Download PDF by Anna Anthropy, Naomi Clark: A Game Design Vocabulary: Exploring the Foundational

By Anna Anthropy, Naomi Clark

ISBN-10: 0321886925

ISBN-13: 9780321886927

Video games have frequently taken a important position in pop culture; in reality, businesses are even trying to 'gamify' conventional enterprise techniques. despite the fact that, our language for realizing, discussing, and designing video games has remained primitive - and this has made it more challenging to create nice video games or intelligently evaluation them. this article fills this hole, providing a whole shared framework for realizing and comparing online game layout - as creators, as gamers, as scholars, as video game decision-makers.

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Additional resources for A Game Design Vocabulary: Exploring the Foundational Principles Behind Good Game Design

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12). She’d better aim carefully, all right. Janet is the main character of the narrative that unfolds in this game, but don’t forget: the main character of the game itself is still the verb “shoot”—a verb the player has to understand how to use wisely. If verbs are the main characters of our game stories, we develop them as we would characters in any other form: we challenge them, we give them new responsibilities or burdens, we let them show new sides of themselves, we let them grow—or force them to.

In some circumstances, with few bombs remaining, she might be willing to trade time for the ability to hang on to one of her precious bombs. The player has a limited amount of oxygen, represented by a meter at the top of the screen, that slowly drains, so trading time for bombs can be a critical choice. There are also situations in which the player runs out of bombs and is forced to rely on digging. If digging by hand wasn’t an option, the player might be left with a half-completed level she has no means to finish, which is a situation we want to avoid.

If the player sees something she can identity visually as a hostage trapped in a cage, she can put two and two together—the other “two” being her knowledge that her Megablaster destroys robotlooking things—and figure out that maybe she should shoot the cage. When she does, the game reacts by communicating that she’s freed the hostage. Good job! The easier we make the rules of our game to understand, the more easily and effectively the player can internalize those rules and begin anticipating them.

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A Game Design Vocabulary: Exploring the Foundational Principles Behind Good Game Design by Anna Anthropy, Naomi Clark


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