Nearfinalfinal

Total Page:16

File Type:pdf, Size:1020Kb

Nearfinalfinal Wednesday, 30th of October Opening Ceremony - Damir Durovic (ReBoot), Patrice Desiléts (Panache Digital Games) 10:00-11:00 Goichi Suda, Grasshopper Manufacture - Morning Talk with SUDA 51 11:00 - 11:30 Coffee Breaks MADHEAD GAMES STAGE AMD STAGE KHRONOS GROUP STAGE OCULUS STAGE BIG BLUE BUBBLE STAGE ZEUZ STAGE Rand Miller, Hannah Gamiel, Jon Goldman, Greycroft / Hendrik Lesser, rc productions Benjamin Mitchell, Samsung Chris Jurney, Oculus Matt Turner, EA Cyan Skybound The Character of Play - Emotional 11:30-12:30 Principles to run game 30 Years in the Making: The MoBilising Call of Duty: Bringing a character moments through companies - survival, VR Business Best Practices Session TBA Indie Evolution of Cyan BlockBuster title to Android cinematic storytelling and game sustainaBility and success mechanics Patrice Desiléts, Panache Graham McAllister, Tom Ohle, Evolve PR Nuno Subtil, Nvidia Matt Conte, Oculus Damir Slogar, Big Blue Bubble Digital Games Independent 12:30-13:30 Stop Making Sense - Evolution and SYNC: A Practical System for The Courage to Be Different: The Evolution of PR - Adapt or Bringing Ray Tracing to Vulkan SESSION TBA the changes in the direction of Defining the Player Experience Ancestors Post-Mortem Die independent studios and Creating Successful Teams 13:30 - 15:00 Lunch Break Dough North Cook (Chatham Tom Ohle, Ante Vrdelja, Dan Raphael Van Lierop, University), Hannah Gamiel PANEL: Future of UX Aleksander Kauch, 11 bit studios Anna Carolin Weber, Independent Pearson, moderated by Matt Hinterland (Cyan), Alex SchWartz Handrahan 15:00-16:00 (absurd:joy) Between the player and the Screens to HMDs Fireside Chat: Creating Common Ground: Artistic Fireplace chat, moderated By PANEL: Current and future Moderated By Richard Rouse game - Transitioning your Studio from Methods for CollaBoration, Matthew Handrahan challenges for PR in games programming user interface traditional games to VR Exchange and Interaction Tim Wilson, Nader Alikhani, Robin Hunicke & Martin Emma FarroW, Kongregate Mundi Vondi, Klang Games Jeff Hilbert, Starpoint Games AtomhaWk Middleton, Funomena Fireplace Chat: 7 years of 16:00-17:00 COLLABORATE TO COMPETE – Funomena: Riding the Waves of Building a AAA Studios: Session TBA Creating Successful External Next Gen Multi-Player an Experimental Indie Game Common Success Factors Art Partnerships Studio 17:00 - 17:30 Coffee Break Alexander Fernandez, Ste Curran Kevin Flynn, Mobile Partners Cristiano Ferreira, Oculus Streamline Media Group 17:30-18:30 The Rise of Southeast Asia: Killing the Games Industry Launching MoBile Games in a Deep(ish) Dive on Oculus Quest Expand development & find 2019 Crowded Ecoystem Optimization new fans Thursday, 31st of October Aaryn Flynn, Improbable 10:00-11:00 Design, Play, Disrupt: The Tools to Empower Game Developers 11:00 - 11:30 Coffee Break poWered by Matchmade MADHEAD GAMES STAGE AMD STAGE KHRONOS GROUP STAGE OCULUS STAGE BIG BLUE BUBBLE STAGE ZEUZ STAGE Keith Warner, NWI, Greg Arseny Kapoulkine (Roblox), Joe Lyndsey Gallant, Nels Justin Berenbaum, Xsolla Deborah Guzman Barrios, Oculus Ivan Trancik, Superscale Hart, Thin Air Labs Rozek (ARM) Anderson, Sonderlust Studio 11:30-12:30 Capturing