Ultimate Game Design : Building game worlds

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MANY Acknowledgments people helped me in a variety of ways to complete this book. First, I have to thank David Fugate, Wendy Rinaldi, Dr. Jon Orwant, Athena Honore, Monika Faltiss, Bill McManus, and everyone at McGraw-Hill/Osborne for supporting me at every step along the way. Next, I’d like to extend special thanks to each of the chapter interview participants. These individuals represent a wide array of gaming expertise and influence, and their contributions amidst very busy schedules should be applauded. Thanks go to Andrew Holdun, John Kreng, Rick Sanchez, Nathan Hunt, Aaron Odland, Andrew Forslund, Melinda White, Mike Weiner, Dave Warhol, and Bill Roper for taking the time to offer unique and valuable insight from their own vast experience. I couldn’t have asked for more generous spirits, or more informed interview subjects. Special thanks go to Andrew Forslund for his large and timely contributions to the scripting sections, and to Andy Wang/Netamin for permission to use many images from Ultimate Baseball Online. On a personal note, I’d like to thank Art, June, and Jeanette Meigs; Larry, Sandy, and Scott Kessenick; Kevin Wright, Gene Hoglan/SYL, the Tommy Lasorda Baseball team, the Metroid team, Professors Richard Holmes and Simon Schama, Gordon Sumner, Disney, Eitetsu Hayashi, MLB great Darrell Evans, Tomahawk, The Melvins, Michael and Julie Allen, Dave Moses, Adrian Belew, Roscoe’s, Mykonos, Harbour House, everyone at Waterside Productions, The Gnomon School of Visual Effects, Alex Alvarez, Tao Tong, The Long Beach Ice Dogs organization, Patrik Augusta, Master Kreng, Dr.s: Paul Tang, Charles Hughes, George Spangler, Shane Andre, Doug Deaver, and Bill Hyde; Harold Budd, Trey Gunn, Marjorie Stettbacher, Brendan Perry/Quivvy, Jim Wright, Andy Summers, Elvis, and Baloo. xvii
Building Game Worlds xviii U L T I M A T E G A M E D E S I G N For their support, inspiration, and the shared learning of various kinds, I’d also like to thank the entire Black Pearl Software/THQ development team, the Electric Dreams development team, the Realtime Associates family, the Disney games group, the UBO/Netamin development team, everyone at Blizzard Entertainment, the Orange County, CA International Game Developers Association, UC Irvine extension, and Art Institute-LA.
Page 3 and 4: A BOUT THE AUTHOR Tom Meigs is a ga
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Page 23 and 24: 2 THE game design process begins by
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Page 45 and 46: 24 AFTER you’ve completed your pr
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Building Game Worlds 48 U L T I M A
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54 FOR a game to be competitive the
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86 YOU now understand the developme
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Building Game Worlds 100 U L T I M
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108 UP to this point, we’ve cover
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130 Building Game Worlds 130 U L T
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136 SCRIPTING in games gives develo
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166 ONCE your game environment has
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Building Game Worlds 174 174 U L T
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188 A whole new avenue for games ha
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216 ANOTHER new content horizon for
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238 THERE is a wide and growing ran
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266 AT some point in your skills gr
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274 Building Game Worlds U L T I M
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Building Game Worlds 278 FIGURE 11-
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286 THIS appendix includes useful r
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296 MANY types of software tools we
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304 TO assist you to further define
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310 I’VE gathered together a few
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322 AS a point of reference and as
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Building Game Worlds 336 Baseball s
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Building Game Worlds 346 crowd, 146
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