This document discusses the relationship between gameplay, graphics, and character attachment in video games. It outlines a gameplay spectrum consisting of six modes - Observation, Guidance, and Symbiosis (each with two submodes) - that categorize different levels of player interaction with game characters. The document also describes the creation of the interactive character Ann and discusses how graphics and gameplay both impact a player's emotional experience.
The document provides an evaluation of an FMP project. It includes sections on research, planning, time management, technical qualities, aesthetic qualities, audience appeal, and peer feedback. The research section found games like Stranger Things helpful for inspiration but Slender Man less relevant. Planning allowed narrowing ideas but some became unrealistic. Time away from school hindered work. Peer feedback praised the creative design but noted character movement could be more fluent and text on clippings clearer.
David Hellman is a graphic designer who did the artwork for the award-winning game Braid by Jonathan Blow. Hellman had always wanted to do game artwork. He was put in touch with Blow and interviewed for the job, providing sample drawings. Hellman brought an unconventional painted and handcrafted style to Braid's visuals that contributed to the game's critical and commercial success, for which it won numerous awards.
This document summarizes the research, planning, and production process for a video game project. It discusses researching similar games to serve as inspiration and learn from their similarities and differences. Audience interviews found a preference for games with storylines, so the author designed their game around a storyline. The planning process included a case study, initial game ideas, and a mood board. Production involved designing characters, terrain, houses, and trees for the game world. Feedback is provided on the game's aesthetics and how it meets the wants expressed in audience interviews.
This document contains notes and work by Phoenix Smith related to graphic design projects for a game called "Squidiverse". It includes analysis of app store logos, market segmentation, representing the target audience, feedback on a logo design, considerations around content in the game, sketches for improving a logo composition, exploring colour schemes, and research into designing a banner ad. The document shows the process of refining a logo design based on feedback, exploring t-shirt and banner ad designs, and receiving client feedback to further improve the designs.
This document provides an overview of the roles and process involved in video game art design. It discusses the following:
- Video game art design begins in pre-production with concept art sketches and drawings. Artists then move to the graphic design stage.
- There are various roles in game art design including 2D artists, 3D artists, concept artists, storyboard artists, texture artists, environmental artists, lighting artists, and animators.
- A lead artist or art director guides the art team and ensures all art works cohesively through development. They collaborate with other teams like designers.
The document discusses the creation of an advergame by a student. It covers the research, planning, production, and evaluation stages. In the research stage, the student conducted interviews to determine what features players wanted in a zombie/shooting game. Based on the feedback, options for selecting characters and multiplayer were included. However, gender selection was not feasible within the time constraints. During planning, mood boards and character/game ideas were developed to help with design decisions. Production faced time management challenges as features were forgotten or needed reworking. More effective planning and reflection on plans could have helped. Overall, the game appealed to its target 16-25 male audience but could have been improved with more development time for additional features.
The document provides details about Gemma Nicholls' pre-production process for creating an animated videogame and accompanying poster. She will design original characters and backgrounds for the videogame, which aims to entertain audiences ages 15-24. The videogame will be playable on PC and potentially PlayStation. Her poster will advertise the videogame digitally and on paper. She has chosen a black, white, and dark blue color scheme and forest setting for her initial videogame level and poster layout to match the isolation theme of escaping unwanted thoughts.
Jake plans to create a 2D side-scrolling video game and box art using Photoshop. The video game will allow the player to switch between four playable superhero characters and upgrade their skills. Each level will have a different setting and enemies will get tougher. There will be three maps total that get progressively more challenging. The box art will showcase the characters in action poses using bright colors to represent the hopeful tone of superheroes.
The document provides an evaluation of an FMP project. It includes sections on research, planning, time management, technical qualities, aesthetic qualities, audience appeal, and peer feedback. The research section found games like Stranger Things helpful for inspiration but Slender Man less relevant. Planning allowed narrowing ideas but some became unrealistic. Time away from school hindered work. Peer feedback praised the creative design but noted character movement could be more fluent and text on clippings clearer.
David Hellman is a graphic designer who did the artwork for the award-winning game Braid by Jonathan Blow. Hellman had always wanted to do game artwork. He was put in touch with Blow and interviewed for the job, providing sample drawings. Hellman brought an unconventional painted and handcrafted style to Braid's visuals that contributed to the game's critical and commercial success, for which it won numerous awards.
This document summarizes the research, planning, and production process for a video game project. It discusses researching similar games to serve as inspiration and learn from their similarities and differences. Audience interviews found a preference for games with storylines, so the author designed their game around a storyline. The planning process included a case study, initial game ideas, and a mood board. Production involved designing characters, terrain, houses, and trees for the game world. Feedback is provided on the game's aesthetics and how it meets the wants expressed in audience interviews.
This document contains notes and work by Phoenix Smith related to graphic design projects for a game called "Squidiverse". It includes analysis of app store logos, market segmentation, representing the target audience, feedback on a logo design, considerations around content in the game, sketches for improving a logo composition, exploring colour schemes, and research into designing a banner ad. The document shows the process of refining a logo design based on feedback, exploring t-shirt and banner ad designs, and receiving client feedback to further improve the designs.
This document provides an overview of the roles and process involved in video game art design. It discusses the following:
- Video game art design begins in pre-production with concept art sketches and drawings. Artists then move to the graphic design stage.
- There are various roles in game art design including 2D artists, 3D artists, concept artists, storyboard artists, texture artists, environmental artists, lighting artists, and animators.
- A lead artist or art director guides the art team and ensures all art works cohesively through development. They collaborate with other teams like designers.
The document discusses the creation of an advergame by a student. It covers the research, planning, production, and evaluation stages. In the research stage, the student conducted interviews to determine what features players wanted in a zombie/shooting game. Based on the feedback, options for selecting characters and multiplayer were included. However, gender selection was not feasible within the time constraints. During planning, mood boards and character/game ideas were developed to help with design decisions. Production faced time management challenges as features were forgotten or needed reworking. More effective planning and reflection on plans could have helped. Overall, the game appealed to its target 16-25 male audience but could have been improved with more development time for additional features.
The document provides details about Gemma Nicholls' pre-production process for creating an animated videogame and accompanying poster. She will design original characters and backgrounds for the videogame, which aims to entertain audiences ages 15-24. The videogame will be playable on PC and potentially PlayStation. Her poster will advertise the videogame digitally and on paper. She has chosen a black, white, and dark blue color scheme and forest setting for her initial videogame level and poster layout to match the isolation theme of escaping unwanted thoughts.