Value in MoBile Gaming: Getting Faster and Leaner on MayBe The Internet Is Good Building a gaming ecosystem The more things Change.. Trends What Do You Need To Break Into Session TBA MoBile: Optimizing RoBlox with Sometimes: The Totally out of Thin Air! in VR And Stay In Top 500 Grossing Vulkan Remote Game Studio Games PANEL: Future of the Alberta PANEL: Upcoming challenges of Derek Czerkaski, NeW World AndreW Czarnietzki, Only by Jack Attridge, Austin Wintory Dino Patti, Coherence Games Industry AR/VR development Interactive Midnight Chris Bain (Bioware), Aaryn 12:30-13:30 From JOURNEY to ERICA - A Flynn (ImproBaBle), Keith Why is tech innovation is How to feed your unicorns Evaluations and the Business of look at interactive music Warner (New World important to evolve the gaming Elliot Christian (Serious LaBs) (deploying interdisciplinary Game Investments systems Interactive), Scott Langevin space?" developers) (Serious LaBs) 13:30-15:00 Lunch Break Keith Warner & Derek Jordan Logan (AMD), Nikolai Rami Ismail, Vlambeer Harry Krueger, Housemarque Cy Wise, absurd:joy Czerkaski, NeW World Petrov (Saber Interactive) Interactive 15:00-16:00 Anna Carolin Weber, Independent The Arcade Spirit - A Nex World War Z – Using Vulkan to Reactive VR Design: Designing for Building a kick-ass team: Rami talks aBout.... Machina retrospective Tame the ZomBie Swarm the weird shit that humans do Culture, skills & alignment PANEL: The business of Creating Common Ground: Artistic Denis Dyack, Apocalypse making games: insights from Chris Remo Andy Moore, Absurd:joy Bruce Wooden, Oculus Methods for CollaBoration, Studios industry vets Exchange and Interaction 16:00-17:00 Mary Moran, Chelsea Hallick, Reactive Narrative Design: Lightning prototyping: when rapid The Exciting and Challenging The New Medium of Video Lesley Phord-Toy, Patrick Finn, Story Mechanics in Firewatch isn’t fast enough Future of VR Content Games Chris Bain 17:00 - 17:30 Coffee Break Thomas Van Berg, Gordon van Poria Torkan, Harry Krueger, Tramell Ray Isaac, Illfonics Aleissia Laidacker, Magic Leap Ste Curran Dyke, RaW Fury Marek Ziemak Kingdom: It Will Last! A tale of 17:30-18:30 How Emerging Technologies Will a flash game that Became The Game Developers Guide SESSION TBA Change the Things We Lost bigger than anyone dreamed to Leadership Games We Play (AR, MR, AI) possible! Friday, 1st of November Mike Wilson, Devolver Digital & Good Shepherd 10:00-11:00 Mike Wilson Has Some Sh** To Say ABout The Games Industry 11:00 - 11:30 Coffee Break MADHEAD GAMES STAGE AMD STAGE KHRONOS GROUP STAGE OCULUS STAGE BIG BLUE BUBBLE STAGE ZEUZ STAGE XDS Panel: Kassi, Chalmers, Chet Faliszek, Stray Bombay John KrajeWski, Strange Loop Carla, moderated by Chris Thierry Boulanger, Sabotage Zak Parrish, Epic Games Jose Luis Palacios Vives, Oculus Company Games Wren 11:30-12:30 Designing The Messenger : Scale, Scale, Scale! Level-Up Overcoming Early Challenges in Changing the Narrative of how embracing vulnerability SESSION TBA Priming Culture Your External Development Unreal Engine Climate Change with Games can fuel the creative process Andrej Levenski (Gamepires), Justin Lassen (Nihil Studios), Swery 65, White OWls Kate EdWards, Geogrify Aleksander Kauch (11 bit studios), Julie Heyde, VR Unicorns Marek Ziemak, 