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Costume design and illustration
Spearheaded by Constantine Sekeris, author of \"MetamorFX,\" this book is an in-depth look at costume design and illustration. Showcasing an educational process breaking down the problematic areas of costume design for the film, video game and animation industries. From 10 top leading artists in the field, this title will have a wide range of aesthetic and design solutions. One will learn how to design and illustrate a costume from start to finish with educational tips and the process from sketches to finished Photoshop images to 3D ZBrush sculptures to fabrication.
Book
Works of Game
Games and art have intersected at least since the early twentieth century, as can be seen in the Surrealists' use of Exquisite Corpse and other games, Duchamp's obsession with Chess, and Fluxus event scores and boxes -- to name just a few examples. Over the past fifteen years, the synthesis of art and games has clouded for both artists and gamemakers. Contemporary art has drawn on the tool set of videogames, but has not considered them a cultural form with its own conceptual, formal, and experiential affordances. For their part, game developers and players focus on the innate properties of games and the experiences they provide, giving little attention to what it means to create and evaluate fine art. InWorks of Game, John Sharp bridges this gap, offering a formal aesthetics of games that encompasses the commonalities and the differences between games and art.Sharp describes three communities of practice and offers case studies for each. \"Game Art,\" which includes such artists as Julian Oliver, Cory Arcangel, and JODI (Joan Heemskerk and Dirk Paesmans) treats videogames as a form of popular culture from which can be borrowed subject matter, tools, and processes. \"Artgames,\" created by gamemakers including Jason Rohrer, Brenda Romero, and Jonathan Blow, explore territory usually occupied by poetry, painting, literature, or film. Finally, \"Artists' Games\" -- with artists including Blast Theory, Mary Flanagan, and the collaboration of Nathalie Pozzi and Eric Zimmerman -- represents a more synthetic conception of games as an artistic medium. The work of these gamemakers, Sharp suggests, shows that it is possible to create game-based artworks that satisfy the aesthetic and critical values of both the contemporary art and game communities.
eBook
Arcade game typography : the art of pixel type
\"Arcade Game Typography' presents readers with a fascinating new world of typography - the pixel typeface. Video game designers of the 70s, 80s and 90s faced colour and resolution limitations that stimulated incredible creativity: with letters having to exist in an 8x8 square grid, artists found ways to create expressive and elegant character sets within a tiny canvas. Featuring pixel typefaces carefully selected from the first decades of arcade video games, 'Arcade Game Typography' presents a previously undocumented \"outsider typography\" movement, accompanied by insightful commentary from author Toshi Omagari, a Monotype typeface designer himself, and screenshots of the type in use. Exhaustively researched, this book gathers an eclectic typography from hit games such as Super Sprint, Pac-Man, After Burner, Marble Madness, Shinobi, as well as countless lesser-known gems. The book presents its typefaces on a dynamic and decorative grid, taking reference from high-end type specimens while adding a suitably playful twist. Unlike print typefaces, pixel type often has bold colour `baked in' to the characters, so Arcade Game Typography looks unlike any other typography book, fizzing with life and colour.\" -- Publisher's description
Book
Game Design as an Autonomous Research Subject
This paper examines the methods and systems of game design from the standpoint of existing method proposals failing to establish a common basis for systematizing design knowledge, which this paper aims to help resolve. Game design has often been subsumed by game development and associated disciplines, and game design methodology has often been subsumed by game analysis. This paper reviews related work in defining game design as an autonomous research subject and then divides the methods and systems of game design into complementary methods and core methods, with only the latter, consisting chiefly of design patterns, attempting to systematize how game design knowledge is generated. Seminal game patterns have been descriptive rather than -prescriptive and so have failed to find the requisite practitioner adoption to fulfill their role as a living method. One recent pattern approach has sought to resolve this issue by promoting pattern usage generally over the adoption of a particular language. This paper outlines an alternate and possibly complementary approach of a novel, practical basis for game design literacy for helping core methods work as a basis for systematizing game design knowledge. The proposed basis sacrifices descriptiveness to prescriptiveness to shape methods in that direction.
