DOCSLIB.ORG

Reality Is Broken. Game Designers Can Fix It.”

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Reality Is Broken. Game Designers Can Fix It.” GAME INDUSTRY VETERANS REVEAL 67 TFORIPS INDIE GAME DEVELOPMENT, LAUNCH, & MARKETING CONTENTS INTRODUCTION ..................................................................................................................................4 DESIGN ..............................................................................................................................................6 #1 ..................................................................................................................................................7 #2 ..................................................................................................................................................8 #3 ..................................................................................................................................................9 #4 ................................................................................................................................................ 10 #5 ................................................................................................................................................ 11 #6 ................................................................................................................................................ 12 #7 ................................................................................................................................................ 13 #8 ................................................................................................................................................ 14 #9 ................................................................................................................................................ 15 #10 .............................................................................................................................................. 16 #11 .............................................................................................................................................. 17 #12 .............................................................................................................................................. 18 #13 .............................................................................................................................................. 19 DEVELOPMENT ................................................................................................................................. 20 #14 .............................................................................................................................................. 21 #15 .............................................................................................................................................. 22 #16 .............................................................................................................................................. 23 #17 .............................................................................................................................................. 24 #18 .............................................................................................................................................. 25 #19 .............................................................................................................................................. 26 #20 .............................................................................................................................................. 27 #21 .............................................................................................................................................. 28 #22 .............................................................................................................................................. 29 #23 .............................................................................................................................................. 30 #24 .............................................................................................................................................. 31 #25 .............................................................................................................................................. 32 #26 .............................................................................................................................................. 33 #27 .............................................................................................................................................. 34 #28 .............................................................................................................................................. 35 1 STORY .............................................................................................................................................. 36 #29 .............................................................................................................................................. 37 #30 .............................................................................................................................................. 38 #31 .............................................................................................................................................. 39 #32 .............................................................................................................................................. 40 #33 .............................................................................................................................................. 41 #34 .............................................................................................................................................. 42 #35 .............................................................................................................................................. 43 #36 .............................................................................................................................................. 44 #37 .............................................................................................................................................. 45 MAKING MONEY............................................................................................................................... 46 #38 .............................................................................................................................................. 47 #39 .............................................................................................................................................. 48 #40 .............................................................................................................................................. 49 #41 .............................................................................................................................................. 50 #42 .............................................................................................................................................. 51 #43 .............................................................................................................................................. 52 #44 .............................................................................................................................................. 53 #45 .............................................................................................................................................. 54 #46 .............................................................................................................................................. 55 IMPACT ............................................................................................................................................ 56 #47 .............................................................................................................................................. 57 #48 .............................................................................................................................................. 58 #49 .............................................................................................................................................. 59 #50 .............................................................................................................................................. 60 #51 .............................................................................................................................................. 61 #52 .............................................................................................................................................. 62 #53 .............................................................................................................................................. 63 #54 .............................................................................................................................................. 64 MOTIVATION.................................................................................................................................... 65 #55 .............................................................................................................................................. 66 #56 .............................................................................................................................................. 67 #57 .............................................................................................................................................
Load more

Recommended publications
  • 'Littlebigplanet' Wins Big at Video Game Awards 26 March 2009, by DERRIK J
    'LittleBigPlanet' wins big at video game awards 26 March 2009, By DERRIK J. LANG , AP Entertainment Writer "Fallout 3" lead writer Emil Pagliarulo during his acceptance speech. "To all the nerds growing up in South Boston, don't play hockey. Don't join Little League. Stay in your room, read your Lloyd Alexander and play 'Dungeons and Dragons.' It all works out in the end." Selected by a jury of game creators, the Game Developers Choice Awards honor the best games of the past year. The lively ninth annual ceremony was hosted by "Psychonauts " and "Brutal Legend" developer Tim Schafer. The show was capped off with the debut teaser trailer for "Call of Duty: Modern Warfare 2," the upcoming sequel to the best-selling game of 2007. Other winners at the ceremony at the Moscone Video game enthusiasts attend the Game Developers Convention Center were Ubisoft Montreal's "Prince Conference Wednesday, March 25, 2009, in San of Persia" for best visual art, Ready at Dawn Francisco. (AP Photo/Ben Margot) Studios' "God of War: Chains of Olympus" for best handheld game, EA Redwood Shores' "Dead Space" for best audio and 2D Boy's "World of Goo" for best downloadable game. (AP) -- "LittleBigPlanet" sacked the competition to win four trophies at the Game Developers Choice "Video Games Live" concert series co-founder Awards. Tommy Tallarico was awarded the ambassador trophy. Alex Rigopulos and Eran Egozy, co- Developed by Media Molecule, the cutsey founders of "Rock Band" developer Harmonix, PlayStation 3 adventure game which allows received the pioneer award. "Metal Gear Solid" players to create and share their own levels was creator Hideo Kojima was bestowed with the honored for best game design, debut, technology lifetime achievement award.