11 bit studios Dave Chan Andy Moore (Absurd:joy) 12:30-13:30 Why VR? It’s just a game… The Children of Morta postmortem. Field Recording for Video WHITE OWLS ARE NOT WHAT Building Better Worlds Game Engines pitfalls of making small cool How our game mechanics Became Games: A Journey Around the THEY SEEM through Game Culturalization experimental VR games our production methodology World 13:30 - 15:00 Lunch Break Kate EdWards (Geogrify), Brenda Bailey (DigiBC), David LightboWn, Ubisoft Ryley Meville, Alex Stickel, Panel: Unpopular advice to indie Tobias Kopka (Reboot), Nikola Daniel Boutros Stephane Cotichini Montréal Serious Labs studios Cavic (SGA) (81monkeys) 15:00-16:00 What analyzing the Ancient The Power of Patterns: User How Understanding Gender Building a sustainaBle local World has taught me aBout Solving for User Discomfort: Experience and game Moderated By Richard Rouse Differences Can Accelerate community existence as a video game we’re Motion in VR development tools at Ubisoft Performance all playing Jakub Dvorsky, Amanita Victor Malineau, Daichi Sato, Dough North Cook (Chatham Jennifer Scheurle, ArenaNet Design Masatoshi Tokouka University) 16:00-17:00 Interactive Fairy Tales - Fireplace Chat: The Japanese Designing for Human Bodies: Animated films, fairy tales and Indie Industry You Never Heard Adventures in Meatspace Hidden Game Design and the magic of the unspoken About endless Difficulty Discussion narrative 17:30-18:30 Reboot Develop Indie AWard poWered by Xsolla, Reboot Hero AWard and Closing Ceremony hosted by Ste Curran.
Recommended publications
  • Journal of Games Is Here to Ask Himself, "What Design-Focused Pre- Hideo Kojima Need an Editor?" Inferiors
    WE’RE PROB NVENING ABLY ALL A G AND CO BOUT V ONFERRIN IDEO GA BOUT C MES ALSO A JournalThe IDLE THUMBS of Games Ultraboost Ad Est’d. 2004 TOUCHING THE INDUSTRY IN A PROVOCATIVE PLACE FUN FACTOR Sessions of Interest Former developers Game Developers Confer We read the program. sue 3D Realms Did you? Probably not. Read this instead. Computer game entreprenuers claim by Steve Gaynor and Chris Remo Duke Nukem copyright Countdown to Tears (A history of tears?) infringement Evolving Game Design: Today and Tomorrow, Eastern and Western Game Design by Chris Remo Two founders of long-defunct Goichi Suda a.k.a. SUDA51 Fumito Ueda British computer game developer Notable Industry Figure Skewered in Print Crumpetsoft Disk Systems have Emil Pagliarulo Mark MacDonald sued 3D Realms, claiming the lat- ter's hit game series Duke Nukem Wednesday, 10:30am - 11:30am infringes copyright of Crumpetsoft's Room 132, North Hall vintage game character, The Duke of industry session deemed completely unnewswor- Newcolmbe. Overview: What are the most impor- The character's first adventure, tant recent trends in modern game Yuan-Hao Chiang The Duke of Newcolmbe Finds Himself design? Where are games headed in the thy, insightful next few years? Drawing on their own in a Bit of a Spot, was the Walton-on- experiences as leading names in game the-Naze-based studio's thirty-sev- design, the panel will discuss their an- enth game title. Released in 1986 for swers to these questions, and how they the Amstrad CPC 6128, it features see them affecting the industry both in Japan and the West.
