Salen K., Zimmerman S. Rules of Play - Game Design Fundamentals. Файл формата pdf; размером 8,62 МБ. Добавлен пользователем. Rules of Play: Game Design Fundamentals (The MIT Press) [Katie Salen Tekinbas, Eric Zimmerman] on soundofheaven.info *FREE* shipping on qualifying offers. View Test Prep - soundofheaven.info from IAT at Simon Fraser University. Rules of Play I Salen and Zimmerman Unit 1 I Core Concepts "' w games:E artificial.
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Table of Contents. Rules of Play - Game Design Fundamentals Foreword. .. How does play happen?. Katie Salen and Eric Zimmerman () Rules of Play: Game Design Fundamentals, Cambridge MA: MIT Press Visual Communication, , vol 4(1): Rules of Play | Salen and Zimmerman. Unit 1| Core Concepts. IIIIIIIIIIIIIIIIIIEREITETENEETIFETE ER meaning designed choice action outcome discernability.
Integration Summary Chapter 9: Uploaded By joebears They have successfully and rather courageously laid the parameters of games design as a discipline. The final chapters advocate the removal of boundaries between players and designers, leading to new forms of play and the development of games into works of art. Play therefore requires a double consciousness in which the player remains aware of the artificiality of the play situation.
Aimed at teachers and students on games design courses, Rules of Play is written with textbook clarity. It includes exercises to generate design ideas, comments on the difficulties particular to designing for interactivity and provides tools for identifying and resolving common problems.
The scope of its scholarship ensures that it will also be a reference work in the emerging field of game studies. Anyone currently considered relevant is discussed, including the play theorist Brian Sutton-Smith, anthropologists Johann Huizinga and Roger Caillois, and psychologist Mihaly Csikszentmihalyi. The authors aim to strengthen the relationship between games as a field of academic study and games production.
By taking the education of games designers beyond craft-based methods, they hope to promote experimentation in the games industry. In this respect, the book is a manifesto - for a different kind of game designer and new paradigms in game design: The final chapters advocate the removal of boundaries between players and designers, leading to new forms of play and the development of games into works of art.
How games designers are to put this into practice, however, is unclear. Although Rules of Play works brilliantly as an articulation of games design theory, its vision of where design should go next is a little unclear. This is largely because the authors want to keep design separate from development, with design fundamentals somehow transcending the concerns of those who make and sell games.
It also leads them to neglect the instances of production by players that already exist, as well as the contribution of games to a wider media culture.
However, this does not fatally undermine the more general point that games design could evolve in new directions if practitioners explore new paradigms of game play, particularly ones which blur the lines between producers and players, and gaming and real life.
At the heart of the book is the concept of meaningful play.
Rules alone do not constitute meaningful play; it emerges from the interaction between players and the system of the game: Game design involves examining how meaning is created and enriched through individual instances of play. Shaped by players and consequently open-ended, it is best conceived as an iterative process — designs evolve over time and often spawn numerous variations. Games are separate from normal life and playing involves consciously interpreting signs according to different rules.
This argument is useful in addressing concerns about the real world effects of violence in computer games.
It also challenges a common belief that the defining characteristic of computer games is the way they immerse players in an imaginary world, where the frame between the game and the real world ideally falls away. The authors suggest that it is this fallacy which has driven the computer games industry to define innovation in terms of ever greater graphical realism at the expense of more imaginative game play. No matter how accurately the detail of a gun or scenery has been rendered in a game, we never lose sight that it is just that — a game.
This book is about game design, not game development. It is not a "how to" book, offering tips and tricks for making successful digital games. It is not a book about digital game programming or choosing development tools; it is not about writing design documents or generating game ideas. And it is definitely not about development team dynamics or about funding, marketing, and distributing games. As a book on game design it is not a general introduction to games, a history of games, or a journalistic account of the people and circumstances that create games.
Bridging the theoretical and practical aspects of making games, we look closely at games as designed systems, discovering patterns within their complexity that bring the challenges of game design into full view.
As we explore game design as a design practice, we outline not only the concepts behind the creation of meaningful play a core idea of this book , but also concrete methods for putting these concepts to use in your games.
Written with the interests and needs of practicing designers, students, and educators in mind, our approach comes from our own experience of designing games, playing games, and teaching game design. Table of Contents: Foreword Preface Chapter 1: What Is This Book About?
Core Concepts Chapter List How does play happen? Chapter 3: David Parlett Definition 2: Clark C.
Abt Definition 3: Johann Huizinga Definition 4: Roger Caillois Definition 5: Bernard Suits Definition 6: I cannot even describe how much Course Hero helped me this summer. In the end, I was not only able to survive summer classes, but I was able to thrive thanks to Course Hero. Simon Fraser University.
IAT Uploaded By joebears All in all, it is a slippery lexicological customer, with many friends and relations in a wide variety of fields.
Are they things in the sense of artifacts? Are they behavioral models, or simulations of social situations?