    [Show full text]
  • Video Games and the Mobilization of Anxiety and Desire
    PLAYING THE CRISIS: VIDEO GAMES AND THE MOBILIZATION OF ANXIETY AND DESIRE BY ROBERT MEJIA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Kent A. Ono, Chair Professor John Nerone Professor Clifford Christians Professor Robert A. Brookey, Northern Illinois University ABSTRACT This is a critical cultural and political economic analysis of the video game as an engine of global anxiety and desire. Attempting to move beyond conventional studies of the video game as a thing-in-itself, relatively self-contained as a textual, ludic, or even technological (in the narrow sense of the word) phenomenon, I propose that gaming has come to operate as an epistemological imperative that extends beyond the site of gaming in itself. Play and pleasure have come to affect sites of culture and the structural formation of various populations beyond those conceived of as belonging to conventional gaming populations: the workplace, consumer experiences, education, warfare, and even the practice of politics itself, amongst other domains. Indeed, the central claim of this dissertation is that the video game operates with the same political and cultural gravity as that ascribed to the prison by Michel Foucault. That is, just as the prison operated as the discursive site wherein the disciplinary imaginary was honed, so too does digital play operate as that discursive site wherein the ludic imperative has emerged. To make this claim, I have had to move beyond the conventional theoretical frameworks utilized in the analysis of video games.
    [Show full text]
  • Trafalgar Square Publishing Spring 2016 Don’T Miss Contents
    Trafalgar Square Publishing Spring 2016 Don’t Miss Contents Animals/Pets .....................................................................120, 122–124, 134–135 28 Planting Design Architecture .................................................................................... 4–7, 173–174 for Dry Gardens Art .......................................................8–9, 10, 12, 18, 25–26 132, 153, 278, 288 Autobiography/Biography ..............37–38, 41, 105–106, 108–113, 124, 162–169, 179–181, 183, 186, 191, 198, 214, 216, 218, 253, 258–259, 261, 263–264, 267, 289, 304 Body, Mind, Spirit ....................................................................................... 33–34 Business ................................................................................................... 254–256 Classics ....................................................................................43–45, 47–48, 292 Cooking ......................................................1, 11, 14–15, 222–227, 229–230–248 Crafts & Hobbies .............................................................................21–24, 26–27 85 The Looking Design ......................................................................................................... 19–20 Glass House Erotica .................................................................................................... 102–103 Essays .............................................................................................................. 292 Fiction ...............................................42,
    [Show full text]
  • "/Title/Tt3702160/": {"Director": [["Kimberly Jessy"]], "Plot": ["\Nbeautiful D Anger Is an Animated 3D Made for TV/Short Film
    {"/title/tt3702160/": {"director": [["Kimberly Jessy"]], "plot": ["\nBeautiful D anger is an Animated 3D Made for TV/Short Film. It's a Thriller that combines, M TV's Teen Wolf, Pretty Little Liars, Gossip Girl, Sorcery, Twilight, in one film , Epic fight scenes, No-one is who you think they are, Alternate Universes, Teen Young Adult Action Good Verses Evil, flick with tons of Cliff Hangers! It takes place In Dark Oak, CA were the typical mean girl with magical powers tries to t ake over the school with her mean girl clique. Brooke Charles Takes on Kimberly Jesika and her good girl team. Death Becomes Brook cause she keeps coming back, Think Katherine Vampire Diaries. Kimberly has magical powers and so does her cla n. It's a match to the death. No one is who they seem or who they appear to be! Excitement and sitting on the edge of your seat. Written by\nKimb erly Jessy "], "imdb_rating": [], "mpaa_rating": [], "poster_link": [], "stars": [["Kimberly Jessy"], ["Helena Evans"], ["Chloe Benoit"]], "title": "Beautiful D anger 3D Animated Teen Thriller", "genre": [[" Animation"]], "release_date": [], "writer": [["Kimberly Jesika"], ["Doll Face Animated Films"]]}, "/title/tt25692 02/": {"director": [["Emily Gossett"]], "plot": ["\nThe last year of high school has been barely tolerable for Maggie Masters. After being dumped by her three y ear relationship with Chad, to be traded in for a football dream at UF, she has to succumb to her mother leaving for a better life. Maggie is left to pick up th e remains of her fragmented life. When fate intervenes by the touch from the mys terious and handsome Caleb Jacobson, whom she saves, leaves Maggie breathless, s tartled and captivated.
