The following is a list of new books recently received in the library at Hendon.Click on the title for further information on the book.
Tabletop game design for video game designers by Ethan HamLearn the mechanics that take your game from an idea to a playable product. Do you aspire to be a game designer but aren't sure where to begin? Tabletop Game Design for Video Game Designers guides you through your initial attempts to design game mechanics. It goes beyond simple description and definition to explore in detail the issues that designers grapple with for every game they create. Learning to design tabletop games builds a solid foundation for game designers and provides methods that can be applied towards creating paper prototypes of computer-targeted games. Presented in a step-by-step format, Tabletop Game Design for Video Game Designers helps the reader understand how the game design skills that are acquired through creating tabletop games can be used when designing video games. Fully playable games accompany every topic so you can truly understand and experience each component that goes into game creation. Tabletop Game Design for Video Game Designers includes: Simple, highly focused games that can be played, analyzed, improved, and/or modified in conjunction with a particular topic in the book. Integrated game design exercises, chapter learning objectives, and in-text sidebars to provide further examples to apply directly to your game creation process. A companion website (www.funmines.com) which includes: "print & play" tabletop games, links to online games, game design resources, and articles about designing and developing games.
Shelved at: : 794.81536 HAM
Video Game Design by Michael SalmondVideo Game Design is a visual introduction to integrating core design essentials, such as critical analysis, mechanics and aesthetics, prototyping, level design, into game design.Using a raft of examples from a diverse range of leading international creatives and award-winning studios, this is a must-have guide for budding game designers. Industry perspectives from game industry professionals provide fascinating insights into this creative field, and each chapter concludes with a workshop project to help you put what you've learnt into practice to plan and develop your own games.With over 200 images from some of the best-selling, most creative games of the last 30 years, this is an essential introduction to industry practice, helping readers develop practical skills for video game creation. This book is for those seeking a career making video games as part of a studio, small team or as an independent creator. It will guide you from understanding how games engage, entertain and communicate with their audience and take you on a journey as a designer towards creating your own video game experiences.Interviewees include:James Portnow, CEO at Rainmaker GamesBrandon Sheffield, Gamasutra.com/Game Developer magazineSteve Gaynor, co-founder The Fullbright Company (Gone Home)Kate Craig, Environment Artist. The Fullbright Company (Gone Home)Adam Saltsman, creator of Canabalt & Gravity HookJake Elliott & Tamas Kemenczy, Cardboard Computer (Kentucky Route Zero)Tyson Steele, User Interface Designer, Epic GamesTom Francis, Game Designer, Gunpoint & Floating PointKareem Ettouney, Art Director, Media Molecule. Little Big Planet 1 & 2, Tearaway.Kenneth Young, Head of Audio, Media MoleculeRex Crowle, Creative Lead, Media Molecule
Shelved at: : 794.81 SAL
How Games Move Us by Katherine IsbisterThis is a renaissance moment for video games -- in the variety of genres they represent, and the range of emotional territory they cover. But how do games create emotion? In How Games Move Us, Katherine Isbister takes the reader on a timely and novel exploration of the design techniques that evoke strong emotions for players. She counters arguments that games are creating a generation of isolated, emotionally numb, antisocial loners. Games, Isbister shows us, can actually play a powerful role in creating empathy and other strong, positive emotional experiences; they reveal these qualities over time, through the act of playing. She offers a nuanced, systematic examination of exactly how games can influence emotion and social connection, with examples -- drawn from popular, indie, and art games -- that unpack the gamer's experience. Isbister describes choice and flow, two qualities that distinguish games from other media, and explains how game developers build upon these qualities using avatars, non-player characters, and character customization, in both solo and social play. She shows how designers use physical movement to enhance players' emotional experience, and examines long-distance networked play. She illustrates the use of these design methods with examples that range from Sony's Little Big Planet to the much-praised indie game Journey to art games like Brenda Romero's Train. Isbister's analysis shows us a new way to think about games, helping us appreciate them as an innovative and powerful medium for doing what film, literature, and other creative media do: helping us to understand ourselves and what it means to be human.
Shelved at: : 794.814019 ISB
Game Design Workshop by Tracy Jeanne FullertonCreate the Digital Games You Love to Play Discover an exercise-driven, non-technical approach to game design without the need for programming or artistic expertise using Game Design Workshop.
