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

By Anna Anthropy, Naomi Clark

Video games have frequently taken a primary function in pop culture; in truth, organisations are even trying to 'gamify' conventional company tactics. in spite of the fact that, our language for knowing, discussing, and designing video games has remained primitive - and this has made it tougher to create nice video games or intelligently overview them. this article fills this hole, delivering a whole shared framework for figuring out and comparing online game layout - as creators, as gamers, as scholars, as online game decision-makers.


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Extra resources for A Game Design Vocabulary: Exploring the Foundational Principles Behind Good Game Design

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Games that successfully use both the keyboard and the mouse usually assume that the player has only one hand on a limited set of keyboard keys and the other hand on the mouse, to avoid this kind of fumbling and switching of the hand positions. I recently discovered an iPad game called Mini Mix Mayhem (2012), the premise of which is that the player or players have to manage up to four games, with different rules and goals, that are sharing the screen at the same time. There are around 20 games in all that can show up in the four you have to juggle at once, each controlled in a different way that suits the game’s visual metaphor.

Sometimes the player will want to set off a chain reaction; other times the player will want to be careful to dig out wild radium without setting it off. The crystals the player is trying to collect will crack and shatter after being hit by explosions. The first explosion causes the crystal to crack. This usually happens while using a bomb to unearth the crystal and is a warning not to do it again. The second explosion shatters the crystal. Your explosions have consequences. All these things reinforce the player’s primary verb: her ability to cause explosions and to dig through the ground with those explosions.

Plus, their capacity for using visual art, animation, and sound, while not completely unique to digital games, is a facet of design that warrants more discussion. What isn’t this book? It’s not a guide to any single tool or technology. This book won’t help you learn how to edit Unreal maps. There are resources for that and for any other game-making tool or editor you’re called upon to use. To write this book with any one technology in mind would be to write a more limited book. This book is about design.

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