    [Show full text]
  • The Best Schools for Aspiring Game Developers
    THE BEST SCHOOLS FOR ASPIRING GAME DEVELOPERS THE BEST GAME Whether you’re taking your first steps or refining your skills, there’s DESIGN PROGRAMS, a game design program for anyone. Check out the 50 best RANKED BY THE undergraduate and 25 best PRINCETON REVIEW. graduate programs out there. Even in these ridiculous times, video games you want to use your artistic flourish to are there to comfort, challenge, and inspire design fascinating worlds and new us. It takes a lot of work to make your characters? Do you want to manage the favorite games, though, and a lot of business of running a studio? Or do you smarts. It’s dangerous to go alone, as one want to get your hands dirty in the coding famous adventure told us, and that’s where and programming that makes games run? awaiting new image these game design programs come in. Maybe you’re also looking to master your The Princeton Review has done all the skill set with a graduate degree. & cut out heavy lifting of researching the absolute Every adventurer knows that the first best game design programs across North steps can often be the most important. America and Europe. Whether it’s the best If you’re ready to take that leap, read teachers, the most prestigious graduates, on to find out where you should start the best facilities, or the highest average your journey. salary, you’ll find a great school for you. Want to know more? Check out The So take a moment to think about what Princeton Review’s website for further info: kind of game developer you’d like to be.
    [Show full text]
  • Conference Booklet
    30th Oct - 1st Nov CONFERENCE BOOKLET 1 2 3 INTRO REBOOT DEVELOP RED | 2019 y Always Outnumbered, Never Outgunned Warmest welcome to first ever Reboot Develop it! And we are here to stay. Our ambition through Red conference. Welcome to breathtaking Banff the next few years is to turn Reboot Develop National Park and welcome to iconic Fairmont Red not just in one the best and biggest annual Banff Springs. It all feels a bit like history repeating games industry and game developers conferences to me. When we were starting our European older in Canada and North America, but in the world! sister, Reboot Develop Blue conference, everybody We are committed to stay at this beautiful venue was full of doubts on why somebody would ever and in this incredible nature and astonishing choose a beautiful yet a bit remote place to host surroundings for the next few forthcoming years one of the biggest worldwide gatherings of the and make it THE annual key gathering spot of the international games industry. In the end, it turned international games industry. We will need all of into one of the biggest and highest-rated games your help and support on the way! industry conferences in the world. And here we are yet again at the beginning, in one of the most Thank you from the bottom of the heart for all beautiful and serene places on Earth, at one of the the support shown so far, and even more for the most unique and luxurious venues as well, and in forthcoming one! the company of some of the greatest minds that the games industry has to offer! _Damir Durovic
    [Show full text]
  • The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism
    The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism by Sarah E. Thorne A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2018, Sarah E. Thorne Abstract The past decade has seen an increase in the availability of user-friendly game development software, the result of which has been the emergence of a genre of reflexive and experimental games. Pippin Barr, La Molleindustria’s Paolo Pedercini, and Davey Wreden are exemplary in their thoughtful engagement with an ever-expanding list of subjects, including analyses and critiques of game development, popular culture, and capitalism. These works demonstrate the power of games as a site for critical media theory. This potential, however, is hindered by the player-centric trends in the game industry that limit the creative freedom of developers whose work is their livelihood. In the era of communicative capitalism, Jodi Dean argues that the commodification of communication has suspended narrative in favour of the circulation of fragmented and digestible opinions, which not only facilitates the distribution and consumption of communication, but also safeguards communicative capitalism against critique. Ultimately, the very same impulse that drives communicative capitalism is responsible for the player-centric trends that some developers view as an obstacle to their art. Critical game studies has traditionally fallen into two categories: those that emphasize the player as the locus of critique, such as McKenzie Wark’s trifler or Mary Flanagan’s critical play, and those that emphasize design, as in Alexander Galloway’s countergaming, Ian Bogost’s procedural rhetoric, and Gonzalo Frasca’s theory of simulation.
