Now, over two decades later, Keighley returns to Valve for The Final Hours of Half-Life: Alyx. This 25,000 word multimedia experience gives readers an unprecedented and unvarnished look at the past decade inside Valve. From the revelation of surprising canceled projects to never-before-seen images, photos and video, The Final Hours dissects Valve’s creative process and candidly explores the development history of Half-Life: Alyx.This interactive storybook does not use or require a virtual reality headset. It merges a 25,000 word traditional story with 3D video game technology to give customers a fly-on-the-wall perspective of Valve’s creative process. FEATURES INCLUDE:*INTERACTIVE “TONER” PUZZLES: Unlock never-before-seen concept art and images via interactive puzzles inspired by Half-Life: Alyx*NEVER-BEFORE-SEEN PROTOTYPES: From early video prototypes of Alyx to other cancelled games, Valve reveals unknown – and unreleased – projects.*HEADCRAB SOUND MIXER: Create your own headcrab sound effects using the same source files as the development team.*DEVELOPMENT FLOOR EXPERIENCE: Explore the Valve office with an interactive 3D tour that showcases the development area for Half-Life: Alyx.*VALVE TIME: An interactive timeline details Valve’s software and hardware projects over the past decade – including previously unknown projects.*RHYS DARBY: Exclusive interview with Rhys Darby (“Russell”), one of the stars of Half-Life: Alyx

    But losing something makes you feel worse than getting the same thing makes you feel good. So finding $10 is a thrill; losing $10 is a tragedy. On an "intensity of feeling" scale, loss is more intense than gain. This is the core psychological concept of loss aversion, and in this book game creator Geoffrey Engelstein explains, with examples from both tabletop and video games, how it can be a tool in game design. Loss aversion is a profound aspect of human psychology, and directly relevant to game design; it is a tool the game designer can use to elicit particular emotions in players. Engelstein connects the psychology of loss aversion to a range of phenomena related to games, exploring, for example, the endowment effect--why, when an object is ours, it gains value over an equivalent object that is not ours--as seen in the Weighted Companion Cube in the game Portal; the framing of gains and losses to manipulate player emotions; Deal or No Deal's use of the utility theory; and regret and competence as motivations, seen in the context of legacy games. Finally, Engelstein examines the approach to Loss Aversion in three games by Uwe Rosenberg, charting the designer's increasing mastery.

    It presents a model for analyzing game design in terms of three interconnected levels--mechanics and systems, gameplay, and player experience--and explains how novice game designers can use these three levels as a framework to guide their design process. The text is notable for emphasizing models and vocabulary used in industry practice and focusing on the design of games as dynamic systems of gameplay.The book first introduces the core model and framework for analyzing and designing games. It then discusses the three levels in detail, explaining player experience and identifying design goals; introducing low-level structural analysis of gameplay in terms of basic mechanics; describing how mechanics build up into systems; and presenting concepts for understanding gameplay, defined as the dynamic behavior of players when they interact with mechanics and systems. Finally, the book offers students advice on creating game prototypes using an iterative, user-centered process. Each chapter offers a set of exercises for individuals and design challenges for groups.

    If you're a girl, and you grow up, do you "play like a woman"--whatever that means? In this provocative and enlightening book, Shira Chess urges us to play like feminists. Furthermore, she urges us to play video games like feminists. Playing like a feminist is empowering and disruptive; it exceeds the boundaries of gender yet still advocates for gender equality. Playing like a feminist offers a new way to think about how humans play --and also a new way to think about how feminists do their feministing. Chess argues that feminism need video games as much as video games need feminism.Video games, Chess tells us, are primed for change. Roughly half of all players identify as female, and Gamergate galvanized many of gaming's disenfranchised voices. Games themselves are in need of a creative platform-expanding, metaphysical explosion; feminism can make games better. Chess reflects on the importance of play, and playful protest, and how feminist video games can help us rethink the ways that we tell stories. She proposes "Women's Gaming Circles"--which would function like book clubs for gaming--as a way for feminists to take back play. (An appendix offers a blueprint for organizing a gaming circle.) Play and games can be powerful. Chess's goal is for all of us--regardless of gender orientation, ethnicity, ability, social class, or stance toward feminism--to spend more time playing as a tool of radical disruption.