Jake plans to create a 2D side-scrolling video game and box art using Photoshop. The video game will allow the player to switch between four playable superhero characters and upgrade their skills. Each level will have a different setting and enemies will get tougher. There will be three maps total that get progressively more challenging. The box art will showcase the characters in action poses using bright colors to represent the hopeful tone of superheroes.
The marketing plan summarizes Squidiverse, an upcoming puzzle platformer game featuring a squid boy character. The plan details the game's gameplay, competition, and target audience of casual and indie gamers aged 14-20. Key promotions include a Twitter account to share development updates and images, advertising at indie game conventions like REZZED, YouTube lets play videos, banner ads on gaming sites, and a comedy video advert on YouTube to introduce the character. The free app will have optional in-app purchases of new worlds. It will launch on the Apple App Store on November 20th and be monitored through social media engagement and click-through rates. The total budget is estimated at £2969.34.
The document provides details on the research, planning, time management, technical qualities, and aesthetic qualities of a final animation project. It discusses researching existing games like Pokémon and Zelda for inspiration. Plans included mind maps of game genres and an RPG/fighting game concept. Time management did not go as planned, though most goals were achieved. Technical qualities compared the project to Zelda, noting differences in view, character customization, and animation quality. Aesthetic qualities that were liked included character creation and background scenes, though some aspects like grass and tree colors could be improved. Peer feedback noted positive design but suggested improving animation smoothness and length.
This presentation will discuss all the different graphicalhadilasharif
This presentation discusses different graphical styles used in games including color theory, cel shading, photorealism, exaggeration, and abstraction. Color theory explores how color is used to convey different feelings. Cel shading aims to make games appear hand drawn like cartoons through simple colors. Photorealism strives to make games look as realistic as possible. Exaggeration features over-the-top proportions like in anime games. Abstract games simplify graphics to basic forms rather than reproducing realism. Color perception is explored where color changes convey information like a character dying. Examples are provided for each style.
An approach to problem solving and solution building that includes games, serious games, gamification and more. This slideshare introduces the topic in a simple way.
This document provides an analysis of the Flappy Bird app icon. Key points made:
- The bird is centered in the icon to draw immediate attention as the main character.
- The color palette and pixel art style hint that the game will be simple and challenging.
- The worried facial expression of the bird suggests the game will be difficult to not fail.
- Negative space around the bird implies spending most time in the air avoiding objects.
- The drop shadow separates the bird from the background, indicating flying rather than being on the ground.
This document discusses factors that contribute to gaming enjoyment through three key concepts: safe action, embarrassment, and autonomy. Safe action in games is achieved through features that establish negotiated consequences and collective enforcement of in-game commitments. Embarrassment is reduced in gaming contexts by social framing that normalizes behavior and shields players from disapproving observers. Autonomy in gaming emerges from a relaxed field free from pressures where players have license to configure gameplay and minimize consequences according to their preferences and values.
The student began their rotation on video games by learning new terminology and researching the game Cuphead. They analyzed various elements of Cuphead and other games. The student created practice games in Pixel Art to develop their skills. For their main project, the student developed an idea for a disease-based game and created storyboards and mood boards. They researched similar existing games and worked on drawing backgrounds, characters, and game elements in Photoshop. The student added audio elements in Premiere like music and sound effects. Overall, the student felt they improved from their previous game project and were proud of their progress, though recognized room for improvement in graphics.
The student conducted research on 2D platform games like Super Mario Bros to inform their final game project. They focused on simple but effective designs. For their game, the student chose a space theme and designed simple block characters to focus on movement. Feedback indicates the game could be improved with a more complex character design, smoother animation, and additional time spent on sound effects. Overall, the student is happy with how their final project turned out but recognizes areas that could be strengthened with more time.
The document provides an evaluation of Gemma Nicholls' research, planning, time management, technical qualities, and audience appeal for her product. For research, strengths included choosing relevant existing products to develop ideas, while weaknesses were only researching one game type which limited ideas. Planning strengths were mood boards and mind maps, but weaknesses included an unrealistic schedule. Time management was rated positively as tasks were completed on time, and more time would be spent improving animations and adding a second level. Technical comparisons noted differences between her and existing products. Audio needed more diverse self-created effects. Aesthetics could be improved by adding collectible items and character consistency. The target audience appeals included anonymity and a sense of completion.
- The document describes plans for a game called "My Game" that takes place in a dark, gloomy forest setting and features a main character named Jake with superpowers.
- Jake has super strength, speed, and mind control abilities and fights enemies with an instantly lethal curved sword.
- The document includes a mind map exploring the game's concepts and characters in more detail to help specify the content and a mood board to visualize the game's style and settings.
- A questionnaire was given to classmates to gather data on preferences for the game, such as a preference for swords over guns shown by 70% of respondents.
Gamification: A roundtable on game studies and HCI perspectivesSebastian Deterding
This document summarizes a roundtable discussion on gamification from game studies and HCI perspectives. It provides an introduction and overview of the pre-history of gamification in HCI, current topics being discussed, attempts to define gamification, and plans to debate focal questions. The roundtable covered the diversity of gamification applications, attempts to make sense of gamification through different theories and frameworks, and discussion topics around ethics, user groups, design challenges, and player behavior. The goal was to discuss what is new and valuable from an HCI perspective, how gamification has been approached in game studies, and what opportunities it provides for future game research.
Ben Harris evaluated his work on a video game project. For research, he looked at similar survival and horror games but later changed his game's genre. His planning went well initially but he struggled with frequently changing his game concept. Time management was an issue as he wanted to improve aspects like animation length but ran short on time. Technically, his game was less detailed than references but included gore and shooting. Aesthetically, the background was detailed though less visually interesting than it could be. To appeal more to his target audience, he felt adding rewards and unlockables would help provide challenge and engagement.
The document summarizes the technical qualities of the author's video game project. Some key points:
- The background includes white dots to represent stars or snow. Characters are small to fit the screen. Walking is animated by alternating foot positions and dragging the background.
- A second level includes dragons that can fly and shoot fire or ice. Wings are animated by alternating drawings. Fire and ice effects are made to look like they are moving.
