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

By Anna Anthropy, Naomi Clark

Video games have usually taken a valuable position in pop culture; in reality, enterprises are even trying to 'gamify' conventional company tactics. even though, our language for realizing, discussing, and designing video games has remained primitive - and this has made it more challenging to create nice video games or intelligently assessment them. this article fills this hole, providing a whole shared framework for realizing and comparing video game layout - as creators, as gamers, as scholars, as online game decision-makers.

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

Sample text

Unwinding a nut from a screw involves physically flicking the nut to the left; you think of actually using your finger to spin a nut loose. Solving a which-cup-is-it-under puzzle requires just tapping the right cup; you think of pointing at the cup for the barker, who then reveals what’s under it. Collecting drops of rain in a cup involves holding your finger on the cup and dragging it left and right; you think of holding a cup and moving it around. Many of us will never design for a touchscreen, but regardless of what physical actions we’re giving the player to perform the verbs in our games, we can design actions that call to mind the properties of our verbs—that communicate and reinforce the rules of our game.

Janet has a gun, so she can fire laser bolts. This is a robot; laser bolts explode it into pieces. These are metaphors that serve to help the player grasp the rules, and we communicate them to her with images, sound, animation, and feedback. If we tell the player the Megablaster needs to cool down after discharging a mega-hot laser, we’re selling her a justification for the half-second reload time. If the player can see her Megablaster heat up white for a half-second before fading to normal, we’ve made a visual metaphor to reinforce the rule.

In Zork, a 1980 text adventure, for example, there’s a room that’s described as being “very noisy,” which contains a platinum bar. ” Anything the player types is echoed by the acoustics of the room. ” That will break the spell, allowing the player to collect the bar. In a graphical adventure game, some near-useless item the player collects early in the game and allows to pass from her consciousness can have an important role at a critical moment late in the game—a kind of Chekhov’s gun. These moments provide a kind of narrative closure and feel clever—when the player gets the joke.

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