Character Driven Game Design

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90 Character-Driven Game Design ceedings, 2002, pp. 9–33. 6. Egri, L. The Art of Dramatic Writing, New York: Simon & Schuster, 1960. 7. Foster, E.M. Aspects of the Novel, London: Penguin Books, 2000. 8. Frasca, G. “Rethinking Agency and Immersion: playing with videogame characters,” in Siggraph 2001. Available: http://www.siggraph.org/artdesign/gallery/S01/essays/0378.pdf. 9. Hirsch, E. D. Jr., Validity in Interpretation, New Haven: Yale University Press, 1967. 10. Järvinen, A., Heliö, S. and Mäyrä, F. Communication and Community in Digital Entertainment Services: Prestudy Research Report, Tampere University Press, 2002. 11. Lankoski, P. and Heliö, S. “Approaches to Computer Game Design: Characters and Conflict,” in CGDC Confrence Proceedings, 2002, pp. 311–321. 12. Meretzky, S., Building Character: An Analysis of Character Creation. Gamasutra 2001. Available: http://www.gamasutra.com/ resource_guide/20011119/meretzky_01.htm. 13. Reeves, B. and Nass, C., The Media Equation: How People Treat Computers, Television, and New Media Like Real People and Places, Stanford: CSLI Publications, 1998. 14. S. Rimmon-Kenan, Narrative Fiction: Contemporary Poetics, London: Routledge, 2002. 15. Spector, W. Remodelling RPGs for New Millenium. Gamasutra. 1999. Available: http://www.gamasutra.com/features/19990115/ spector_01.htm.
Article 1 91
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Aalto University Publication Series
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Contents List of Publications 9 Ack
Page 9 and 10:
List of Publications This thesis co
Page 11 and 12:
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
Page 39 and 40: 4. Character Engagement and Game De
Page 41 and 42: Conclusions My study has two primar
Page 43 and 44: 5. Conclusions 43 Factor Perceivabl
Page 45 and 46: 5. Conclusions 45 PC that lead to s
Page 47 and 48: References AARSETH, E., 2004. Genre
Page 49 and 50: References 49 Behavioral Neuroscien
Page 51 and 52: References 51 New York: John Wiley
Page 53 and 54: References 53 NICHOLS, S., 2004. Im
Page 55 and 56: References 55 K., C-64 version. Mas
Page 57 and 58: Research Material Assassin’s Cree
Page 59 and 60: Appendix 1 59 Quick Start Cthulhu.
Page 61 and 62: Gameplay Design Patterns In this Ap
Page 63 and 64: Appendix 2 63 Detective Structure I
Page 65 and 66: Appendix 2 65 accepted and disallow
Page 67 and 68: Appendix 2 67 References —— art
Page 69 and 70: Appendix 2 69 sibility of Surprises
Page 71 and 72: Appendix 2 71 —— Modulates: Cha
Page 73 and 74: Appendix 2 73 (Egri, 1960) of a cha
Page 75 and 76: Lies and Seductions Credits CREATIV
Page 77 and 78: Article 1 77 Characters in Computer
Page 79 and 80: Article 1 79 It is important to not
Page 81 and 82: Article 1 81 attacks, which are all
Page 83 and 84: Article 1 83 almost anything in the
Page 85 and 86: Article 1 85 situation(s) —— Ch
Page 87 and 88: Article 1 87 its physiological, soc
Page 89: Article 1 89 Banner. Obviously, it
Page 93 and 94: Article 2 93 Player Character Engag
Page 95 and 96: Article 2 95 elaborately simulated
Page 97 and 98: Article 2 97 affects and performing
Page 99 and 100: 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 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
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Article 4 141 Reactions as they do
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Article 4 143 this can be seen as a
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Article 4 145 heathens as part of o
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Article 4 147 Faction member will h
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Article 4 149 Discussions In this s
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Article 4 151 than character relati
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Article 4 153 Conference, 2007. 30.
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Article 4 155 Name Information Pass
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Article 5 157 Lies and Seduction Pe
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Article 5 159 Figure 2. A gameplay
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Article 5 161
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Article 6 163 Character-Driven Game
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Article 6 165 and physique); ——
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Article 6 167 —— providing goal
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Article 6 169 Part of a character d
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Article 6 171 Character Defining Ac
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Article 6 173 given that the traits
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Article 6 175 and want to be in goo
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Article 6 177 rectly available to a
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Article 6 179 4th ed. Steve Jackson
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Article 6 181
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Petri Lankoski MA, Lecturer, Game D
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