- Lives and collectible daggers are tracked at the top of the screen. Gameplay draws from Super Mario Bros with hazards, power-ups obtained by interacting with objects, and defeating enemies.
- Improvements could include more dynamic character
The document provides details on pre-production work for a game project, including color schemes, fonts, HUD designs, character sketches, and a production schedule. Key aspects include:
- Choosing brighter colors inspired by adventure games like Monkey Island.
- Selecting pixelated fonts to match the retro style and ensure legibility when pixelated.
- Favoring a bottom-right HUD layout that resembles common adventure game designs.
- Initial sketches exploring flag, character, and robotic arm concepts to develop the visual style.
- A 3-week production schedule outlining tasks like background art, sound effects, and animation.
The document provides an evaluation of the production process for a video game project. It summarizes the student's research, planning, time management, technical and aesthetic qualities, audience appeal, and feedback received. For research, the student analyzed existing games and conducted a survey to understand their target audience. Planning relied heavily on the research. Time management was an issue, especially for more advanced pixel art. Technical skills like pixel art details improved. Aesthetic qualities focused on an appealing color scheme. Audience research helped create an RPG that appealed to fans of the genre. Peer feedback praised the graphics and suggested showing gameplay or more characters.
The document provides an introduction to the fundamentals of game design. It outlines the course targets which include being introduced to Unreal, learning major elements of game design and gameplay, developing a game design, and documenting a game design using a game design document. It then discusses various elements of game design like character development, storytelling, user interfaces, gameplay, mechanics, balancing, and level design. It also defines what game design entails and discusses the anatomy of a game designer.
Designing for Creativity and Kindness in GamesMirjam Eladhari
The document discusses designing games for creativity and kindness. It provides an overview of designing for creativity and kindness, presents case studies of games including The Pataphysic Institute and games from the C2Learn project, and offers tips for indie game development. The Pataphysic Institute is described as a game where players can affect each other's moods and cast spells depending on their feelings. Games in the C2Learn project are designed for co-creation and creativity in learning. 4Scribes and Mind Shadows are also discussed as creative story-making games.
Tiny Bird Garden is a mobile and PC game that involves caring for cartoon birds over time, using bright colors and relatable bird bios to create a joyful atmosphere aimed at pre-teen females; key aspects for the designer's own game include the open-ended gameplay, purchasable items to encourage engagement, and blending cute and spooky art styles. Observation of the game's target audience suggests a focus on stereotypically female imagery, diversity, and a positive tone to appeal to child and teen players.
The document discusses the design elements of several existing games, including their settings, perspectives, art styles, progression systems, and mechanics. It then analyzes how these elements could inform the design of a new game, focusing on using pixel art, character progression, and engaging combat over extensive customization. Interviews suggest prioritizing story, gameplay, and memorable art style over visual customization.
The student proposes creating an 8-bit pixel art style video game called "Icarus" for their final major project. The game will be a sci-fi turn-based multiplayer online role-playing game set in post-apocalyptic and futuristic environments. Key aspects of the project include designing characters, environments, and lore for the game's backstory. The student plans to focus on story and character development over gameplay mechanics. They will evaluate the project by comparing it to their original proposal and research on successful games to analyze what worked well and identify areas for improvement.
There are four main graphical styles discussed in the document: photorealistic, cell shaded, exaggerated, and abstract. Photorealistic aims to make graphics as close to real life as possible, like in Grand Theft Auto. Cell shaded is designed to look like hand drawings and is used in games like Minecraft. Exaggerated styles make characters and elements larger than real life, seen in games like Final Fantasy. Abstract games use symbols with no real meaning, like early Mario games. The document discusses examples of each style and how they affect the audience and tone of different games.
The marketing plan summarizes Squidiverse, an upcoming puzzle platformer game featuring a squid boy character. The plan details the game's gameplay, competition, and target audience of casual and indie gamers aged 14-20. Key promotions include a Twitter account to share development updates and images, advertising at indie game conventions like REZZED, YouTube lets play videos, banner ads on gaming sites, and a comedy video advert on YouTube to introduce the character. The free app will have optional in-app purchases of new worlds. It will launch on the Apple App Store on November 20th and be monitored through social media engagement and click-through rates. The total budget is estimated at £2969.34.
The document provides details on the research, planning, time management, technical qualities, and aesthetic qualities of a final animation project. It discusses researching existing games like Pokémon and Zelda for inspiration. Plans included mind maps of game genres and an RPG/fighting game concept. Time management did not go as planned, though most goals were achieved. Technical qualities compared the project to Zelda, noting differences in view, character customization, and animation quality. Aesthetic qualities that were liked included character creation and background scenes, though some aspects like grass and tree colors could be improved. Peer feedback noted positive design but suggested improving animation smoothness and length.
This presentation will discuss all the different graphicalhadilasharif
This presentation discusses different graphical styles used in games including color theory, cel shading, photorealism, exaggeration, and abstraction. Color theory explores how color is used to convey different feelings. Cel shading aims to make games appear hand drawn like cartoons through simple colors. Photorealism strives to make games look as realistic as possible. Exaggeration features over-the-top proportions like in anime games. Abstract games simplify graphics to basic forms rather than reproducing realism. Color perception is explored where color changes convey information like a character dying. Examples are provided for each style.
An approach to problem solving and solution building that includes games, serious games, gamification and more. This slideshare introduces the topic in a simple way.
This document provides an analysis of the Flappy Bird app icon. Key points made:
- The bird is centered in the icon to draw immediate attention as the main character.
- The color palette and pixel art style hint that the game will be simple and challenging.
- The worried facial expression of the bird suggests the game will be difficult to not fail.
- Negative space around the bird implies spending most time in the air avoiding objects.
- The drop shadow separates the bird from the background, indicating flying rather than being on the ground.
This document discusses factors that contribute to gaming enjoyment through three key concepts: safe action, embarrassment, and autonomy. Safe action in games is achieved through features that establish negotiated consequences and collective enforcement of in-game commitments. Embarrassment is reduced in gaming contexts by social framing that normalizes behavior and shields players from disapproving observers. Autonomy in gaming emerges from a relaxed field free from pressures where players have license to configure gameplay and minimize consequences according to their preferences and values.
