Character Driven Game Design

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178 Character-Driven Game Design between gameplay the character design. It thus provides an alternative to existing methods and opens up for novel game designs. The concepts used, primarily alliance and alignment, provide a slightly finer level of detail when considering designs and the gameplay design patterns even more so. Together, these provide designers with tools are several different levels of granularity that can be used individually or together to support working on new games. Acknowledgements Lies and Seduction concept art courtesy of Niklas Gustafsson. References 1. Aarseth, E. 2004. Genre Trouble: Narrativism and the Art of Simulation. In: Noah Wardrip-Fruin, N. Harrigan, P (eds.) First Person: New Media as Story, Performance, and Game. The MIT Press, Cambridge, 45–55. 2. Bateman, C. (ed.) 2007. Game Writing Narrative Skills for Videogames. Charles River Media, Boston. 3. Berman, R. A. 1997. Fade In: The Screenwriting Process. 2nd edn. Michael Wiese Productions, Studio City. 4. Bethesda Softworks LLC 2006. The Elder Scrolls IV: Oblivion. 5. Björk, S., and Holopainen, J. 2005. Patterns in Game Design. Charles River Media, Hingham. 6. Black Isle Studios 1998. Fallout 2. 7. CD Projekt RED STUDIO 2007. The Witcher. 8. Dansky, R. 2007. Cut scenes and scripted events. In Bateman, C. (ed.) Game Writing Narrative Skills for Videogames. Charles River Media, Boston, 127–147. 9. Egri, L. 1960. The Art of Dramatic Writing. Simon & Schuster, New York. 10. Ermi, L., and Mäyrä, F. 2005. Fundamental Components of the Gameplay Experience: Analysing immersion. In Castell, S., Jenson, J. (eds.): Changing Views: Worlds in Play - Selected Papers of the 2005 Digital Games Research Association’s Second International Conference. Simon Frasier University, Vancouver, 15–27. 11. Gard, T. 2000. Building Character. Gamasutra. URL=http://www. gamasutra.com/features/20000720/gard_01.htm. 12. Ion Storm 2005. Thief Deadly Shadows. 13. Ion Storm 2002. Deus Ex. 14. Isbister, K. 2006. Better Game Characters by Design. Morgan Kaufmann Publishers, Amsterdam. 15. Jackson, S., Punch, S., Pulver, D. 2008. GURPS Basic Set: Characters.
Article 6 179 4th ed. Steve Jackson Games, Austin. 16. Klevjer, R. 2002. In Defense of Cutscenes. In Mäyrä, F (ed.) CGDC Conference Proceedings. Tampere University Press, Tampere, 191– 202. 17. Krawczyk, M., and Novak, J. 2006. Game Story & Character Development. Thompson Delmar Learning, Clifton Park. 18. Lankoski, P.: Empathic Engagement with a Player Character in Computer Games. Submitted to review. 19. Lankoski, P. 2007. Goals, Affects, and Empathy in Games. In Philosophy of Computer Games Conference (Reggio Emilia, Italy Jan. 25–27, 2007). 20. Lankoski, P., and Björk, S. 2007. Gameplay Design Patterns for Believable Non-Player Characters. In Proceedings of Situated Play Conference (Tokyo, Japan, Sep. 24–28). Digra Japan, Tokyo, 416– 423 (2007) 21. Lankoski, P., and Björk, S. 2007. Gameplay Design Patterns for Social Networks and Conflicts. In Proceedings of GDTW2007 (Liverpool, UK, Nov. 14–15, 2007). John Moores University, Liverpool, 76–85. 22. Lankoski, P., Ekman, I., and Heliö, S. 2007. ”A Metod for Designing Multifaceted Player Character in Computer Games”, 装饰 (Art & Design), 72–75. 23. Latour, B. 2005. Reassembling the Social an Introduction to Actor- Network-Theory. Oxford University Press, Oxford. 24. Lionhead Studios 2004. Fable. 25. Lundgren, S., & Björk, S. 2005. Forces, Clashes and Remnants: A Model for Event-Driven Iterative Multidisciplinary Game Design. In Proceedings of Advances in Computer Entertainment Technology (Valencia, Spain, Jun 15–17, 2005), ACM Press, New York, 326– 329. DOI=http://doi.acm.org/10.1145/1178477.1178538. 26. Mallon, B. 2007. “Towards a Taxonomy of Perceived Agency in Narrative Game-Play”, Computers in Entertainment, 5:1,1–15. DOI= http://doi.acm.org/10.1145/1324198.1324202. 27. Meretzky, S. 2001. Building Character: An Analysis of Character Creation. Gamasutra. URL=http://www.gamasutra.com/resource_ guide/20011119/meretzky_01.htm. 28. Monroe, B., and Petersen, S. 2004. Quick Start Cthulhu. Chaosium Inc., Hayward. URL=http://www.chaosium.com/forms/coc_quick_ start_bw.pdf. 29. ORIGIN Systems, I. 1990. Ultima VI: The False Prophet. 30. Quantic Dream 2003. Fahrenheit. 31. Radical Entertainment Inc. 2003. Hulk. 32. Reber, R., Schwarz, N., Winkielman, P. 2004. “Processing Fluency
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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
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Article 2 101 player would fear the
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Article 2 103 available and what po
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Article 2 105 Many games also use c
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Article 2 107 petty criminal, Tommy
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Article 2 109 site for empathetic e
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Article 2 111 Grodal, T. (1999). Mo
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Article 2 113 emotion. Personality
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Article 2 115
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Article 3 117 Gameplay Design Patte
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Article 3 119 are constructed predo
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Article 3 121 ter, especially in ga
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Article 3 123 General overview Clau
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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 131 and 132: Article 3 131
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 and 152: Article 4 151 than character relati
Page 153 and 154: Article 4 153 Conference, 2007. 30.
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: Article 6 177 rectly available to a
Page 183 and 184: Petri Lankoski MA, Lecturer, Game D
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