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Index
Title Page Copyright Page Dedication Praise Acknowledgements HELLO CHAPTER ONE - In the Beginning, There Is the Designer
Magic Words What Skills Does a Game Designer Need? The Most Important Skill The Five Kinds of Listening The Secret of the Gifted
CHAPTER TWO - The Designer Creates an Experience
The Game Is Not the Experience Is This Unique to Games? Three Practical Approaches to Chasing Rainbows Introspection: Powers, Perils, and Practice Dissect Your Feelings Defeating Heisenberg Essential Experience All That’s Real Is What You Feel
CHAPTER THREE - The Experience Rises Out of a Game
A Rant About Definitions So, What Is a Game? No, Seriously, What Is a Game? Problem Solving 101 The Fruits of Our Labors
CHAPTER FOUR - The Game Consists of Elements
What Are Little Games Made Of? The Four Basic Elements Skin and Skeleton
CHAPTER FIVE - The Elements Support a Theme
Mere Games Unifying Themes Resonance Back to Reality
CHAPTER SIX - The Game Begins with an Idea
Inspiration State the Problem How to Sleep Your Silent Partner Subconscious Tip #1: Pay Attention Fifteen Nitty-Gritty Brainstorming Tips Look At All These Ideas! Now What?
CHAPTER SEVEN - The Game Improves Through Iteration
Choosing an Idea The Eight Filters The Rule of the Loop A Short History of Software Engineering Risk Assessment and Prototyping Eight Tips for Productive Prototyping Closing the Loop How Much is Enough?
CHAPTER EIGHT - The Game is Made for a Player
Einstein’s Violin Project Yourself Demographics The Medium is the Misogynist?
CHAPTER NINE - The Experience is in the Player’s Mind
Modeling Focus Empathy Imagination Motivation Judgment
CHAPTER TEN - Some Elements are Game Mechanics
Mechanic 1: Space Mechanic 2: Objects, Attributes, and States Mechanic 3: Actions Mechanic 4: Rules Mechanic 5: Skill Mechanic 6: Chance
CHAPTER ELEVEN - Game Mechanics Must be in Balance
The Twelve Most Common Types of Game Balance Game Balancing Methodologies Balancing Game Economies Dynamic Game Balancing The Big Picture
CHAPTER TWELVE - Game Mechanics Support Puzzles
The Puzzle of Puzzles Aren’t Puzzles Dead? Good Puzzles
CHAPTER THIRTEEN - Players Play Games Through an Interface
Between Yin and Yang Breaking it Down The Loop of Interaction Channels of Information Other Interface Tips
CHAPTER FOURTEEN - Experiences Can be Judged by Their Interest Curves
My First Lens Interest Curves Patterns Inside Patterns What Comprises Interest? Interest Factor Examples Putting It All Together
CHAPTER FIFTEEN - One Kind of Experience Is the Story
Story/Game Duality The Myth of Passive Entertainment The Dream The Reality The Problems The Dream Reborn Story Tips for Game Designers
CHAPTER SIXTEEN - Story and Game Structures can be Artfully Merged with ...
The Feeling of Freedom Indirect Control Method #1: Constraints Indirect Control Method #2: Goals Indirect Control Method #3: Interface Indirect Control Method #4: Visual Design Indirect Control Method #5: Characters Indirect Control Method #6: Music Collusion
CHAPTER SEVENTEEN - Stories and Games Take Place in Worlds
Transmedia Worlds The Power of Pokemon Properties of Transmedia Worlds What Successful Transmedia Worlds Have in Common
CHAPTER EIGHTEEN - Worlds Contain Characters
The Nature of Game Characters Creating Compelling Game Characters
CHAPTER NINETEEN - Worlds Contain Spaces
The Purpose of Architecture Organizing your Game Space Christopher Alexander is a Genius Real vs. Virtual Architecture Level Design
CHAPTER TWENTY - The Look and Feel of a World Is Defined by Its Aesthetics
Monet Refuses the Operation The Value of Aesthetics Learning to See How to Let Aesthetics Guide your Design How Much Is Enough? Use Audio Balancing Art and Technology
CHAPTER TWENTY-ONE - Some Games are Played with Other Players
We Are Not Alone Why We Play With Others
CHAPTER TWENTY-TWO - Other Players Sometimes Form Communities
More than just Other Players Ten Tips for Strong Communities The Challenge of Griefing The Future of Game Communities
CHAPTER TWENTY-THREE - The Designer Usually Works with a Team
The Secret of Successful Teamwork Designing Together Team Communication
CHAPTER TWENTY-FOUR - The Team Sometimes Communicates Through Documents
The Myth of the Game Design Document The Purpose of Documents Types of Game Documents So, Where Do I Start?
CHAPTER TWENTY-FIVE - Good Games Are Created Through Playtesting
Playtesting My Terrible Secret Playtest Question the First: Why? Playtest Question the Second: Who? Playtest Question the Third: Where? Playtest Question the Fourth: What? Playtest Question the Fifth: How?
CHAPTER TWENTY-SIX - The Team Builds a Game with Technology
Technology, At Last Foundational vs. Decorational The Hype Cycle The Innovator’s Dilemma The Singularity Look Into Your Crystal Ball
CHAPTER TWENTY-SEVEN - Your Game Will Probably Have a Client
Who Cares What the Client Thinks? Coping with Bad Suggestions Not That Rock The Three Layers of Desire Firenza, 1498
CHAPTER TWENTY-EIGHT - The Designer Gives the Client a Pitch
Why Me? A Negotiation of Power The Hierarchy of Ideas Twelve Tips for a Successful Pitch
CHAPTER TWENTY-NINE - The Designer and Client Want the Game to Make a Profit
Love and Money Know Your Business Model Units Sold Breakeven Know the Top Sellers Learn the Language
CHAPTER THIRTY - Games Transform Their Players
How Do Games Change Us? Can Games Be Good For You? Can Games Be Bad For You? Experiences
CHAPTER THIRTY-ONE - Designers Have Certain Responsibilities
The Danger of Obscurity Being Accountable Your Hidden Agenda The Secret Hidden in Plain Sight The Ring
CHAPTER THIRTY-TWO - Each Designer has a Motivation
The Deepest Theming
Goodbye Endnotes Bibliography INDEX
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