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The Art of Computer Game Design
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CONCLUSION
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In this chapter I have discussed the computer as a technology for game design. Discussions of computers and their impact on society tend to become polarized between the "gee whiz school and the cynical school. The former group sees a rosy future of countless triumphs wrought by the computer -- "Every day in every way, better and better." The latter group sees computers as a dehumanizing threat, a waste of time, or yet another vehicle for the expression of human perfidy. In this chapter, I have tried to present computers as just another technology, like hammer and nails, clay and stone, paper and ink. Like any technology, they can do some things well. Like any, technology, they do some things poorly. The artist s role is to deviously evade their weaknesses while capitalizing their strengths to greatest advantage.
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The Art of Computer Game Design
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CHAPTER FIVE The Game Design Sequence
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ame design is primarily an artistic process, but it is also a technical process. The game designer pursues grand artistic goals even as she grinds through mountains of code. During the process of developing the game, she inhabits two very different worlds, the
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artistic world and the technical world. How does one manage the integration of such dissimilar worlds In short, how does one go about the process of designing a computer game In previous chapters I have touched on some of the questions related to this process; I have also laid down a few precepts. In this chapter I will suggest a procedure by which a computer game could be designed and programmed. The procedure I will describe is based on my own experiences with game design, and reflects many of the practices that I use in designing a game. However, I have never used this procedure in a step-by-step fashion, nor do I recommend that any person follow this procedure exactly. In the first place, game design is far too complex an activity to be reducible to a formal procedure. Furthermore, the game designer s personality should dictate the working habits she uses. Even more important, the whole concept of formal reliance on procedures is inimical to the creative imperative of game design. Finally, my experience in game design is primarily with personal computers, so my suggestions are not completely applicable to arcade game designers or home video game designers. I therefore present this procedure not as a normative formula but as a set of suggested habits that the prospective game designer might wish to assimilate into her existing work pattern. With these important qualifications in mind, let us proceed.
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CHOOSE A GOAL AND A TOPIC
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This vitally important step seems obvious, yet is ignored time and time again by game designers who set out with no clear intent. In my conversations with game designers, I have many times discerned an indifference to the need for clear design goals. Game designers will admit under close examination that they sought to produce a "fun" game, or an "exciting" game, but that is more often than not the extent of their thinking on goals. A game must have a clearly defined goal. This goal must be expressed in terms of the effect that it will have on the player. It is not enough to declare that a game will be enjoyable, fun, exciting, or good; the goal must establish the fantasies that the game will support and the types of emotions it will engender in its audience. Since many games are in some way educational, the goal should in such cases establish what the player will learn. It is entirely appropriate for the game designer to ask how the game will edify its audience. The importance of a goal does not become obvious until later in the game design cycle. The crucial problems in game development with microcomputers are always problems of trade-offs. Everything that the game designer wants to do with her game costs memory, and memory is always in short supply with microcomputers. Thus, the designer must make trade-offs.
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