    [Show full text]
  • 賽車遊戲的視角之研究A Study of Viewing Angle in Racing Video Game
    國立交通大學 應用藝術研究所視覺傳達設計組 碩士論文 賽車遊戲的視角之研究 A Study of Viewing Angle in Racing Video Game 指導教授:張恬君博士 研究生:曹訓誌 中華民國九十四年七月 i 摘要 電動遊戲裡所呈現真實感是一個簡化後的真實,這和真實世界裡的真實感 其實是不一樣的。先前的許多研究並未針對遊戲裡的物理行為、視覺效果如何影 響玩家的感受等議題做進一步的探討。本研究是針對賽車遊戲裡的遊戲視角做研 究與分析,研究中發現速度的快慢,與路旁有無參考物對視角大小(路寬)的認知 沒有影響,但是視野大小的寬與窄對視角有顯著的影響。除此之外,在本次研究 的條件下,速度的快慢、路旁有無參考物、視野大小的寬與窄對女性受試者視角 大小的認知均沒有影響,但視野大小的寬與窄(Y 方向)對男性受試者的視角大小 的認知有影響。另外,有 33%受試者會將路寬調整至接近視野的寬度(X 方向) , 這群受試者中又以男性受試者佔大多數(91%),相較之下女性受試者這個現象較 不明顯。此外, 受試者喜愛與不喜愛賽車電玩之間也沒有顯著的差異。 關鍵字:電動遊戲、賽車遊戲、視角。 ii Abstract The realistic world of video game is different from reality, it only provide reduced reality to players. This study focus on the viewing angle of racing video game, and try to understand how the viewing angle influence of the speed of moving, side walk object and field size of viewing. The results show the speed of moving and side walk object don’t affect the perception of viewing angle, but the field size of viewing (Y-axis direction) do. Otherwise, the speed of motion, side walk object, and view area size is nothing to do with the viewing angle perception of female testers, but male testers are influenced by the size of view area. This study also observes 33% testers intend to align the width of road to the width of view area (X-axis direction), most of them are male (90%). Besides, the factor that a man who favors the racing video game or not doesn’t make any difference to the viewing angle perception. Keywords: Video game, Racing Video game, view angle iii 目錄 摘要................................................................................................................................ii
    [Show full text]
  • Article Top Game Design 2020
    THE TOP 50 BEST GAME DESIGN UNDERGRADUATE PROGRAMS 5. ROCHESTER INSTITUTE OF 14. UNIVERSITY OF CENTRAL TECHNOLOGY FLORIDA 2019 Grads Hired: 97% Total Courses: 138 2019 Grads Salary: $64,500 Graduates: Richard Ugarte (Epic Games), Alexa Madeville (Facebook 6. UNIVERSITY OF UTAH Games), Melissa Yancey (EA). 2019 Grads Salary: $72,662 Graduates: Doug Bowser (COO, 15. HAMPSHIRE COLLEGE Nintendo of America) and Nolan Faculty: Chris Perry (Pixar), Rob Bushnell (founder, Atari). Daviau (designer of Risk Legacy). 2019 Grads Hired: 60% 7. MICHIGAN STATE UNIVERSITY UNIVERSITY OF 2019 Grads Hired: 80% 16. CHAMPLAIN COLLEGE BECKER Fun Fact: MSU offers a west coast Total Courses: 119 1 SOUTHERN game industry field trip experience 2019 Grades Hired: 75% 2 COLLEGE each year, offering networking and CALIFORNIA learning opportunities. 17. RENSSELAER POLYTECHNIC INSTITUTE THE BEST SCHOOLS Total Courses: 230 Total Courses: 132 8. BRADLEY UNIVERSITY 2019 Grads Hired: 71% 2019 Grads Hired: 90% 2019 Grads Hired: 67% Faculty: Mark Hamer (art director, Faculty: Maurice Suckling (Driver 2019 Grads Salary: $65,000 2019 Grads Salary: $56,978 Telltale Games and Double Fine). series, Borderlands). Faculty: Marianne Krawcyzk Faculty: Jonathan Rudder (The Fun Fact: Game development teams FOR ASPIRING (writer, God of War series) Lord of the Rings Online). at Bradley are close to 50% male, 18. COGSWELL POLYTECHNIC Graduates: George Lucas Fun Fact: Becker College also 50% female. COLLEGE (creator of Star Wars) and features an esports Faculty Who Worked at Game Jenova Chen (Journey director). management program.. 9. SHAWNEE STATE UNIVERSITY Company: 96% GAME DEVELOPERS 2019 Grads Hired: 80% Faculty: Jerome Solomon (ILM, Faculty Who Worked at a Game LucasArts, EA), Stone Librande (Riot, Company: 100% Blizzard).