    [Show full text]
  • Trigger Happy: Videogames and the Entertainment Revolution
    Free your purchased eBook form adhesion DRM*! * DRM = Digtal Rights Management Trigger Happy VIDEOGAMES AND THE ENTERTAINMENT REVOLUTION by Steven Poole Contents ACKNOWLEDGMENTS............................................ 8 1 RESISTANCE IS FUTILE ......................................10 Our virtual history....................................................10 Pixel generation .......................................................13 Meme machines .......................................................18 The shock of the new ...............................................28 2 THE ORIGIN OF SPECIES ....................................35 Beginnings ...............................................................35 Art types...................................................................45 Happiness is a warm gun .........................................46 In my mind and in my car ........................................51 Might as well jump ..................................................56 Sometimes you kick.................................................61 Heaven in here .........................................................66 Two tribes ................................................................69 Running up that hill .................................................72 It’s a kind of magic ..................................................75 We can work it out...................................................79 Family fortunes ........................................................82 3 UNREAL CITIES ....................................................85
    [Show full text]
  • Virtual Reality, Goggles and All, Attempts Return 29 March 2013, by Derrik J
    Virtual reality, goggles and all, attempts return 29 March 2013, by Derrik J. Lang are going to be able to do cool things," said Oculus VR founder Palmer Luckey. "This is the first time when the technology, software, community and rendering power is all really there." While VR technology has successfully been employed in recent years for military and medical training purposes, it's been too expensive, clunky or just plain bad for most at-home gamers. Oculus VR's headset is armed with stereoscopic 3-D, low- latency head tracking and a 110-degree field of view, and the company expects it to cost just a few hundred bucks. This publicity image provided by Oculus VR shows a virtual reality headset. The virtual reality headset, the doodad that was supposed to seamlessly transport wearers to three-dimensional virtual worlds, has made a remarkable return at this year's Game Developers Conference. After banking $2.4 million from crowd funding and drumming up hype over the past year, Oculus VR captured the conference's attention this week with a virtual reality headset that's more like a pair of ski goggles than those bulky gaming helmets of the 1990s. (AP Photo/Oculus VR) It's back. The virtual reality headset, the gizmo that was supposed to seamlessly transport wearers to three-dimensional virtual worlds, has made a remarkable return at this year's Game Developers Conference, an annual gathering of video game makers in San Francisco. After drumming up hype over the past year and banking $2.4 million from crowdfunding, the Irvine, Calif.-based company Oculus VR captured the conference's attention this week with the Oculus Rift, its VR headset that's more like a pair of ski goggles than those bulky gaming helmets of the 1990s that usually left users with headaches.
    [Show full text]
  • Music Games Rock: Rhythm Gaming's Greatest Hits of All Time
    “Cementing gaming’s role in music’s evolution, Steinberg has done pop culture a laudable service.” – Nick Catucci, Rolling Stone RHYTHM GAMING’S GREATEST HITS OF ALL TIME By SCOTT STEINBERG Author of Get Rich Playing Games Feat. Martin Mathers and Nadia Oxford Foreword By ALEX RIGOPULOS Co-Creator, Guitar Hero and Rock Band Praise for Music Games Rock “Hits all the right notes—and some you don’t expect. A great account of the music game story so far!” – Mike Snider, Entertainment Reporter, USA Today “An exhaustive compendia. Chocked full of fascinating detail...” – Alex Pham, Technology Reporter, Los Angeles Times “It’ll make you want to celebrate by trashing a gaming unit the way Pete Townshend destroys a guitar.” –Jason Pettigrew, Editor-in-Chief, ALTERNATIVE PRESS “I’ve never seen such a well-collected reference... it serves an important role in letting readers consider all sides of the music and rhythm game debate.” –Masaya Matsuura, Creator, PaRappa the Rapper “A must read for the game-obsessed...” –Jermaine Hall, Editor-in-Chief, VIBE MUSIC GAMES ROCK RHYTHM GAMING’S GREATEST HITS OF ALL TIME SCOTT STEINBERG DEDICATION MUSIC GAMES ROCK: RHYTHM GAMING’S GREATEST HITS OF ALL TIME All Rights Reserved © 2011 by Scott Steinberg “Behind the Music: The Making of Sex ‘N Drugs ‘N Rock ‘N Roll” © 2009 Jon Hare No part of this book may be reproduced or transmitted in any form or by any means – graphic, electronic or mechanical – including photocopying, recording, taping or by any information storage retrieval system, without the written permission of the publisher.