The student began their rotation on video games by learning new terminology and researching the game Cuphead. They analyzed various elements of Cuphead and other games. The student created practice games in Pixel Art to develop their skills. For their main project, the student developed an idea for a disease-based game and created storyboards and mood boards. They researched similar existing games and worked on drawing backgrounds, characters, and game elements in Photoshop. The student added audio elements in Premiere like music and sound effects. Overall, the student felt they improved from their previous game project and were proud of their progress, though recognized room for improvement in graphics.
The student conducted research on 2D platform games like Super Mario Bros to inform their final game project. They focused on simple but effective designs. For their game, the student chose a space theme and designed simple block characters to focus on movement. Feedback indicates the game could be improved with a more complex character design, smoother animation, and additional time spent on sound effects. Overall, the student is happy with how their final project turned out but recognizes areas that could be strengthened with more time.
The document provides an evaluation of Gemma Nicholls' research, planning, time management, technical qualities, and audience appeal for her product. For research, strengths included choosing relevant existing products to develop ideas, while weaknesses were only researching one game type which limited ideas. Planning strengths were mood boards and mind maps, but weaknesses included an unrealistic schedule. Time management was rated positively as tasks were completed on time, and more time would be spent improving animations and adding a second level. Technical comparisons noted differences between her and existing products. Audio needed more diverse self-created effects. Aesthetics could be improved by adding collectible items and character consistency. The target audience appeals included anonymity and a sense of completion.
- The document describes plans for a game called "My Game" that takes place in a dark, gloomy forest setting and features a main character named Jake with superpowers.
- Jake has super strength, speed, and mind control abilities and fights enemies with an instantly lethal curved sword.
- The document includes a mind map exploring the game's concepts and characters in more detail to help specify the content and a mood board to visualize the game's style and settings.
- A questionnaire was given to classmates to gather data on preferences for the game, such as a preference for swords over guns shown by 70% of respondents.
Gamification: A roundtable on game studies and HCI perspectivesSebastian Deterding
This document summarizes a roundtable discussion on gamification from game studies and HCI perspectives. It provides an introduction and overview of the pre-history of gamification in HCI, current topics being discussed, attempts to define gamification, and plans to debate focal questions. The roundtable covered the diversity of gamification applications, attempts to make sense of gamification through different theories and frameworks, and discussion topics around ethics, user groups, design challenges, and player behavior. The goal was to discuss what is new and valuable from an HCI perspective, how gamification has been approached in game studies, and what opportunities it provides for future game research.
Ben Harris evaluated his work on a video game project. For research, he looked at similar survival and horror games but later changed his game's genre. His planning went well initially but he struggled with frequently changing his game concept. Time management was an issue as he wanted to improve aspects like animation length but ran short on time. Technically, his game was less detailed than references but included gore and shooting. Aesthetically, the background was detailed though less visually interesting than it could be. To appeal more to his target audience, he felt adding rewards and unlockables would help provide challenge and engagement.
The document summarizes the technical qualities of the author's video game project. Some key points:
- The background includes white dots to represent stars or snow. Characters are small to fit the screen. Walking is animated by alternating foot positions and dragging the background.
- A second level includes dragons that can fly and shoot fire or ice. Wings are animated by alternating drawings. Fire and ice effects are made to look like they are moving.
- Lives and collectible daggers are tracked at the top of the screen. Gameplay draws from Super Mario Bros with hazards, power-ups obtained by interacting with objects, and defeating enemies.
- Improvements could include more dynamic character
The document provides details on pre-production work for a game project, including color schemes, fonts, HUD designs, character sketches, and a production schedule. Key aspects include:
- Choosing brighter colors inspired by adventure games like Monkey Island.
- Selecting pixelated fonts to match the retro style and ensure legibility when pixelated.
- Favoring a bottom-right HUD layout that resembles common adventure game designs.
- Initial sketches exploring flag, character, and robotic arm concepts to develop the visual style.
- A 3-week production schedule outlining tasks like background art, sound effects, and animation.
The document provides an evaluation of the production process for a video game project. It summarizes the student's research, planning, time management, technical and aesthetic qualities, audience appeal, and feedback received. For research, the student analyzed existing games and conducted a survey to understand their target audience. Planning relied heavily on the research. Time management was an issue, especially for more advanced pixel art. Technical skills like pixel art details improved. Aesthetic qualities focused on an appealing color scheme. Audience research helped create an RPG that appealed to fans of the genre. Peer feedback praised the graphics and suggested showing gameplay or more characters.
The document provides an introduction to the fundamentals of game design. It outlines the course targets which include being introduced to Unreal, learning major elements of game design and gameplay, developing a game design, and documenting a game design using a game design document. It then discusses various elements of game design like character development, storytelling, user interfaces, gameplay, mechanics, balancing, and level design. It also defines what game design entails and discusses the anatomy of a game designer.
Designing for Creativity and Kindness in GamesMirjam Eladhari
The document discusses designing games for creativity and kindness. It provides an overview of designing for creativity and kindness, presents case studies of games including The Pataphysic Institute and games from the C2Learn project, and offers tips for indie game development. The Pataphysic Institute is described as a game where players can affect each other's moods and cast spells depending on their feelings. Games in the C2Learn project are designed for co-creation and creativity in learning. 4Scribes and Mind Shadows are also discussed as creative story-making games.
Tiny Bird Garden is a mobile and PC game that involves caring for cartoon birds over time, using bright colors and relatable bird bios to create a joyful atmosphere aimed at pre-teen females; key aspects for the designer's own game include the open-ended gameplay, purchasable items to encourage engagement, and blending cute and spooky art styles. Observation of the game's target audience suggests a focus on stereotypically female imagery, diversity, and a positive tone to appeal to child and teen players.
The document discusses the design elements of several existing games, including their settings, perspectives, art styles, progression systems, and mechanics. It then analyzes how these elements could inform the design of a new game, focusing on using pixel art, character progression, and engaging combat over extensive customization. Interviews suggest prioritizing story, gameplay, and memorable art style over visual customization.
The student proposes creating an 8-bit pixel art style video game called "Icarus" for their final major project. The game will be a sci-fi turn-based multiplayer online role-playing game set in post-apocalyptic and futuristic environments. Key aspects of the project include designing characters, environments, and lore for the game's backstory. The student plans to focus on story and character development over gameplay mechanics. They will evaluate the project by comparing it to their original proposal and research on successful games to analyze what worked well and identify areas for improvement.