Shelved at: : 794.8151 FUL
New books: Ebooks
The Art of Failure: an essay on the pain of playing video games by Jesper JuulAn exploration of why we play video games despite the fact that we are almost certain to feel unhappy when we fail at them. We may think of video games as being "fun," but in The Art of Failure, Jesper Juul claims that this is almost entirely mistaken. When we play video games, our facial expressions are rarely those of happiness or bliss. Instead, we frown, grimace, and shout in frustration as we lose, or die, or fail to advance to the next level. Humans may have a fundamental desire to succeed and feel competent, but game players choose to engage in an activity in which they are nearly certain to fail and feel incompetent. So why do we play video games even though they make us unhappy? Juul examines this paradox. In video games, as in tragic works of art, literature, theater, and cinema, it seems that we want to experience unpleasantness even if we also dislike it. Reader or audience reaction to tragedy is often explained as catharsis, as a purging of negative emotions. But, Juul points out, this doesn't seem to be the case for video game players. Games do not purge us of unpleasant emotions; they produce them in the first place. What, then, does failure in video game playing do? Juul argues that failure in a game is unique in that when you fail in a game, you (not a character) are in some way inadequate. Yet games also motivate us to play more, in order to escape that inadequacy, and the feeling of escaping failure (often by improving skills) is a central enjoyment of games. Games, writes Juul, are the art of failure: the singular art form that sets us up for failure and allows us to experience it and experiment with it. The Art of Failure is essential reading for anyone interested in video games, whether as entertainment, art, or education.
The Gamer's Brain: how neuroscience and UX can impact video game design by Celia HodentMaking a successful video game is hard. Even games that are successful at launch may fail to engage and retain players in the long term due to issues with the user experience (UX) that they are delivering. The game user experience accounts for the whole experience players have with a video game, from first hearing about it to navigating menus and progressing in the game. UX as a discipline offers guidelines to assist developers in creating the experience they want to deliver, shipping higher quality games (whether it is an indie game, AAA game, or "serious game"), and meeting their business goals while staying true to their design and artistic intent. In a nutshell, UX is about understanding the gamer's brain: understanding human capabilities and limitations to anticipate how a game will be perceived, the emotions it will elicit, how players will interact with it, and how engaging the experience will be. This book is designed to equip readers of all levels, from student to professional, with neuroscience knowledge and user experience guidelines and methodologies. These insights will help readers identify the ingredients for successful and engaging video games, empowering them to develop their own unique game recipe more efficiently, while providing a better experience for their audience.
Level Design: processes and experiences by Christopher W. TottenIn this book, veteran game developers, academics, journalists, and others provide their processes and experiences with level design. Each provides a unique perspective representing multiple steps of the process for interacting with and creating game levels ¿ experiencing levels, designing levels, constructing levels, and testing levels. These diverse perspectives offer readers a window into the thought processes that result in memorable open game worlds, chilling horror environments, computer-generated levels, evocative soundscapes, and many other types of gamespaces. This collection invites readers into the minds of professional designers as they work and provides evergreen topics on level design and game criticism to inspire both new and veteran designers. ¿ Key Features Learn about the processes of experienced developers and level designers in their own words Discover best-practices for creating levels for persuasive play and designing collaboratively Offers analysis methods for better understanding game worlds and how they function in response to gameplay Find your own preferred method of level design by learning the processes of multiple industry veterans
Uncertainty in Games by Greg CostikyanHow uncertainty in games--from Super Mario Bros. to Rock/Paper/Scissors--engages players and shapes play experiences. In life, uncertainty surrounds us. Things that we thought were good for us turn out to be bad for us (and vice versa); people we thought we knew well behave in mysterious ways; the stock market takes a nosedive. Thanks to an inexplicable optimism, most of the time we are fairly cheerful about it all. But we do devote much effort to managing and ameliorating uncertainty. Is it any wonder, then, asks Greg Costikyan, that we have taken this aspect of our lives and transformed it culturally, making a series of elaborate constructs that subject us to uncertainty but in a fictive and nonthreatening way? That is: we create games. In this concise and entertaining book, Costikyan, an award-winning game designer, argues that games require uncertainty to hold our interest, and that the struggle to master uncertainty is central to their appeal. Game designers, he suggests, can harness the idea of uncertainty to guide their work. Costikyan explores the many sources of uncertainty in many sorts of games--from Super Mario Bros. to Rock/Paper/Scissors, from Monopoly to CityVille, from FPS Deathmatch play to Chess. He describes types of uncertainty, including performative uncertainty, analytic complexity, and narrative anticipation. And he suggest ways that game designers who want to craft novel game experiences can use an understanding of game uncertainty in its many forms to improve their designs.