Character Driven Game Design

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152 Character-Driven Game Design 7. Berman R. A. Fade in: The Screenwriting Process. Michael Wiese Productions, Studio City, 1997. 8. Bethesda Softworks LLC. The Elder Scrolls IV: Oblivion. (2006). 9. Björk S. & Holopainen, J. Patterns in Game Design. Charles River Media, Hingham, 2005. 10. Blizzard Entertainment Inc. World of Warcraft. (2004). 11. CCP Games. Eve Online. (2003). 12. Church D. Formal Abstract Design Tools. 2007, 9/17/2007 (www. gamasutra.com/features/ 19990716/design_tools_01.htm). 13. Costikyan, G. I Have No Words & I Must Design. Interactive Fantacy, #2 (1994). 14. Currie G. Image and Mind: Film, Philosophy, and Cognitive Science. Cambridge University Press, Cambridge, 1995. 15. Cypher, M. & Richardson I. An actor-network approach to games and virtual environments. (2006), 254–259. 16. Davidsson O., Peitz J. & Björk, S. Game Design Patterns for Mobile Games , 2004. Report to Nokia Research. 17. Egri, L. The Art of Dramatic Writing. Simon & Schuster, New York, 1960. 18. Aarseth, E., Marie S. S. & Lise, S. A multidimensional typology of games. In Level Up Conference Proceedings (Uthrecht, November, 2003). 19. Field, S. Four Screenplays. Dell Publishing, New York, 1994. 20. Firaxis Games. Civilization IV. Windows (2005). 21. Foner, L. N. Entertaining agents: a sociological case study. (1997), 122-129. 22. id Software Inc. Quake 4. (2005). 23. Ion Storm. Thief Deadly Shadows. Xbox (2005). 24. Isbister K. Better Game Characters by Design. Morgan Kaufmann Publishers, Amsterdam, 2006. 25. Krawczyk M. & Novak, J. Game Story & Character Development. Thompson Delmar Learning, 2006. 26. Kumar R., Novak J. and Tomkins A. Structure and evolution of online social networks. (2006), 611–617. 27. Lankoski P. Goals, Affects, and Empathy in Games. In Philosophy of Computer Games, 2007. 28. Lankoski P. Character Design Fundamentals for Role-Playing Games. In Montola M. and Stenros J. eds. Beyond Role and Play - tools, toys, and theory for harnessing the imagination. Ropecon ry, Helsinki, 2004, 139–148. 29. Lankoski P. and Björk S. Gameplay Design Patterns for Believable Non-Player Characters. In Situated Play: Proceedings of DiGRA 2007
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Aalto University Publication Series
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Contents List of Publications 9 Ack
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List of Publications This thesis co
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Introduction To explain my interest
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1. Introduction 13 Game designers h
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1. Introduction 15 tertainment. Whi
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1. Introduction 17 and involuntary
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1. Introduction 19 dition, the game
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Game Characters Characters are an i
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2. Game Characters 23 can fly, and
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2. Game Characters 25 Figure 2.1: H
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2. Game Characters 27 David Houghto
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Game and Gameplay Design First, I l
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3. Game and Gameplay Design 31 Figu
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3. Game and Gameplay Design 33 what
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Character Engagement and Game Desig
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4. Character Engagement and Game De
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4. Character Engagement and Game De
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Conclusions My study has two primar
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5. Conclusions 43 Factor Perceivabl
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5. Conclusions 45 PC that lead to s
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References AARSETH, E., 2004. Genre
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References 49 Behavioral Neuroscien
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References 51 New York: John Wiley
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References 53 NICHOLS, S., 2004. Im
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References 55 K., C-64 version. Mas
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Research Material Assassin’s Cree
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Appendix 1 59 Quick Start Cthulhu.
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Gameplay Design Patterns In this Ap
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Appendix 2 63 Detective Structure I
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Appendix 2 65 accepted and disallow
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Appendix 2 67 References —— art
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Appendix 2 69 sibility of Surprises
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Appendix 2 71 —— Modulates: Cha
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Appendix 2 73 (Egri, 1960) of a cha
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Lies and Seductions Credits CREATIV
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Article 1 77 Characters in Computer
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Article 1 79 It is important to not
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Article 1 81 attacks, which are all
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Article 1 83 almost anything in the
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Article 1 85 situation(s) —— Ch
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Article 1 87 its physiological, soc
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Article 1 89 Banner. Obviously, it
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Article 1 91
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Article 2 93 Player Character Engag
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Article 2 95 elaborately simulated
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Article 2 97 affects and performing
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Article 2 99 (Björk and Holopainen
Page 101 and 102: Article 2 101 player would fear the
Page 103 and 104: Article 2 103 available and what po
Page 105 and 106: Article 2 105 Many games also use c
Page 107 and 108: Article 2 107 petty criminal, Tommy
Page 109 and 110: Article 2 109 site for empathetic e
Page 111 and 112: Article 2 111 Grodal, T. (1999). Mo
Page 113 and 114: Article 2 113 emotion. Personality
Page 115 and 116: Article 2 115
Page 117 and 118: Article 3 117 Gameplay Design Patte
Page 119 and 120: Article 3 119 are constructed predo
Page 121 and 122: Article 3 121 ter, especially in ga
Page 123 and 124: Article 3 123 General overview Clau
Page 125 and 126: Article 3 125 similar goods. This i
Page 127 and 128: Article 3 127 Conversational Respon
Page 129 and 130: Article 3 129 is very strict one an
Page 133 and 134: Article 4 133 Gameplay Design Patte
Page 135 and 136: Article 4 135 described in this pap
Page 137 and 138: Article 4 137 the ANT, is seeing a
Page 139 and 140: Article 4 139 Egri’s Premise rela
Page 141 and 142: Article 4 141 Reactions as they do
Page 143 and 144: Article 4 143 this can be seen as a
Page 145 and 146: Article 4 145 heathens as part of o
Page 147 and 148: Article 4 147 Faction member will h
Page 149 and 150: Article 4 149 Discussions In this s
Page 151: Article 4 151 than character relati
Page 155 and 156: Article 4 155 Name Information Pass
Page 157 and 158: Article 5 157 Lies and Seduction Pe
Page 159 and 160: Article 5 159 Figure 2. A gameplay
Page 163 and 164: Article 6 163 Character-Driven Game
Page 165 and 166: Article 6 165 and physique); ——
Page 167 and 168: Article 6 167 —— providing goal
Page 169 and 170: Article 6 169 Part of a character d
Page 171 and 172: Article 6 171 Character Defining Ac
Page 173 and 174: Article 6 173 given that the traits
Page 175 and 176: Article 6 175 and want to be in goo
Page 177 and 178: Article 6 177 rectly available to a
Page 179 and 180: Article 6 179 4th ed. Steve Jackson
Page 183 and 184: Petri Lankoski MA, Lecturer, Game D
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