There are four main graphical styles discussed in the document: photorealistic, cell shaded, exaggerated, and abstract. Photorealistic aims to make graphics as close to real life as possible, like in Grand Theft Auto. Cell shaded is designed to look like hand drawings and is used in games like Minecraft. Exaggerated styles make characters and elements larger than real life, seen in games like Final Fantasy. Abstract games use symbols with no real meaning, like early Mario games. The document discusses examples of each style and how they affect the audience and tone of different games.
The document provides details on the initial plans and mood boards for an animation project to create a video game environment. Key influences discussed include Undertale for its compelling narrative and characters, The Witcher 3 for its skill in visually representing environments, and Pixels for its creative idea of having video game characters spawn into the real world. The mood boards focus on outdoor landscapes and will be used to inspire unique environments for the game world.
The document summarizes Louis Dodds-Rodgers' process in developing an interactive arcade fighting game. Some key points:
- Research on similar successful games helped inform game design but also uncovered copyright issues that required careful navigation.
- Planning included mind mapping ideas and molding the game around the target demographic, though weaknesses included difficulty creating a wholly original concept and improperly using reference characters.
- Time management was initially efficient but struggled with character/sprite creation due to limited planning and ran into copyright issues with audio samples.
- Peer feedback suggested improving animation quality and movement, adding character details like names/powers, and including more aesthetic elements.
Toni Gibson conducted research on older and newer games to inform the design of their own game. They found that newer games have more detailed storylines while older games lacked narrative. Additionally, newer games can last over an hour while older games were often very short. Gibson also surveyed people about their gaming preferences, finding that gameplay should be easy, enjoyable, and have good graphics. Based on this research, Gibson planned a pixel zombie game inspired by the film Zombieland, designing the main character after Columbus. While the basic gameplay was created, Gibson notes that adding more levels and background detail would have further improved the game.
The document outlines initial plans and reactions for a video game project. It discusses exploring new software features through the project and creating an adventure game with an innovative storyline. It notes the wide target audience for games and considering including a male lead character. It also expresses excitement for planning scenery and backgrounds but that the brief leaves a lot of freedom. While interested in the topic, video games may not be a long term passion.
The document outlines initial plans and reactions for a video game project. It discusses exploring new software features through the project and creating an adventure/story game inspired by past games. It notes the vague brief leaves freedom for any game style. Target audiences of teenagers and those over 34 are mentioned, as well as including a male character. Creating scenery and backgrounds is also highlighted. Comparing the project to potential future choices, it states video games may not be a long term passion but the topic could provide useful skills and change opinions.
The document proposes a video game called Sidhean targeted at 16-19 year old boys and girls. The game will have a tomb raider style with adventure, suspense, and danger. The player will control a character that can walk, run, jump and shoot through a detailed background with obstacles and enemies. Research into 8-bit games will provide inspiration for creating the background and characters using simple pixels. The proposal aims to evaluate the game throughout development and after each week to identify strengths and areas for improvement.
Andreas reflects on his progress in developing a police chase game over four weeks of production. In week 3, he created assets for the game including a character sprite, intro screen, and background elements like roads and obstacles. He learned techniques for adding detail and layers in Photoshop. In week 4, Andreas animated the gameplay and added sound effects recorded outside of class. He improved his skills in animating movement over frames and incorporating audio. Overall, the reflections provide insight into Andreas' process for developing game assets and mechanics through hands-on experiments in design and production.
The document discusses research into Tim Burton's artistic style and approach to storytelling that could influence the design of environments, characters, and narrative for the project. It also examines the music of Berlinist, noting how their soundtracks for games like Gris are able to convey both the environment and emotions of silent protagonists through a relaxed, lo-fi musical style. This additional research will help with designing visuals, narrative, and selecting inspiring music for the project.
The document provides instructions for a game research assignment. Students are asked to research three games with similar graphical styles and genres to the concept art they created. For each game, they must complete a table of details, write an evaluation of how the graphical style and genre complement each other, create an annotated collage of images, and review how the research can be used to develop their own work. The student provides this information for three games - Final Fantasy XIII, Dragon Age 2, and Gears of War - which all use an exaggerated graphical style. They analyze how the style fits each game's tone and discuss how aspects like large weapons, enemies, and villains can influence their own sketches.
The document provides instructions for a game research assignment. Students are asked to research three games with similar graphical styles and genres to the concept art they created. For each game, they must complete a table of details, write an evaluation of how the graphical style and genre complement each other, create an annotated collage of images, and explain how the research can be used to develop their own work. The student provides this information for three games - Final Fantasy XIII, Dragon Age 2, and Gears of War - which all use an exaggerated graphical style. They analyze how this style fits each game's tone and genres. The student explains how aspects of the researched games, such as large weapons, villain sizes, and creature designs,
Graphic styles and colour theory presentationhaverstockmedia
This document discusses different graphical styles used in video games. It describes photorealistic, cell shaded, exaggerated, and abstract graphical styles. Photorealistic aims to make graphics as close to real life as possible through realistic depictions of people, places, and objects. Cell shaded uses fewer shades of color to mimic comic books. Exaggerated creates hyper-realistic but over-the-top characters. Abstract uses symbols with no real-world meaning. Examples like Grand Theft Auto, Minecraft, and Final Fantasy are provided. The document then focuses on photorealistic style, explaining how games like FIFA, Uncharted, and Call of Duty use it to enhance realism and player immersion.
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2. Index
Abstract & Definitions 2
Background 3
Research 4
Visual Research 5
Project Beginnings 6
Pixels in Particular 8
Creating Ann 9
Gameplay vs. Graphics 10
Character Attachment 11
Gameplay Spectrum 12
Style Guide
Observation Mode 13
Guidance Mode 14
Symbiosis Mode 15
Applied Design Guidelines 16
Playground 18
Conclusion 19
Bibliography 20
1
3. Abstract
2
VIDEO GAMES are a unique blend of interactivity and visuals. When a player interacts with
a character in a game, gameplay and graphics work together to create a unique experience and
character attachment within the player. I believe that different styles of gameplay can be grouped
into categories based on how a player interacts with a character. Nuances in graphic styles within
the gameplay categories can cause varying degrees of character attachment. It is important to
explore these different combinations in order to better understand how the way that games are
made can effect player’s emotions.
