Introduction |
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xxi | |
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Part I The Elements of Game Design |
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3 | (26) |
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4 | (1) |
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The Anatomy of Game Design |
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5 | (8) |
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The Importance of Game Design |
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5 | (2) |
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Seeking the Key Elements of Games |
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7 | (1) |
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Laying Down the Ground Rules |
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8 | (5) |
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13 | (5) |
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Why Do We Need Documents? |
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13 | (2) |
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The Types of Design Documents |
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15 | (3) |
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Anatomy of a Game Designer |
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18 | (9) |
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19 | (1) |
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20 | (1) |
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21 | (1) |
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22 | (1) |
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22 | (1) |
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23 | (1) |
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24 | (1) |
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25 | (1) |
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The Ability to Compromise |
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26 | (1) |
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27 | (2) |
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29 | (26) |
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29 | (5) |
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30 | (1) |
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Game Ideas from Other Media |
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31 | (1) |
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Game Ideas from Other Games |
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32 | (1) |
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33 | (1) |
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34 | (7) |
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34 | (1) |
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Challenges, Gameplay, and the Victory Condition |
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35 | (1) |
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Setting, Interaction Model, and Perspective |
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36 | (2) |
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38 | (1) |
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38 | (1) |
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39 | (1) |
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40 | (1) |
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Understanding Your Audience |
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41 | (1) |
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41 | (1) |
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The Genres of Interactive Entertainment |
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42 | (2) |
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The Types of Game Machines |
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44 | (3) |
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44 | (1) |
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45 | (1) |
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46 | (1) |
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46 | (1) |
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Motivations That Influence Design |
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47 | (6) |
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47 | (1) |
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48 | (1) |
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49 | (2) |
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51 | (1) |
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52 | (1) |
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Entertainment and Integration |
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52 | (1) |
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53 | (1) |
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53 | (2) |
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55 | (34) |
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The Purpose of a Game Setting |
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56 | (4) |
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The ``Graphics Versus Gameplay'' Debate |
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57 | (1) |
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Immersiveness and Suspension of Disbelief |
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58 | (1) |
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The Importance of Harmony |
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58 | (2) |
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The Dimensions of a Game World |
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60 | (21) |
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60 | (5) |
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65 | (4) |
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The Environmental Dimension |
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69 | (6) |
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75 | (2) |
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77 | (4) |
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81 | (1) |
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82 | (5) |
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Reasons for Saving a Game |
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83 | (1) |
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Consequences for Immersion and Storytelling |
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84 | (1) |
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84 | (2) |
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86 | (1) |
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87 | (2) |
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Storytelling and Narrative |
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89 | (32) |
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91 | (19) |
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92 | (1) |
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92 | (1) |
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The Monomyth and the Hero's Journey |
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93 | (17) |
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110 | (8) |
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111 | (2) |
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113 | (2) |
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115 | (3) |
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Storytelling and Narrative Worksheet |
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118 | (1) |
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119 | (2) |
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121 | (26) |
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Art-Driven Character Design |
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122 | (8) |
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122 | (1) |
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Physical Design and Super-Sensuality |
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123 | (5) |
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128 | (2) |
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Story-Driven Character Design |
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130 | (15) |
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131 | (6) |
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137 | (8) |
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Character Development Worksheet |
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145 | (1) |
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145 | (2) |
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Creating the User Experience |
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147 | (52) |
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What Is the User Experience? |
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148 | (1) |
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149 | (1) |
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149 | (1) |
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149 | (1) |
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The Human-Computer Interface |
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149 | (17) |
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Evolution of the User Experience |
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150 | (16) |
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Components of the User Experience |
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166 | (30) |
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168 | (23) |
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191 | (2) |
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193 | (3) |
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196 | (1) |
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197 | (2) |
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199 | (40) |
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200 | (1) |
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200 | (36) |
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202 | (26) |
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228 | (8) |
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236 | (1) |
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237 | (2) |
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The Internal Economy of Games and Game Balancing |
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239 | (50) |
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240 | (2) |
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242 | (25) |
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Randomness and Average Values |
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243 | (1) |
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244 | (6) |
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250 | (10) |
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260 | (1) |
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261 | (1) |
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262 | (3) |
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265 | (2) |
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Summary of Static Balance |
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267 | (1) |
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267 | (14) |
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268 | (3) |
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271 | (10) |
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281 | (4) |
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281 | (2) |
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283 | (1) |
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284 | (1) |
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Internal Economy Worksheet |
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285 | (1) |
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285 | (4) |
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Part II The Genres of Games |
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289 | (32) |
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289 | (9) |
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290 | (6) |
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296 | (2) |
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298 | (20) |
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299 | (12) |
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311 | (2) |
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313 | (1) |
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314 | (1) |
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315 | (3) |
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Special Design Considerations for Action Games |
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318 | (1) |
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319 | (1) |
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320 | (1) |
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321 | (26) |
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The Common Elements of Strategy Games |
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323 | (20) |
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324 | (14) |
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338 | (1) |
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339 | (1) |
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340 | (1) |
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341 | (1) |
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342 | (1) |
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343 | (1) |
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344 | (3) |
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347 | (24) |
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The Common Elements of Role-Playing Games |
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348 | (19) |
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350 | (1) |
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351 | (7) |
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358 | (6) |
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364 | (3) |
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367 | (1) |
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368 | (3) |
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371 | (24) |
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The Common Elements of Sports Games |
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372 | (6) |
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372 | (1) |
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373 | (1) |
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Victory and Loss Conditions |
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373 | (1) |
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374 | (1) |
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375 | (1) |
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375 | (1) |
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376 | (1) |
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377 | (1) |
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378 | (1) |
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Special Design Issues for Sports Games |
