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Ultimate Game Design : Building game worlds

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Codes<br />

pathfinding, 119<br />

writing fast, 268<br />

Color, light, 59<br />

Competition, global, 219–220<br />

Complex strategy, players using, 119<br />

Composers, audio, 273<br />

Console/PC, programming language for, 300–301<br />

Console players, MMOG player differences from, 189<br />

Construction<br />

basic character, 326–329<br />

exploring <strong>game</strong> art, 305<br />

Construction for Web, 3-D, 299<br />

Contour lines<br />

building mesh from, 35<br />

creating, 34–35<br />

Control, RTS <strong>game</strong>s and player, 117<br />

Conversation templates, NPC, 140–141<br />

COPPA (Children’s Online Piracy Protection<br />

Act), 289<br />

guidelines, 289<br />

issues, 193<br />

Cornerstone elements, case study comments on,<br />

78–80<br />

moonlight forest example, 79–80<br />

Cost and support considerations for MMOG,<br />

191–193<br />

Costs, QA, 192–193<br />

Counter trigger, 148<br />

Creating<br />

cinematics, 125<br />

contour lines, 34–35<br />

dialog, 126–128<br />

perspective, 257–259<br />

Creation screen, player, 323<br />

Creative departments, 279–281<br />

Crossover factor, 238<br />

Crowd trigger, 146–147<br />

CTF (capture the flag), 11<br />

D<br />

Damageable props, 92<br />

Data, enemy hazards and blind, 90<br />

Database/backend construction and<br />

maintenances, 192<br />

Departments<br />

creative, 279–281<br />

I N D E X 337<br />

executive, 277<br />

marketing, 282<br />

product development, 279<br />

programming, 281<br />

technical, 281<br />

Dependency, 86<br />

<strong>Design</strong>, 270–271<br />

considerations for MMOGs, 187–213<br />

<strong>game</strong> designer as career choice, 271<br />

introducing children to <strong>game</strong>, 301<br />

issues for cell phones, 222–230<br />

tools shift, 76–77<br />

<strong>Design</strong>, basic environmental, 6–8<br />

entry and exit, 6–8<br />

<strong>Design</strong> by genre, 107–134<br />

case study comments on design flux, 129–130<br />

creating cinematics, 125<br />

creating dialog, 126–128<br />

developing backstory, 125–126<br />

fighting <strong>game</strong>s, 112–114<br />

first-or third-person action <strong>game</strong>s, 121–123<br />

interview with Aaron Odland, 130–134<br />

puzzle <strong>game</strong>s, 114–116<br />

RPGs (role-playing <strong>game</strong>s), 120–121<br />

RTS (real-time strategy) <strong>game</strong>s, 116–120<br />

simulations, 123–124<br />

sports <strong>game</strong>s, 109–112<br />

summary of designer’s work tools, 128<br />

<strong>Design</strong> document<br />

reference, 289<br />

writing, 316–317<br />

<strong>Design</strong> features, MMOG, 197–200<br />

<strong>Design</strong> flux, case study comments on, 129–130<br />

<strong>Design</strong> orientation, MMOGs and, 200–203<br />

<strong>Design</strong> tasks, impact of play-test feedback on<br />

daily, 178<br />

<strong>Design</strong>er’s work tools, summary of, 128<br />

<strong>Design</strong>ers<br />

case study comments for, 253–259<br />

<strong>game</strong>, 271<br />

role definition for <strong>game</strong>, 240–243<br />

specific role of <strong>game</strong>, 266<br />

<strong>Design</strong>ers, quick topic summary for, 309–320<br />

audio, 319<br />

design document writing, 316–317<br />

layout and staging, 318<br />

mapping or level building, 319<br />

quick modeling, 317–318<br />

reference material, 310–316<br />

scripting, 318

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