In order to explore the relationship between graphics and gameplay, I have created a Style Guide
that outlines the gameplay spectrum I have created as well as a design supplement that explains
how to design games with the gameplay spectrum in mind. There is also an interactive demo
Playground where the user can explore the different categories outlined in the Guide.
The Style Guide and Playground represent only a portion of what is possible in games, but it’s a
way of exploring the potential of this unique art form to leave its mark on people.
DEFINITIONS
§ Character Attachment - a psychological merging of a player’s and character’s minds
§ Player - an individual who plays video games and interacts with their characters
§ Character - a virtual avatar used for interaction in video games
§ Interaction - the ability for a player to influence a game’s actions or events
§ Gameplay- the way coded controls effect a game or character’s actions or events
4. Background
3
AS AN ARTIST I have always been interested in the unique visuals that video games have
to offer. I got into independently developed games a few years ago and fell in love with the graphic
diversity they had to offer me. My first meaningful experience with an indie game came from
playing Superbrothers: Sword & Sworcery. The graphics in that game are completely pixelated, but
they were done so in such a way that I found extremely compelling. My interest in this game led me
to explore video game graphics and the effect they have on their players in terms of an emotional
connection with the characters present in the game.
Through initial research and personal experience, I
began to realize that the graphics were simply the
cherry on top of a game’s interactive potential.
What makes video games unique, of course, is
their ability to be played. Allowing a player to have
some sort of input into a character’s actions is
what has the most influence over our experience
with characters in video games. A video game’s
graphics simply provide a tangible way for us to
better proces and experience this interaction.
This project has since evolved to focus more on
the different ways we can interact with characters
in a video game while also demonstrating the
difference visual changes can make.
Ann, your interactive companion in the Playground
portion of this project, in the iconic Sworcery style.
5. Research
4
IN THE BEGINNINGstages of this project my research focused on how graphic elements
in a video game can effect a player’s emotional attachment to the game’s characters. I interviewed
developers and designers with this graphic approach in mind and they all seemed to have similar
responses to my questions. They often stated that the character’s design and a game’s mechanics
were developed in tandem and worked together to create a player’s experience.
Based on these responses, I should have noted sooner the importance of interactivity and
gameplay when considering character attachment. Despite this, the visual research I did has helped
me in the process of creating the graphics for this project. Graphics, of course, are how a player
visually experiences a game and are very important to the game as a whole. However, through my
research I’ve noticed that having a unique visual style does not necessarily dictate levels of
character attachment, but rather serves to enhance them.
“It's never one thing then another. Everything
is developed in parallel. We have ideas for
the mechanics and visuals, and how they tie
together. We implement, test, and iterate on
both, for months.”
- Ken Wong, artist for Monument Valley, regarding the
visual development and gameplay mechanics of
Princess Ida (right)
6. Visual Research
5
MY INTERESTin exploring indie game visuals came from my own personal experience with
games that I had played. As an artist interested in game design, I was impressed by and drawn to
the unique visual styles of the games I had played. I took a very direct approach in assuming that
these visuals played a key role in my emotional attachment to the game and its characters. Before
shifting my focus to gameplay as the core facilitator of character attachment, I did some extensive
research into the effect of a game’s graphics on character attachment.
ARTISTRY & EMOTIONS
I drew inspiration from a few artistic theories on character design for this project. For instance, I
referenced Scott McCloud’s theories about facial complexity and its impact on our emotional
connections to characters. A majority of my inspiration comes from Chris Solarski, an artist and
designer interested in studying the way traditional art history practices can be applied to video
game design. His book, Drawing Basics & Video Game Art puts his ideas into writing, and I found
them to be quite useful in my initial research. He covers the fundamentals (lines, shapes, colors,
etc.) and discusses how they apply to game and character design. For example, he breaks down
basic shapes into their connotative emotions: the circle is friendly and safe, the square is strong
and stable, the triangle is sharp and aggressive. A character’s proportions usually suggest how
childish or heroic they are. Simplistic facial expressions allow for players to project themselves and
their feelings onto a character, similar to McCloud’s writings.
While these meanings don’t necessarily translate the exact same way every time to different
people, he notes that basic shape psychology calls form these emotions. He emphasizes that
simple elements are able to come together to create more complex emotions.
7. Project Beginnings
6
ORIGINALLY, I was going to use Solarski’s principles as a sort of exploration of character
design. My focus was placed more on how different characters could be presented and designed
based on his principles. I had planned to presenting the player with a series of characters that could
be played with in a variety of visual styles, ranging from 8bit pixels to simple 3D models. The player
would have been able to choose from a selection of original characters and then be able to choose
what style they interacted with that character in.
While this would have been an interesting study in character design and its effect on a player’s
emotions, it seemed as though it was already done in Solarski’s research. Additionally, I seemed to
be missing a core component to the depth of my own research. It seemed arbitrary to present the
player with these different options with no real basis of comparison between characters.
It was then that I shifted my attention and research on developing the gameplay spectrum that is
outlined in the Style Guide. Standard gameplay guidelines would be the common thread that tied
the visual styles together. However, I still used my initial research to develop my visual aesthetic in
the interactive portion of my project. The qualities I found in pixel art matched the calm and
explorative nature of my project and so I used pixels to create the visuals for the final product.
Figure 1
Character selection screen from early stages of
project development.
Figure 2
Individual character style selection screen.
9. 8
Pixels in Particular
PIXEL ARTin games has had a long history that dates back to the first games that used pixels
and limited color palettes as a response to technological restraints. As graphic capabilities got
better, the need to use pixel art was not as strong. So why is pixel art used so frequently in indie
game design today? What makes it so appealing?
Pixels are a product of technological necessity, but also nostalgia. A lot of indie developers today
grew up playing older systems with those limited graphics capabilities. Now, in the digital age, we
have the ability to make pixels as crisp and clear as ever. And so, there seems to be a revisiting of
the pixel aesthetic as an opportunity to explore artistic possibilities and challenges.
While I myself have grown up playing games with more cutting edge and realistic graphics, I find the
raw allure of the pixel artistically enticing. And so, for my project I am exploring the expressive
capabilities of the pixel. Pixels are the most basic building block of digital graphics and also echo
the strong and stable emotions associated with the square. It is for these reasons that I want to use
pixel art to explore the emotions elicited by gameplay to create character attachment.