    [Show full text]
  • Chapter 1: the Semiotic Conditions of Videogame Authorship
    UC San Diego UC San Diego Electronic Theses and Dissertations Title The Foundations of Videogame Authorship Permalink https://escholarship.org/uc/item/96x08750 Author Huber, William Humberto Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO The Foundations of Videogame Authorship A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History, Theory and Criticism by William Humberto Huber Committee in charge: Professor Lev Manovich, Chair Professor Grant Kester Professor Kuiyi Shen Professor Stefan Tanaka Professor Noah Wardrip-Fruin 2013 © William Humberto Huber, 2013 All rights reserved. SIGNATURE PAGE The Dissertation of William Humberto Huber is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2013 iii DEDICATION With gratitude to friends, family and colleagues. To Samantha, with deepest devotion, for her friendship, affection and patience. To Rafael, for whom play is everything. iv EPIGRAPH Art is a game between all people, of all periods. – Marcel Duchamp v TABLE OF CONTENTS Signature Page ............................................................................................................... iii Dedication ..................................................................................................................... iv Epigraph ..........................................................................................................................v
    [Show full text]
  • Petition for Cancelation
    Trademark Trial and Appeal Board Electronic Filing System. http://estta.uspto.gov ESTTA Tracking number: ESTTA743501 Filing date: 04/30/2016 IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD Petition for Cancellation Notice is hereby given that the following party requests to cancel indicated registration. Petitioner Information Name Organization for Transformative Works, Inc. Entity Corporation Citizenship Delaware Address 2576 Broadway #119 New York City, NY 10025 UNITED STATES Correspondence Heidi Tandy information Legal Committee Member Organization for Transformative Works, Inc. 1691 Michigan Ave Suite 360 Miami Beach, FL 33139 UNITED STATES [email protected] Phone:3059262227 Registration Subject to Cancellation Registration No 4863676 Registration date 12/01/2015 Registrant Power I Productions LLC 163 West 18th Street #1B New York, NY 10011 UNITED STATES Goods/Services Subject to Cancellation Class 041. First Use: 2013/12/01 First Use In Commerce: 2015/08/01 All goods and services in the class are cancelled, namely: Entertainment services, namely, an ongo- ing series featuring documentary films featuring modern cultural phenomena provided through the in- ternet and movie theaters; Entertainment services, namely, displaying a series of films; Entertain- mentservices, namely, providing a web site featuring photographic and prose presentations featuring modern cultural phenomena; Entertainment services, namely, storytelling Grounds for Cancellation The mark is merely descriptive Trademark Act Sections 14(1) and 2(e)(1) The mark is or has become generic Trademark Act Section 14(3), or Section 23 if on Supplemental Register Attachments Fandom_Generic_Petition.pdf(2202166 bytes ) Fandom Appendix pt 1.pdf(4769247 bytes ) Fandom Appendix pt 2.pdf(4885778 bytes ) Fandom Appendix pt 3.pdf(3243682 bytes ) Certificate of Service The undersigned hereby certifies that a copy of this paper has been served upon all parties, at their address record by First Class Mail on this date.