    Using a series of practical, rigorous exercises, designers can observe and analyze the failures and successes of the games they know and love to find the deep patterns that underlie good design. From an in-depth look at Alexander's work, to a critique of pattern theory in various fields, to a new approach that will challenge your knowledge and put it to work, this book seeks to transform how we look at building the interactive experiences that shape us.Key Features:Background on the architectural concepts of patterns and a Pattern Language as defined in the work of Christopher Alexander, including his later work on the Fifteen Properties of Wholeness and Generative Codes.Analysis of other uses of Alexander's work in computer science and game design, and the limitations of those efforts.A comprehensive set of example exercises to help the reader develop their own patterns that can be used in practical day-to-day game design tasks.Exercises that are useful to designers at all levels of experience and can be completed in any order, allowing students to select exercises that match their coursework and allowing professionals to select exercises that address their real-world challenges.Discussion of common pitfalls and difficulties with the pattern derivation process.A guide for game design teachers, studio leaders, and university departments for curating and maintaining institutional Pattern Languages.An Interactive Pattern Language website where you can share patterns with developers throughout the world (patternlanguageforgamedesign.com).Comprehensive games reference for all games discussed in this book. AuthorChris Barney is an industry veteran with more than a decade of experience designing and engineering games such as Poptropica and teaching at Northeastern University. He has spoken at conferences, including GDC, DevCom, and PAX, on topics from core game design to social justice. Seeking degrees in game design before formal game design programs existed, Barney built his own undergraduate and graduate curricula out of offerings in sociology, computer science, and independent study. In pursuit of a broad understanding of games, he has worked on projects spanning interactive theater, live-action role-playing game (LARP) design, board games, and tabletop role-playing games (RPGs). An extensive collection of his essays of game design topics can be found on his development blog at perspectivesingamedesign.com.

    Sure, we might see tweets when a game launches about how nice a female character's big arse is, or we might giggle at GIFs of farts from time to time, but how often do we as lovers of interactive media stop to really think about the meaning of the butt?How often do we take some time out of our day to really think about the lore implications of Skull Kid from Majora's Mask shaking his booty, and what that tells us about his chances of redemption, or Miranda from Mass Effect, and the fact that her perfect cheeks are actually a sad reminder of her predestined upbringing? Probably not often enough.As an author, I have dedicated years of my career to the study of posteriors, from the large to the small, the formless to the toned, and in this book I hope to bring the fruits of that research to you. By the time we're done, you should hopefully know the difference between a but that's attractive for attractiveness sake, and one that's actually narratively informative, telling us something of worth about the person it belongs to, or the world it inhabits.

    

    We play in solitude or in company, alone in a bedroom or with others in the family room. In Ambient Play, Larissa Hjorth and Ingrid Richardson examine how mobile gameplay fits into our day-to-day lives. They show that as mobile games spread across different genres, platforms, practices, and contexts, they become an important way of experiencing and navigating a digitally saturated world. Mobile games become conduits for what the authors call ambient play, pervading much of our social and communicative terrain. We become digital wayfarers, moving constantly among digital, social, and social worlds.Hjorth and Richardson explore how households are transformed by media--how idiosyncratic media use can alter the spatial composition and emotional cadence of the home. They show how mobile games connect domestic forms of play with more public forms of playfulness in urban spaces, how collaborative play (both networked and face-to-face) is incorporated into private and public play, and how touchscreens and haptic play emphasize the perception of the moving body. Hjorth and Richardson invite us to think of mobile gaming as more than a "casual" distraction but as a complex cultural practice embedded into our contemporary ways of being, knowing, and communicating.