“There seems to be something more to the
pixel... An alluring rawness of freedom in its
simplicity.”
- Simon Cottee, Pixels: A Pixel Art Documentary, 2010
Feat. right: Superbrothers: Sword & Sworcery
10. 9
Creating Ann
YOUR COMPANION in the interactive demo Playground area of the project application is
Ann, originally referred to by me as “flower girl.” This character was originally conceived as a tribute
to my mother for an unrelated idea. Her design was meant to be simplistic and to create an image
of my mother’s childhood spirit. When considering a character to use for this project I thought that
Ann would be a good fit.
A combination of Solarski’s drawing basics theories and Scott McCloud’s emotional projection
theories were used when designing Ann. Her design is simplistic enough to facilitate at least a
basic level of character attachment. When creating her stylistic variations I wanted her to be
progressively more expressive while still allowing for emotional projection. While Ann is her own
character with a personal connection and inspiration, she does not have enough distinguishing
features to establish her own emotions and intentions separate from the player’s.
While interacting in the Playground, the player has the ability to alternate between three different
stylizations of Ann. Each style has its own graphic nuances and reactions to player input.
Early concept drawing of Ann beside
her final pixelated variations seen in
the Playground area.
11. 10
Gameplay vs. Graphics
“WITHOUT INPUT,graphics are not interactive... Just by holding the controller you have
a more visceral experience.” Solarski mentioned this in my interview with him and I believe this
statement is what caused the shift in my research. What makes games unique is their capacity for
interaction. Graphics are important, but it seems that unique visual styles do not have as much of
an impact on character attachment as I had originally assumed.
Solarski also mentioned that stylistic differences between games often don’t effect the basic
statements communicated by shapes and other elements. The core statement remains the same
but the style is a superficial layer, like the cherry on top of a player’s experience.
While it is crucial to recognize the importance of shapes and other elements of composition used
in game design, one must also realize the vital role that input plays in communicating emotions.
Through research, I have created my own gameplay spectrum that hopefully further develops the
language we have to talk about character attachment.
“The shape spectrum of emotions
should NOT be used as a design
formula -- but as a conceptual tool to
assess artwork and identify problem
areas.”
- Chris Solarski, Drawing Basics & Video
Game Art
12. 11
Character Attachment
THE STUDY OF character attachment in video games is not an entirely new one. There are
several studies used in my research that approach and measure character attachment in different
ways. My approach to character attachment is inspired by research studies done by Dr. Nicholas
Bowman, Dr. Jamie Banks, and Dr. Melissa Lewis.
Each of these researchers start with the basic understanding that character attachment relates to
the psychological merging of a player and avatar. They also extend their research to cover topics
such as emotional intimacy versus agency, game enjoyment versus appreciation, and the various
types of character attachment. Are we in control of a game’s character or do we feel responsible
for its fate? Do we enjoy a game’s mechanics more or appreciate a game’s narrative more through
character experience? Questions like these and more are addressed in their research. One study
even establishes a metric system for predicting levels of character attachment based on the
ranking of various game features.
None of these studies, however, seem to establish a solid connection between attachment and
different types of gameplay. One study by Bowman simply asks participants to think of any game
character and rate their level of attachment based on their experience. Another study by Lewis only
looks specifically at role-playing games. There doesn’t seem to be an established spectrum or way
of breaking down games into different gameplay categories.
Through my research and experience I have created a spectrum of gameplay that categorizes a
player’s level of interactive capabilities with a character. With this spectrum, I hope to establish a
connection between character attachment and gameplay. While certain genres are often geared
more toward a particular type of gameplay, I hope that this spectrum allows for us to talk about
character attachment across all genres and levels of intensity.
13. 12
Gameplay Spectrum
THE STYLE GUIDE outlines six total modes (3 modes with 2 submodes each) of
gameplay developed for this project through research and experience. Each of the six unique
modes within the gameplay spectrum represents a different style of gameplay that determines how
a player interacts with a character within a game. The modes developed for this project are only an
observation of various styles of gameplay seen in games and are by no means the boundaries for
all games. Additionally, modes do not have to be mutually exclusive, and more than one mode can
be used within the same game. The Style Guide and its design supplement serve to break down and
explain how each of these modes function regarding player-character interaction.
The following pages will provide a written outline of the six categories as well as examples of
games that could fit within each. An extended version of the Guide is written in the project’s
companion application.
The diagram below illustrates the contents and order of the gameplay spectrum.
Least amount of
player control &
lowest CA potential
Most amount of
player control &
highest CA potential
Observation Guidance Symbiosis
Static Mobile Perpetual Finite
Button
Based
Action
Based
14. 13
Style Guide
OBSERVATION
Observation mode has the least amount of interactive capabilities with a character. A player’s
actions within the game have little to no influence on character actions. Most non-playable
characters (NPCs) would fall into this category. Emotional attachment to characters is possible but
it is on a very shallow or superficial level.
Static Observation
§ Character “idles” in place and has no independent actions to complete
§ Rarely acknowledges or reacts to player input, if at all
§ May provide textual or visual feedback regarding game elements not related to character
§ Examples: Two Dots, Green the Planet, Feed’em Burger, NPCs
Mobile Observation
§ Character performs independent actions without input from player
§ May acknowledge player input, but reactions are not directly related to input
§ Examples: Tiny Tower, Happy Street, Tap Titans, Disco Zoo, Clash of Clans, NPCs
Style Notes
§ Characters presented in this mode are typically graphic enhancements to the main functionality of the
game (micro-management, puzzle, etc.) and not designed for emotional attachment
§ Graphic complexity can vary from game to game
15. 14
GUIDANCE
Guidance mode is a step up from observation mode in terms of character interactivity. A player has
limited control over a character’s actions. Character interaction in this mode usually has a limited
range of actions that can be performed by the player. This mode provides a higher level of
emotional attachment because the player has responsibility and control over the character.
Perpetual Guidance
§ Character continuously or repeatedly performs an action until given other input from player
§ Lower attachment because player is only partially in control of character actions
§ Game objective to “survive” as long as possible by avoiding obstacles, etc.
§ Examples: Jetpack Joyride, Temple Run, Mega Dead Pixel, Miika
Finite Guidance
§ Character performs single action based on player input
§ Relies solely on player input to navigate through an environment
§ Game objectives to navigate environment and/or narrative
§ Examples: Superbrothers: Sword & Sworcery, Monument Valley, Limbo
Style Notes
§ Character designs relatively simplistic to indicate a limited range of motion
§ Game objectives visible on screen (collectible items, new areas, etc.)
