A framework for the systemic design of experiences derived from game design theory and practice, and plenty of examples coming from board and video games.
A version of this talk made it to EuroIA 2019 in Riga.
A framework for the systemic design of experiences derived from game design theory and practice, and plenty of examples coming from board and video games.
A version of this talk made it to EuroIA 2019 in Riga.
In Chapter of computer games development, we will try to find out the answers to these questions
How are a game’s challenges and strategies associated with gameplay?
■ What are interactivity modes and how do they relate to gameplay?
■ What is the relationship between gameplay and story?
■ What is the difference between static and dynamic balance?
■ How can the Prisoner’s Dilemma and the tragedy of the commons be applied to cooperative gameplay?
My site: http://umairshafique.com
50+ Web 2.0 Ways To Tell a Story (May 2011)Alan Levine
A version of this presentation for preservice K-12 educators in Dean Shareski's ECMP 355 class- remotely presented to Saskatchewan from California.
See http://50ways.wikispaces.com/ for the scoop
In this second chapter of computer games development, we will try to find out the answers to these questions
■ What platforms are available for games, and what specific elements are associated with each platform?
■ How does the choice of hardware affect the way a game is developed and played?
■ How do modes based on the number of players affect the way games are created?
■ What types of platforms and modes are most appropriate for co-operative or competitive styles of play?
■ What are time interval options, and how do they change the way a game is played?
In Chapter of computer games development, we will try to find out the answers to these questions
How are a game’s challenges and strategies associated with gameplay?
■ What are interactivity modes and how do they relate to gameplay?
■ What is the relationship between gameplay and story?
■ What is the difference between static and dynamic balance?
■ How can the Prisoner’s Dilemma and the tragedy of the commons be applied to cooperative gameplay?
My site: http://umairshafique.com
50+ Web 2.0 Ways To Tell a Story (May 2011)Alan Levine
A version of this presentation for preservice K-12 educators in Dean Shareski's ECMP 355 class- remotely presented to Saskatchewan from California.
See http://50ways.wikispaces.com/ for the scoop
In this second chapter of computer games development, we will try to find out the answers to these questions
■ What platforms are available for games, and what specific elements are associated with each platform?
■ How does the choice of hardware affect the way a game is developed and played?
■ How do modes based on the number of players affect the way games are created?
■ What types of platforms and modes are most appropriate for co-operative or competitive styles of play?
■ What are time interval options, and how do they change the way a game is played?
Understanding Games: Fiction, Rules, and Genre -- part of the chronology and history of games in 20th and 21st Century. Part of English 115F: The Worlds of Wordcraft
Joe Velikovsky talks about the Games industry and several film to game adaptations he has worked on - from a presentation at LAMPs Growing Worlds seminar in Hobart in May 2008
15. Video Red Dead Mission Flow http://www.youtube.com/watch?v=Oq12n_Vrehc&feature=fvw http://www.youtube.com/watch?v=ux0rhMxgoe8&feature=fvw
16. Theater Influence Components: Dynamic Viewpoint Acting Blocking Props Compelling Execution: Mid-Action Scenes, Corralling Cattle, En Route to Event Non-compelling Execution: Long Rides in Mexico, Rides Connecting Locations
17. Components of Successful Scenes Short Length Compelling Tasks: - Corralling Cattle - Saving Farmers Good Gameplay Pacing: - Rising Action, adding suspense to upcoming heavy action - Breathing Room Meaningful Content
18. Sacrifices Hard Control: - Visual Composition - Focus Points Detailed Visual Information: - Close-Ups Comfort: - Techniques are still developing - Film expertise is available
19. Further Opportunities High Quality Acting/Animation: - Physicality - Listening and Reacting Strong Blocking: - Actors making meaningful use of stage space - Interesting and Compelling Props
20. Cues on Dynamic Viewpoint Proscenium Stage Theater in the Round Thrust Stage Improvised Stage Street Performance Flash Mobs Parades Protests
21. Film Influence Components: Cinematography Acting Lighting Compelling Execution: John Marston's Ending, Dutch's Escape from the Blackwater Bank, First Snake Oil Sale – big, interesting and important scenes Non-compelling Execution: Brief, piece-meal scenes; lengthy cinematics for minor events
22. Components of Successful Scenes Character Intimacy Detailed Visual Information - Facial Expression - Small Props Short Length - Focused Scene Goals Strong Visual Composition
23. Sacrifices Point of View - (Literary) Limited First Person in Game - (Literary) Limited Third Person as Camera Agency Kinetic Energy The Scenes Themselves - Scenes that can be skipped will be skipped Investment in New Techniques: - Game Style Cinematography - Isometric, over the shoulder, side-view, etc. - Theater Techniques
24. Use of Music Musical Reflecting Narrative Themes Western Latin Guitar Jazz Creative use of Soundtrack (versus Score) “Far Away” by Jose Gonzalez
25. Video Red Dead “Far Away” Sequence in Mexico http://www.youtube.com/watch?v=qGuYQ-VtfFY&feature=related
26. Why Does This Work? 4 Minute Song! But it’s “loopable” Interruptible, consistent tone Always after HEAVY Action, during passive action
30. Auto-Aim Well Executed Easy to Learn, High Depth - Usable in Single Player - Works well along side cover & recover gameplay - Usable by players of any skill level - Balanced as a mechanic in multiplayer - Less useful at longer ranges against moving opponents - Manually putting lead time in front of the shot is necessary Serves as both a crutch for new and unskilled players Adds to gameplay depth, rather than compromising it
31. Mini Map Effect Nearly empty HUD Mini Map inherited from GTA IV Radar Dependency
33. Non-Diegetic UI Constantly Accessing the Menu - Map - Costume Information - Journal - Entering Multiplayer - Stats Breaks Immersion Solutions: - Stylize the menu to work within the fiction - Find a diegetic solution that integrates the data with the game world
47. Linearity as Theme "My side ain't chosen. My side was given." -John Marston "Actions have consequences, Mr. Marston! You can't just buy a few chickens and expect it to go away. You can't erase the past, John! But we can." -Edgar Ross
48. Weak Characters Based on Stereotypes: - Historical (Wes Dickens) - Ethnic (Irish, Indian) - Class (Colonel Allende, Bonnie) - Some exceptions (Dutch, Edgar Ross, MacDougal) No Character Arcs: - Characters' only purpose is to reveal information - Their backstory - The world and their opinions on it - No characters face difficult decisions, grow or change
“Far Away” by Jose Gonzalez“Compass” by Jamie Lidell“Bury Me Not on the Lone Prairie” by William Elliot Whitmore“Deadman’s Gun” by Ashtar Command (closing credits)