Journal Article
The heart of dead cells
\"The Heart of is a new collection, half artbook, half making-of. The first issue deals with the independant game Dead Cells. The game has been a huge success on PC the last years and it's now available on consoles (PS4, Xbox One, Switch). A serious contender for the Game of the Year 2018 award.\"--Amazon.com
Book
Game design elements of serious games in the education of medical and healthcare professions: a mixed-methods systematic review of underlying theories and teaching effectiveness
Serious games, as a learning resource, enhance their game character by embedding game design elements that are typically used in entertainment games. Serious games in its entirety have already proven their teaching effectiveness in different educational contexts including medical education. The embedded game design elements play an essential role for a game’s effectiveness and thus they should be selected based on evidence-based theories. For game design elements embedded in serious games used for the education of medical and healthcare professions, an overview of theories for the selection lacks. Additionally, it is still unclear whether and how single game design elements affect the learning effectiveness. Therefore, the main aim of this systematic review is threefold. Firstly, light will be shed on the single game design elements used in serious games in this area. Second, the game design elements’ underlying theories will be worked out, and third, the game design elements’ effectiveness on student learning outcome will be assessed. Two literature searches were conducted in November 2021 and May 2022 in six literature databases with keywords covering the fields of educational game design, serious game, and medical education. Out of 1006 initial records, 91 were included after applying predefined exclusion criteria. Data analysis revealed that the three most common game design elements were points, storyline, and feedback. Only four underlying theories were mentioned, and no study evaluated specific game design elements. Since game design elements should be based on theories to ensure meaningful evaluations, the conceptual GATE framework is introduced, which facilitates the selection of evidence-based game design elements for serious games.
Journal Article
Redefining the MDA Framework—The Pursuit of a Game Design Ontology
In computer science, an ontology is a way of showing the properties of a subject area and how they are related by defining a set of concepts and categories that represent the subject. There have been many attempts to create a widely accepted ontology for the universe of games. Most of these attempts are defined based on an analytical perspective: few have found frequent use outside universities, as they are not easily translated to the development of games, which is a design perspective. There are some core aspects of the domain that turn this task into a difficult goal to achieve. In addition, game designers tend to refuse a methodology or a structured way of developing a game; the main concern is that it can impair creativity in a field that could not survive without it. A defined ontology would improve and mature the growing industry of digital games, both by enhancing the understanding of the domain and by supporting a structured methodology for designing games. This paper describes the properties of digital games and shows how they make it difficult to create an ontology for that field of study, especially when it comes to a design perspective. It clarifies the closest approach to a unified ontology that there is for the game domain: the mechanics, dynamics and aesthetics framework (MDA). We propose the redefinition of MDA’s taxonomy, calling it Redefining the MDA (RMDA), providing better use for the approach from a designer’s perspective, embracing the design properties of the domain, and overcoming issues found in the literature of the game domain. The main purpose of this paper is to clarify the MDA framework by redefining its main components, mechanics, dynamics and aesthetics, as a way to make the tool more understandable and useful for game designers. Understanding aesthetics and how developers can invoke them by correctly defining mechanics and creating dynamics is the main focus of the paper. Thus, some examples are provided in order to explain the applicability of the RMDA as a methodology to produce games.
Journal Article
Once upon a pixel : storytelling and worldbuilding in video games
\"Once Upon a Pixel examines the increasing sophistication of storytelling, worldbuilding and narrative techniques in video games. Drawing on recent examples such as Red Dead Redemption 2, The Last of Us 1 and 2, Firewatch, The Witness, long-running series such as Bioshock and others, and new developments in VR gaming, this book is the first to explore the potential of storytelling in games from the perspective of authors and teachers of creative writing. This collection arises from the lack of resources for players and creative writers about how games are written, not in terms of code or design, but in terms of story arcs, worldbuilding and the unique narrative techniques of newer games\"-- Provided by publisher.
Book
Making Virtual Worlds
The past decade has seen phenomenal growth in the development and use of virtual worlds. In one of the most notable, Second Life, millions of people have created online avatars in order to play games, take classes, socialize, and conduct business transactions. Second Life offers a gathering point and the tools for people to create a new world online.
Too often neglected in popular and scholarly accounts of such groundbreaking new environments is the simple truth that, of necessity, such virtual worlds emerge from physical workplaces marked by negotiation, creation, and constant change. Thomas Malaby spent a year at Linden Lab, the real-world home of Second Life, observing those who develop and profit from the sprawling, self-generating system they have created.
Some of the challenges created by Second Life for its developers were of a very traditional nature, such as how to cope with a business that is growing more quickly than existing staff can handle. Others are seemingly new: How, for instance, does one regulate something that is supposed to run on its own? Is it possible simply to create a space for people to use and then not govern its use? Can one apply these same free-range/free-market principles to the office environment in which the game is produced? \"Lindens\"-as the Linden Lab employees call themselves-found that their efforts to prompt user behavior of one sort or another were fraught with complexities, as a number of ongoing processes collided with their own interventions.
InMaking Virtual Worlds, Malaby thoughtfully describes the world of Linden Lab and the challenges faced while he was conducting his in-depth ethnographic research there. He shows how the workers of a very young but quickly growing company were themselves caught up in ideas about technology, games, and organizations, and struggled to manage not only their virtual world but also themselves in a nonhierarchical fashion. In exploring the practices the Lindens employed, he questions what was at stake in their virtual world, what a game really is (and how people participate), and the role of the unexpected in a product like Second Life and an organization like Linden Lab.
eBook