Style Guide
16. 15
SYMBIOSIS
Symbiosis mode has the highest level of character interactivity. A player has direct control over all
character actions. Characters in this mode typically serve as an extension of the player and have a
variety of actions to perform. This mode provides the highest possibility of strong character
attachment because the player is either directly assuming the role of the character or is completely
responsible for them.
Button Based Symbiosis
§ Character performs actions directly from player input based on game interface
§ Player interaction with game’s UI directly correlates to character action
§ Buttons provide thin layer of emotional separation from character
§ Examples: Revolution 60, Arcane Soul, Mage Gauntlet
Action Based Symbiosis
§ Character performs actions directly from player input based on controls
§ Player has direct control over actions through coded gameplay, not UI
§ Examples: Reaper: Tale of a Pale Swordsman, The Deer God, Lili
Style Notes
§ Ability to perform complex actions allow for more complex character designs
§ Simplified designs allow for player projection onto character
§ Games may utilize interfaces to display information but they do not always effect character actions
17. 16
THERE ARE MANY WAYS that games can be designed using the gameplay spectrum
as a guide. However, there are particular examples that were used when compiling research for this
project. There are no real hard set rules for game design as a whole, however it is important to
establish some guidelines when designing a game based off the gameplay spectrum while
attempting to create some level of character attachment.
As part of this project I developed a series of applied game design guidelines that serve as a design
supplement to the gameplay spectrum and Style Guide. Outlined in the document are notes for
different ways that levels and games can be designed based on their relationship to the gameplay
spectrum. Like the other elements of this project, this design document is a base that should be
used for reference.
Each of the six modes of the spectrum will have a visual mock up as well as design notes on how
to create a level or game based off that mode.
Applied Design Guidelines
Figure 3
A sample page from the design
guideline supplement.
18. 17
Symbiosis Mode Design
C.
A. B.
D.
Button-Based Symbiosis:
Interaction with a character is the
main focus of the game. A player
experiences the main content of a
game through character actions.
A. Navigational button elements.
These move the character through
the game.
B. Action button elements. These
initiate character actions such as
attacking or dodging.
C. A Button-Based Symbiosis
character. This character has access
to a wide range of actions based on
button input.
D. Represents a potential hazard, in
this case an enemy character.
Figure 3
19. 18
The Playground
GAMEPLAY AND INTERACTIVITY are the main elements that facilitate
character attachment. The Playground serves as an interactive area for users to explore character
attachment based on the gameplay spectrum outlined in the Style Guide. In the Playground, users
can interact with Ann in 3 demo stages corresponding to the 3 main gameplay modes. Users will be
able to choose what mode they interact in as well as alternate between different visual styles in real
time. The mode will determine a user’s interactive capabilities with Ann. Through this format, I hope
to emphasize the role of gameplay in character attachment and demonstrate the superficial
enhancement graphics provide that attachment.
A sample screen from the Playground,
in Observation mode.
Users can cycle through the different
visual styles using the tabs on the right.
Signs within each level will highlight
features of the gameplay, or, in this
case, the lack thereof.
20. Conclusion
19
THIS PROJECT has been very exciting for me to work on, both from an artistic and game
design standpoint. I feel that I was able to combine elements of existing theories and research and
create something new. With further development, I think the gameplay spectrum has the potential
to influence how we talk about game design in the future.
FURTHER QUESTIONS
§ Could the gameplay spectrum help predict levels of attachment in the same way that
existing character attachment does?
§ Is there an expectation for certain types of gameplay when a player is presented with
particular visual styles?
§ Are there more categories that could be incorporated into the gameplay spectrum?
§ Can gameplay styles be geared toward eliciting certain emotions?
§ How can this be applied to focus game experiences around character interaction?
§ Can this research be applied to virtual reality video games?
These questions, and others, can certainly be asked as a response to my thesis and can hopefully
be answered by continuing the research started with this project. All of the elements presented in
this project - gameplay spectrum, Style Guide, and Playground - are presented from my limited
experience and have a lot of potential to be expanded upon.
VIDEO GAMES are an ever changing art form. Their emotional impact on us is complex and
requires continuous study. I hope to use the concepts developed as a result of this project to
enhance our understanding of this exciting medium.
21. Bibliography
20
WORKS REFERENCED
Banks, J., & Bowman, Close intimate playthings? Understanding player-avatar relationships as a
function of attachment, agency, and intimacy. Selected Papers of Internet Research, 3. 2013
Bowman, N. D., Rogers, R., Sherrick, B. I., Woolley, J., & Chung, M-Y. “In control or in their shoes”:
How character attachment differentially influences video game enjoyment and appreciation.
Paper presented at the Broadcast Education Association Research Symposium, Media and the
Social Life. Apr. 2013.
Frome, Jonathan. "Eight Ways Videogames Generate Emotion." Conference of the Digital Games
Research Association. Tokyo, Japan. Sep 27, 2007.
Lewis, M. L., Weber, R., & Bowman, “They may be pixels, but they’re MY Pixels: Developing a
metric of character attachment in role-playing video games”. CyberPsychology and Behavior,
11(4). 515-518. 2008.
McCloud, Scott. Understanding Comics:. New York: HarperPerennial, 1994. Print.
PIXEL - A Pixel Art Documentary. Dir. Simon Cottee. YouTube.com. N.p., 21 May 2010. Web. 11
Apr. 2014.
Preston, Alex. E-mail interview. 4 Nov. 2014.
22. 21
Solarski, Chris. Drawing Basics and Video Game Art: Classic to Cutting-Edge Art Techniques for
Winning Game Design. N.p.: Watson Guptill, 2012. Print.
Solarski, Chris. Online interview. 20 Nov. 2014.
Wong, Ken. E-mail interview. 13 Nov. 2014.
23. Interplaying Emotions: Gameplay, Graphics & Character Attachment
by Kaitlyn Harris
was realized for:
The Pennsylvania State University
Interdisciplinary Digital Studio (IDS)
School of Visual Arts (SoVA)
Fall 2014 AA 410 Professor: Carlos Rosas
Spring 2015 AA 411 Professor: Eduardo Navas