    [Show full text]
  • Mario Luis Ramirez STS 145—The History of Computer Game Design
    Mario Luis Ramirez STS 145—The History of Computer Game Design Prof. Henry Lowood March 15, 2002 Galaga and Vintage Gaming: A Look at Galaga’s Place in the Classic Gaming Industry Because he was speaking in the early videogame days of the 1980’s, it is likely that even Steven Spielberg did not fully recognized the weight of his statement when he said that “The aliens have landed, and the world can never be the same again” (Amis, 7). Commenting on such early games as Missile Command and Space Invaders, Spielberg understood that these early “shooters” had infiltrated American pop culture in such a way that whether directly or not, the lives of most Americans after the 1980’s would be influenced by games such as these. 20 years later, his statement continues to ring true today. However, it not difficult to see that most recent videogames look considerably different than their predecessors of the 80’s—technological advancements have changed the face of gaming. Yet, as the Namco Arcade web page points out in speaking about the classic games, Galaga and Ms. PacMan, “These two games are unquestionably the two longest running hits in the history of videogames! After 20 years, they are still a ‘must have’ for all locations” (www.namcoarcade.com/nai_gamedisplay.asp?gam=mspcglga). One must wonder then, what is it about games such as these that continue to make them popular—why is it that in the face of clearly superior graphics, sound, and interface 1 options that primitive games are not only able to coexist, but continue to bring in profits for manufacturers and arcade operators? After conducting much research, including a variety of interviews with those involved in the classic gaming world, it certainly seems that the answer is rooted in the simplicity and nostalgia of these games.
    [Show full text]
  • Kocurek Dissertation 201221.Pdf
    Copyright by Carly Ann Kocurek 2012 The Dissertation Committee for Carly Ann Kocurek Certifies that this is the approved version of the following dissertation: Masculinity at the Video Game Arcade: 1972-1983 Committee: Elizabeth S.D. Engelhardt, Supervisor Janet M. Davis John Hartigan Mark C. Smith Sharon Strover Masculinity at the Video Game Arcade: 1972-1983 by Carly Ann Kocurek, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2012 Acknowledgements Completing a dissertation is a task that takes the proverbial village. I have been fortunate to have found guidance, encouragement, and support from a diversity of sources. First among these, of course, I must count the members of my committee. Thanks in particular to Elizabeth S. D. Engelhardt who, as chair, served as both critic and cheerleader in equal measure and who has guided this project from its infancy. Janet M. Davis’s interest in the sinews that connect popular culture to broader political concerns has shaped my own approach. Mark C. Smith has been a source of support for the duration of my graduate studies; his investment in students, including graduate and undergraduate, is truly admirable. Were it not for a conversation with Sharon Strover in which she suggested I might consider completing some oral histories of video gaming, I might have pursued another project entirely. John Hartigan, through his incisive questions about the politics of race and gender at play in the arcade, shaped my research concerns.
    [Show full text]
  • Unity Playground
    Unity Playground Instructor: Prof Pisan [email protected] Overview Game Engine Architecture Unity's approach to creating a game engine Defining a game - components, criticism Role of Game Designer Unity Playground https://unity3d.com/learn/tutorials/s/unity-playground 2 HW1: Unity Basics Review answers Grading: #2 2pts #5 2pts #8 2pts Rest 4pts 3 Game Designer Advocate for the player See the world through the player's eyes Player experience Playtesters - providing feedback Game design as hosting a party - an interactive experience Communication - sell your game, good listener and compromiser Teamwork - personalities Process - games are fragile, prioritize goals Inspiration - world as challenges, structures and play. Money to relationships Beyond existing games Will Wright - ant colonies to SimAnt What parts of your life can be turned into games? 4 Fail and Fail Again https://officechai.com/startups/51-failed-games-rovio-created- angry-birds-now-going-public-1-billion-valuation/ Playcentric Design Process Keeping the player experience in mind and testing the gameplay with target players through every phase of development. Setting player experience goals Players have to cooperate to win, but structured so cannot trust each other Players will feel a sense of happiness and playfulness Prototyping and Playtesting Paper is easy to modify, software decisions harder to reverse Iteration Design → Test → Evaluate → Design → Test → …. 6 Game Development 1. Brainstorming 2. Physical prototype 3. Presentation (if you need $$s) 4. Software prototype 5. Design documentation - putting the notes together 6. Production 7. Quality assurance Approaches: Jump from concept to writing up design to coding. Works OK when the game is a variation of an existing game Game Jams: Tapping into community for ideas and prototypes Innovation: unique play mechniques, beyond existing genres, integrating into daily lives, taking on new business models, emotionally rich gameplay, ….
    [Show full text]