    [Show full text]
  • Juiciness Exploring and Designing Around Experience of Feedback in Video Games
    Juiciness Exploring and designing around experience of feedback in video games Simeon Atanasov [email protected] Thesis-project, Interaction Design Master Supervisor: Simon Niedenthal Examiner: Jonas Löwgren Examination date: 31 May 2013 K3, MAH, Malmö, Sweden Spring term 2013 1. Introduction...................................................................................................................................................................5 2. Contribution summary...................................................................................................................................................6 3. Theoretical framework...................................................................................................................................................6 3.1. Emotion and beauty in design ............................................................................................................................................ 6 3.2. What is “aesthetics”?........................................................................................................................................................... 8 3.3. “Shared” aesthetics in video games................................................................................................................................... 9 3.4. Experience. From Interaction design to video games. ................................................................................................... 13 3.5. Experiential Qualities........................................................................................................................................................
    [Show full text]
  • Industry – Academia: How Can We Collaborate?
    Industry – Academia: How Can We Collaborate? Libero Ficocelli Department of Science, Computing Group Grande Prairie Regional College [email protected] Abstract With the growing popularity of degree programs in computer game development as well as the continued expansion of games-related research in a multiplicity of academic disciplines, it is critical that academia establishes more extensive collaborations with industry developers. Additionally, the increasing worker shortage and the growing complexity of game technology act as powerful motivators for industry to seek out academic affiliations. Over the past few years this issue has garnered significant attention and has been a recurring theme at various games-related conferences. This paper discusses some of the obstacles faced by potential collaborators, as well as some strategies and approaches the author has used in establishing working relationships with several game companies. The Gap Starting with GDC 2002 and the IGDA Academic Summit, the IGDA has organized numerous panel discussions with academics and industry leaders to discuss how to bridge the gap separating them. Since that time, “the gap” has been a recurring topic at various game related conferences. In fact it has appeared as a topic of discussion (as panel debates, roundtables, workshops, presentations) at virtually every GDC since. This concern over how to facilitate relationships and build collaborations between industry and academia has now spread beyond GDC/IGDA and has appeared as a prospective theme in numerous game related conferences (iDig 2006, Massive 2006, FuturePlay 2005). Evidence of the rift is easily discernible when reading some developer/academic postings on the Terra Nova web blog site.
    [Show full text]
  • Game Design Documentation
    APPENDIX A Game Design Documentation While you will learn many technical and practical aspects of game development as you work through the example projects in this book, it is equally important to have a solid foundation in the theoretical aspects of game design. The first effort to create a framework for these concepts was discussed in a paper published by Robin Hunicke, Marc LeBlanc, and Robert Zubek in 2004.1 In it, they proposed the Mechanics-Dynamics-Aesthetics (MDA) framework, which provides a useful way to categorize the components of a game. They defined Mechanics as the formal rules of the game, expressed at the level of data structures and algorithms, Dynamics as the interaction between the player and the game mechanics while the game is in progress, and Aesthetics as the emotional responses experienced by players as they interact with the game. Since then, other frameworks have been proposed, each of which provides a different way of analyzing games. A popular example is Jesse Schell’s Elemental Tetrad,2 which consists of Mechanics, Story, Aesthetics, and Technology (where aesthetics is defined more broadly than in the original MDA framework). Frameworks such as these are valuable tools to help people consistently and fully analyze games. Players can use frameworks to better understand and express what they enjoy about particular games. Developers can use the formal structure to help them create a more cohesive design and to organize and document the development process; explaining how to write such documentation is the goal of this appendix. A game design document (GDD) serves as the blueprint or master plan for creating a game: it describes the overall vision of a game, as well as the details (often based on a game design framework such as MDA).
