By Anna Anthropy, Naomi Clark
Video games have usually taken a crucial position in pop culture; in truth, organisations are even trying to 'gamify' conventional company techniques. in spite of the fact that, our language for realizing, discussing, and designing video games has remained primitive - and this has made it tougher to create nice video games or intelligently assessment them. this article fills this hole, supplying an entire shared framework for realizing and comparing video game layout - as creators, as avid gamers, as scholars, as video game decision-makers.
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Additional resources for A Game Design Vocabulary: Exploring the Foundational Principles Behind Good Game Design
It allows for slow, gentle movements, or fast, sweeping movements, along two axes simultaneously. ) Often, games use mouse motion for verbs like looking around: your eyes pan slowly along the sprawl of the mysterious city in the distance. What secrets does 27 28 CHAPTER 2 VERBS AND OBJECTS it hold? Suddenly in the corner of your vision, you spot a bird made of skulls and swing your eyes quickly after it. The mouse offers many more degrees of movement than, say, a keyboard key that is simply in a pressed or not pressed position.
These actors perform in scenes. Depending on the game, the speaker, and the position of the stars, we might call scenes levels, stages, rounds, waves, boards, missions, or screens. They’re not necessarily equivalent in time, content, or presentation, though. A scene is the most basic unit of pacing in a game. Every game might use completely different sizes and shapes for scenes.
Of course, if you’ve played many videogames, you know that we don’t need to make a verb’s physical performance resemble the verb. There’s not much about pressing a button that resembles jumping, and that’s part of the interesting quality of videogames—we can explore the distance between the physical act of using the interface and what it represents inside the game. Sometimes we can close the distance. There are platforms that can sense a broader 25 26 CHAPTER 2 VERBS AND OBJECTS range of human motions and allow us to force the player to perform a scooping motion to dig through a floor.