The Stuff Games Are Made Of

"Experimental game designer Pippin Barr explores the "stuff" videogames are made of by offering a conceptual discussion of the fundamentals of game design grounded in eight case studies of his own games"--

A deep dive into practical game design through playful philosophy and philosophical play. What are video games made of? And what can that tell us about what they mean? In The Stuff Games Are Made Of, experimental game maker Pippin Barr explores the materials of video game design. Taking the reader on a deep dive into eight case studies of his own games, Barr illuminates the complex nature of video games and video game design, and the possibilities both offer for exploring ideas big and small. Through a variety of engaging and approachable examples, Barr shows how every single aspect of a game—whether it is code, graphics, interface, or even time itself—can be designed with and related to the player experience. Barr’s experimental approach, with its emphasis on highly specific elements of games, will leave readers armed with intriguing design philosophy, conceptual rigor, and diverse insights into the inner life of video games. Upon finishing this book, readers will be ready to think deeply about the nature of games, to dive into expressive and experimental game design themselves, or simply to play with a new and expanded mindset.

Game culture and material culture have always been closely linked. Analog forms of rule-based play (ludus) would hardly be conceivable without dice, cards, and game boards. In the act of free play (paidia), children as well as adults transform simple objects into multifaceted toys in an almost magical way. Even digital play is suffused with material culture: Games are not only mediated by technical interfaces, which we access via hardware and tangible peripherals. They are also subject to material hybridization, paratextual framing, and processes of de-, and re-materialization.

How games are built on the foundations of rules, and how rules—of which there are only five kinds—really work. Board games to sports, digital games to party games, gambling to role-playing games. They all share one thing in common: rules. Indeed, rules are the one and only thing game scholars agree is central to games. But what, in fact, are rules? In The Rule Book, Jaakko Stenros and Markus Montola explore how different kinds of rules work as building blocks of games. Rules are constraints placed on us while we play, carving a limited possibility space for us. They also inject meaning into our play: without rules there is no queen in chess, no ball in Pong, and no hole in one in golf. Stenros and Montola discuss how rules constitute games through five foundational types: the explicit statements listed in the official rules, the private limitations and goals players place on themselves, the social and cultural norms that guide gameplay, the external regulation the surrounding society places on playing, and the material embodiments of rules. Depending on the game, rules can be formal, internal, social, external, or material. By considering the similarities and differences of wildly different games and rules within a shared theoretical framework, The Rule Book renders all games more legible.

Since 1980, in-the-know computer gamers have been enthralled by the unpredictable, random, and incredibly deep gameplay of Rogue and those games inspired by it, known to fans as "roguelikes." For decades, this venerable genre was off the radar of most players and developers for a variety of reasons: deceptively simple graphics (often just text characters), high difficulty, and their demand that a player brings more of themselves to the game than your typical AAA title asks. This book covers many of the most prominent titles and explains in great detail what makes them interesting, the ways to get started playing them, the history of the genre, and more. It includes interviews, playthroughs, and hundreds of screenshots. It is a labor of love: if even a fraction of the author’s enthusiasm for these games gets through these pages to you, then you will enjoy it a great deal. Key Features: Playing tips and strategy for newcomers to the genre Core roguelikes Rogue, Angband, NetHack, Dungeon Crawl Stone Soup, ADOM, and Brogue The "lost roguelikes" Super Rogue and XRogue, and the early RPG dnd for PLATO systems The Japanese console roguelikes Taloon’s Mystery Dungeon and Shiren the Wanderer Lesser-known but extremely interesting games like Larn, DoomRL, HyperRogue, Incursion, and Dungeon Hack "Rogue-ish" games that blur the edges of the genre, including Spelunky, HyperRogue, ToeJam & Earl, Defense of the Oasis, Out There, and Zelda Randomizer Interviews with such developers as Keith Burgun (100 Rogues and Auro), Rodain Joubert (Desktop Dungeons), Josh Ge (Cogmind), Dr. Thomas Biskup (ADOM), and Robin Bandy (devnull public NetHack tournament) An interview regarding Strange Adventures in Infinite Space Design issues of interest to developers and enthusiasts Author Bio: John Harris has bumped around the Internet for more than 20 years. In addition to writing the columns @Play and Pixel Journeys for GameSetWatch and developer interviews for Gamasutra, he has spoken at Roguelike Celebration. John Harris has a MA in English Literature from Georgia Southern University.

In this brilliant examination of the characteristics that make us uniquely American, Hammond and Morrison identify seven cultural forces that define us and determine the way we as Americans respond to everything from new ideas to products and services to public policy. Using quintessentially American metaphors such as baseball, Westerns, and jazz, the authors demonstrate how these seven forces shape attitudes and preferences and how they will distinguish us in the global marketplace. 20 photos.

"Game Feel" exposes "feel" as a hidden language in game design that no one has fully articulated yet. The language could be compared to the building blocks of music (time signatures, chord progressions, verse) - no matter the instruments, style or time period - these building blocks come into play. Feel and sensation are similar building blocks whe

As experienced teachers of novice game designers, the authors have discovered patterns in the way that students grasp game design - the mistakes they make as well as the methods to help them to create better games. Each exercise requires no background in programming or artwork, releasing beginning designers from the intricacies of electronic game production and allowing them to learn what works and what doesn't work in a game system. Additionally, these exercises teach important skills in system design: the processes of prototyping, playtesting, and redesigning.