Ultimate Game Design : Building game worlds

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Game artist as career choice, 269–270 Game audio exploring, 306 pushing further, 76 Game design, introducing children to, 301 Game designers as career choices, 271 role definition for, 240–243 specific role of, 266 Game details, 324–325 Game developers, joining, 276 Game development career choices, 265–284 art, 268–270 audio, 273 case study comments on testing doorways, 282–283 design, 270–271 game development studio breakdown, 276–282 game programming, 266–268 interview with you, 283–284 opening independent game studios, 274–276 production, 271–273 QA (quality assurance), 274 Game development frontlines, anecdotes from, 250–253 Game development, getting started in, 237–264 advergames, 246–248 anecdotes from game development frontlines, 250–253 case study comments for designers, 253–259 diversification, 239–243 growth areas and new opportunities, 244–246 interview with Bill Roper, 259–264 web game entertainment with physical counterparts, 248–250 Game development studio breakdown, 276–282 breakdown conclusions, 282 creative departments, 279–281 executive departments, 277 marketing departments, 282 product development departments, 279 programming departments, 281 technical departments, 281 Game dynamics libraries, 300 Game entertainment with physical counterparts, web, 248–250 Game industry market research and reports, 290 Game interfaces defined, 118 UBO, 322–326 I N D E X 339 Game levels architecture for, 5–6 defined, 6 Game mechanics, puzzle, 116 Game picture, keeping in view, 42–43 Game programming, 266–268 as career choice, 267–268 exploring, 305 game programming as career choice, 267–268 Game prototyping, 37–38 Game setup screen, early, 324 Game studios, opening independent, 274–276 industry economics, 276 joining game developers, 276 Game vision, level goals enhancing, 45 Gameplay purpose, 8 Games; See also Advergames; RPGs (role-playing games) adapting architecture and terrain to, 39–40 case study comments on scripting baseball, 154–159 design backbone for simulation- oriented, 124 developing puzzle, 116 fighting, 112–114 first- or third-person action, 121–123 puzzle, 114–116 RTS (real-time strategy), 116–120 sports, 109–112 that work well, 223–225 Gaming, cell phones and wireless, 215–235 design issues for cell phones, 222–230 impending boom, 217–222 interview with Dave Warhol, 232–234 Gaming markets, building cell phone, 228–229 Gaming, multiplay cell phone, 226 Genre, design by, 107–134 case study comments on design flux, 129–130 creating cinematics, 125 creating dialog, 126–128 developing backstory, 125–126 fighting games, 112–114 first- or third-person action games, 121–123 interview with Aaron Odland, 130–134 puzzle games, 114–116 RPGs (role-playing games), 120–121 RTS (real-time strategy) games, 116–120 simulations, 123–124 sports games, 109–112 summary of designer’s work tools, 128 Geometry and mesh, 31
Building Game Worlds 340 Geometry and modularity, prefabricated, 27–28 Global competition, 219–220 Graphical user interfaces (GUIs), 137 Grid sizing considerations, scale and, 28–30 Growth areas and new opportunities, 244–246 challenges for PC toys, 245–246 Microsoft, Mattel, Intel, and LeapFrog, 244–245 Guidelines, COPPA, 289 GUIs (graphical user interfaces), 137 H Hazards, 41–42 enemy, 90 Heights, jump, 41–42 Hero actors, 87–88 Holdun, Andrew, 18–22 Hunt, Nathan, 100–105 I U L T I M A T E G A M E D E S I G N Independent game studios, opening, 274–276 Industry economics, 276 magazine, 287–288 Industry-related sites, 288 Information, reference, 285–293 agents and recruiters, 289 breaking in!, 288 COPPA guidelines, 289 design document reference, 289 education, 286–287 events, 287 industry magazine, 287–288 industry-related sites, 288 job sites, 289 organizations, 288 outsourced testing services, 290 recommended reading, 291 recommended sites, 290–291 recommended topics for further research and reference, 292–293 self-publishing, 290 TV programming, 289 Installation, server, 191 Intel, 244–245 Intellectual property rights holders (IPRHs), 206 Interfaces detailing, 95–96 game, 118 UBO game, 322–326 Interior to Exterior transitions, 12 Internet service providers (ISPs), 194 Interviews with Andrew Forslund, 159–163 Andrew Holdun, 18–22 Nathan Hunt, 100–105 John Kreng, 46–51 Aaron Odland, 130–134 Bill Roper, 259–264 Rick Sanchez, 80–84 Dave Warhol, 232–234 Michael Weiner, 209–212 Melinda White, 181–185 you, 283–284 IPRHs (intellectual property rights holders), 206 ISPs (Internet service providers), 194 Items/power-ups and placement, types of, 94–95 J JavaScript sample, 139 Job sites, 289 Jump heights, 41–42 K Kreng, John, 46–51 L Languages, scripting, 300 Latency, 194, 197–198 Layout and staging, 318 Layout details, start checking, 37 LeapFrog, 244–245 Level; See also Post level stubbing considerations Level blocking, paper-based, 13–17 Level building, mapping or, 319 Level, checking character flow throughout, 40–41 Level editing, 297–298
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A BOUT THE AUTHOR Tom Meigs is a ga
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Brandon A. Nordin Scott Rogers Wend
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Building Game Worlds x U L T I M A
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2 THE game design process begins by
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24 AFTER you’ve completed your pr
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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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