play games.

Master the craft of game design so you can create that elusive combination of challenge, competition, and interaction that players seek. This design workshop begins with an examination of the fundamental elements of game design; then puts you to work in prototyping, playtesting and redesigning your own games with exercises that teach essential design skills. Workshop exercises require no background in programming or artwork, releasing you from the intricacies of electronic game production, so you can develop a working understanding of the essentials of game design.Features:* A design methodology used in the USC Interactive Media program, a cutting edge program funded in part of Electronic Arts. * Hands-on exercises demonstrate key concepts, and the design methodology* Insights from top industry game designers, including Noah Falstein, American McGee, Peter Molyneux

A Theory of Fun for Game Design is not your typical how-to book. It features a novel way of teaching interactive designers how to create and improve their designs to incorporate the highest degree of fun. As the book shows, designing for fun is all about making interactive products like games highly entertaining, engaging, and addictive. The book's unique approach of providing a highly visual storyboard approach combined with a narrative on the art and practice of designing for fun is sure to be a hit with game and interactive designers.At first glance A Theory of Fun for Game Design is a book that will truly inspire and challenge game designers to think in new ways; however, its universal message will influence designers from all walks of life. This book captures the real essence of what drives us to seek out products and experiences that are truly fun and entertaining. The author masterfully presents his engaging theory by showing readers how many designs are lacking because they are predictable and not engaging enough. He then explains how great designers use different types of elements in new ways to make designs more fun and compelling. Anyone who is interested in design will enjoy how the book works on two levels--as a quick inspiration guide to game design, or as an informative discussion that details the insightful thinking from a great mind in the game industry.

Anyone can master the fundamentals of game design—no technological expertise is necessary. The Art of Game Design: A Book of Lenses shows that the same basic principles of psychology that work for board games, card games and athletic games also are the keys to making top-quality video games. Good game design happens when you view your game from many different perspectives, or lenses. While touring through the unusual territory that is game design, this book gives the reader one hundred of these lenses—one hundred sets of insightful questions to ask yourself that will help make your game better. These lenses are gathered from fields as diverse as psychology, architecture, music, visual design, film, software engineering, theme park design, mathematics, writing, puzzle design, and anthropology. Anyone who reads this book will be inspired to become a better game designer—and will understand how to do it.