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378 | (15) |
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378 | (1) |
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379 | (1) |
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380 | (2) |
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382 | (1) |
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Arcade Mode Versus Simulation Mode |
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383 | (1) |
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Simulating Matches Automatically |
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384 | (1) |
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Licenses, Trademarks, and Publicity Rights |
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385 | (2) |
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387 | (3) |
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390 | (3) |
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393 | (1) |
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394 | (1) |
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395 | (22) |
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The Common Elements of Vehicle Simulations |
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396 | (11) |
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397 | (1) |
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398 | (1) |
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Gameplay and Victory Conditions |
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399 | (3) |
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402 | (1) |
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403 | (1) |
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403 | (2) |
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405 | (1) |
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406 | (1) |
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407 | (4) |
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407 | (2) |
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409 | (2) |
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411 | (1) |
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Special Design Considerations for Vehicle Simulations |
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411 | (3) |
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Creating the Sense of Speed |
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411 | (1) |
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412 | (1) |
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413 | (1) |
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Intellectual Property Rights |
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413 | (1) |
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Vehicle Simulation Worksheet |
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414 | (1) |
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415 | (2) |
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Construction and Management Simulations |
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417 | (26) |
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The Common Elements of CMSs |
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418 | (16) |
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418 | (8) |
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426 | (1) |
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426 | (4) |
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430 | (2) |
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432 | (2) |
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Special Design Considerations for CMSs |
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434 | (5) |
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434 | (2) |
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436 | (1) |
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Pure Business Simulations |
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437 | (2) |
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439 | (1) |
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Construction and Management Simulation Worksheet |
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439 | (1) |
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440 | (3) |
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443 | (34) |
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What Is an Adventure Game? |
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443 | (4) |
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444 | (1) |
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The Growth of Adventure Games |
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445 | (1) |
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445 | (2) |
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The Common Elements of Adventure Games |
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447 | (15) |
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447 | (1) |
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448 | (1) |
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449 | (6) |
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455 | (1) |
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456 | (1) |
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457 | (3) |
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460 | (2) |
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462 | (6) |
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462 | (1) |
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463 | (5) |
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Special Design Considerations |
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468 | (7) |
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468 | (3) |
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471 | (1) |
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472 | (1) |
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472 | (3) |
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475 | (1) |
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476 | (1) |
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Artificial Life, Puzzle Games, and Other Genres |
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477 | (22) |
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477 | (10) |
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478 | (2) |
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480 | (2) |
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482 | (5) |
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487 | (6) |
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487 | (3) |
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What Computers Bring to Puzzles |
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490 | (1) |
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Checking the Victory Condition |
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491 | (2) |
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493 | (4) |
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494 | (2) |
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496 | (1) |
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497 | (1) |
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497 | (2) |
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499 | (34) |
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Advantages of Online Games |
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500 | (3) |
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500 | (1) |
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Human Intelligence Instead of Artificial Intelligence |
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501 | (1) |
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Online Gameplay Versus Local Multi-Player Gameplay |
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501 | (2) |
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Disadvantages of Online Games |
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503 | (4) |
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503 | (1) |
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It's Harder to Suspend Disbelief |
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504 | (1) |
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505 | (1) |
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The Need to Produce Content |
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505 | (1) |
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506 | (1) |
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Design Issues for Online Gaming |
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507 | (11) |
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507 | (1) |
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508 | (2) |
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Real-Time Versus Turn-Based Games |
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510 | (1) |
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511 | (2) |
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513 | (2) |
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515 | (3) |
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518 | (14) |
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The Origins of Persistent-World Gaming |
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518 | (1) |
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How Persistent Worlds Differ from Games |
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518 | (3) |
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The Four Types of Players |
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521 | (1) |
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522 | (2) |
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524 | (1) |
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525 | (1) |
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The Player-Killer Problem |
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526 | (3) |
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529 | (1) |
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Persistent World Economies |
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530 | (1) |
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Final Thoughts on Persistent Worlds |
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531 | (1) |
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532 | (1) |
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533 | (61) |
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533 | (9) |
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Location-Based Entertainment |
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534 | (2) |
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536 | (2) |
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538 | (2) |
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Handheld Game Machines, PDAs, and Telephones |
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540 | (1) |
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541 | (1) |
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The Future of Game Programming |
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542 | (6) |
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543 | (1) |
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544 | (2) |
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Natural Language Processing |
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546 | (2) |
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548 | (6) |
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549 | (1) |
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550 | (1) |
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551 | (1) |
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551 | (1) |
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552 | (1) |
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Construction and Management Simulations |
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553 | (1) |
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553 | (1) |
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554 | (4) |
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554 | (3) |
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557 | (1) |
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558 | (3) |
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558 | (3) |
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Interactive Entertainment as an Art Form |
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561 | (5) |
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562 | (1) |
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Requirements for Recognition |
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562 | (3) |
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565 | (1) |
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566 | (3) |
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A Sample Design Documents |
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569 | (20) |
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Creating and Using Design Documents |
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569 | (1) |
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Using Pictures in a Document |
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569 | (1) |
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570 | (1) |
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571 | (1) |
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The High-Concept Document |
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571 | (1) |
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572 | (1) |
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572 | (1) |
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573 | (1) |
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574 | (2) |
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576 | (1) |
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577 | (1) |
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578 | (1) |
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578 | (3) |
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581 | (2) |
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583 | (1) |
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583 | (2) |
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585 | (1) |
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585 | (1) |
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586 | (1) |
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587 | (2) |
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589 | (5) |
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589 | (1) |
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590 | (1) |
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History and Sociology of Video Games |
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591 | (1) |
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Architecture and Graphic Design |
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592 | (1) |
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592 | (2) |
Index |
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594 | |