    [Show full text]
  • Feminist Interventions in Digital Game Production on a University Campus (Under the Direction of Dr
    ABSTRACT EVANS, SARAH BETH. Disruption by Design: Feminist Interventions in Digital Game Production on a University Campus (Under the direction of Dr. Nicholas Taylor). The purpose of this dissertation is to enact and think through an inclusive game making curriculum that works outside of the game industry’s logics and conditions (and instead operates in a way more attentive to care and personal growth). In carrying out this study I cultivated and used feminist research methods to investigate three sites of game design for women and gender minorities on a university campus: the classroom, an informal learning space, and a university- club-sponsored hackathon. In particular, this study focused on game design’s benefits to beginner and amateur game makers who identified as a woman, or as other genders that have historically been marginalized from games and gaming cultures. Through this project, I garnered perspectives on the ways alternative modes of video game production that operate on the fringes of capitalist patriarchy can be employed, and what benefits gender minorities might gain from such structures. Specifically, this research asks: what might we learn about the challenges and opportunities of enacting game design-focused feminist interventionist research by conducting such work in a) the particular local and regional context of a Southeastern US university, and b) within a campus setting (and the various supports for equity and inclusivity, as well as structures for sustainability, such a context offers)? In other words, I observed and in two cases, enacted a series of events, on a university campus, that facilitated various transformations in individuals’ or community’s relationship to games and/or themselves.
    [Show full text]
  • A Guide to the Videogame System
    SYSTEM AND EXPERIENCE A Guide to the Videogame as a Complex System to Create an Experience for the Player A Master’s Thesis by Víctor Navarro Remesal Tutor: Asunción Huertas Roig Department of Communication Rovira i Virgili University (2009) © Víctor Navarro Remesal This Master’s Thesis was finished in September, 2009. All the graphic material belongs to its respective authors, and is shown here solely to illustrate the discourse. 1 ACKNOWLEDGEMENTS I would like to thank my tutor for her support, advice and interest in such a new and different topic. Gonzalo Frasca and Jesper Juul kindly answered my e-mails when I first found about ludology and started considering writing this thesis: thanks a lot. I also have to thank all the good people I met at the ECREA 2008 Summer School in Tartu, for giving me helpful advices and helping me to get used to the academic world. And, above all, for being such great folks. My friends, family and specially my girlfriend (thank you, Ariadna) have suffered my constant updates on the state of this thesis and my rants about all things academic. I am sure they missed me during my months of seclusion, though, so they should be the ones I thanked the most. Thanks, mates. Last but not least, I want to thank every game creator cited directly or indirectly in this work, particularly Ron Gilbert, Dave Grossman and Tim Schafer for Monkey Island, Fumito Ueda for Ico and Shadow of the Colossus and Hideo Kojima for the Metal Gear series. I would not have written this thesis if it were not for videogames like these.
    [Show full text]
  • Foundations of Gameplay for Hundreds of Millions of People
    Found ABSTRACT People in all known cultures play games and to- (1) An analytical contribution to understan- at day digital gaming is an important leisure activity ding gameplay was done in the gameplay design ion FoundationS oF GAmeplAy for hundreds of millions of people. At the same patterns work. The patterns are described as an time game design has developed into a profession approach to both analyse existing games and aid of its own. There are several practical game design in designing new games. The patterns describe S o guidelines and text books but they rarely manage recurrent gameplay structures and also analyse F to connect their findings into relevant areas of these structures from the design material point G research such as psychology and design research. of view. A Understanding game design, both as an activity (2) A theoretical study of basis for gameplay ex- mepl and as an end result of that activity, in a more periences was conducted through review of rele- profound way could alleviate this problem. vant models and theories in neuroaesthetics, cog- The main goals of this thesis are to understand nitive and social psychology and game research. A y in a more profound way how to design games and The framework offered in the thesis explains why based on that understanding develop frameworks certain gameplay structures are more recurrent Jussi Holopainen and methods for aiding game design. By exten- based on defining gameplay as caricatures of in- ding knowledge about game design can not only tentional behaviour. improve the quality of the end-products but also (3) The game design patterns approach and re- expand the potential design space even in unpre- search through design projects have contributed dictable ways.
    [Show full text]