In Blood, Sweat, and Pixels, Jason Schreier takes readers on a fascinating odyssey behind the scenes of video game development, where the creator may be a team of 600 overworked underdogs or a solitary geek genius. Exploring the artistic challenges, technical impossibilities, marketplace demands, and Donkey Kong-sized monkey wrenches thrown into the works by corporate, Blood, Sweat, and Pixels reveals how bringing any game to completion is more than Sisyphean—it's nothing short of miraculous.Taking some of the most popular, bestselling recent games, Schreier immerses readers in the hellfire of the development process, whether it's RPG studio Bioware's challenge to beat an impossible schedule and overcome countless technical nightmares to build Dragon Age: Inquisition; indie developer Eric Barone's single-handed efforts to grow country-life RPG Stardew Valley from one man's vision into a multi-million-dollar franchise; or Bungie spinning out from their corporate overlords at Microsoft to create Destiny, a brand new universe that they hoped would become as iconic as Star Wars and Lord of the Rings—even as it nearly ripped their studio apart. Documenting the round-the-clock crunches, buggy-eyed burnout, and last-minute saves, Blood, Sweat, and Pixels is a journey through development hell—and ultimately a tribute to the dedicated diehards and unsung heroes who scale mountains of obstacles in their quests to create the best games imaginable.

    The Atari VCS was affordable and offered the flexibility of changeable cartridges. Nearly a thousand of these were created, the most significant of which established new techniques, mechanics, and even entire genres. This book offers a detailed and accessible study of this influential video game console from both computational and cultural perspectives.Studies of digital media have rarely investigated platforms--the systems underlying computing. This book (the first in a series of Platform Studies) does so, developing a critical approach that examines the relationship between platforms and creative expression. Nick Montfort and Ian Bogost discuss the Atari VCS itself and examine in detail six game cartridges: Combat, Adventure, Pac-Man, Yars' Revenge, Pitfall!, and Star Wars: The Empire Strikes Back. They describe the technical constraints and affordances of the system and track developments in programming, gameplay, interface, and aesthetics. Adventure, for example, was the first game to represent a virtual space larger than the screen (anticipating the boundless virtual spaces of such later games as World of Warcraft and Grand Theft Auto), by allowing the player to walk off one side into another space; and Star Wars: The Empire Strikes Back was an early instance of interaction between media properties and video games. Montfort and Bogost show that the Atari VCS--often considered merely a retro fetish object--is an essential part of the history of video games.

    Yet it is widely believed that the market for electronic literature--predicted by some to be the future of the written word--languishes. Even bestselling author Stephen King achieved disappointing results with his online publication of Riding the Bullet and The Plant.Isn't it possible, though, that many hugely successful computer games--those that depend on or at least utilize storytelling conventions of narrative, character, and theme--can be seen as examples of electronic literature? And isn't it likely that the truly significant new forms of electronic literature will prove to be (like games) so deeply interactive and procedural that it would be impossible to present them as paper-like e-books? The editors of First Person have gathered a remarkably diverse group of new media theorists and practitioners to consider the relationship between story and game, as well as the new kinds of artistic creation (literary, performative, playful) that have become possible in the digital environment.This landmark collection is organized as a series of discussions among creators and theorists; each section includes three presentations, with each presentation followed by two responses. Topics considered range from Cyberdrama to Ludology (the study of games), to The Pixel/The Line to Beyond Chat. The conversational structure inspired contributors to revise, update, and expand their presentations as they prepared them for the book, and the panel discussions have overflowed into a First Person web site (created in conjunction with the online journal Electronic Book Review).

    Sure, they cover the basics. But The Ultimate Guide to Video Game Writing and Design goes way beyond the basics. The authors, top game designers, focus on creating games that are an involving, emotional experience for the gamer. Topics include integrating story into the game, writing the game script, putting together the game bible, creating the design document, and working on original intellectual property versus working with licenses. Finally, there’s complete information on how to present a visionary new idea to developers and publishers. Got game? Get The Ultimate Guide to Video Game Writing and Design.

    James Paul Gee begins his new book with 'I want to talk about vide games- yes, even violent video games - and say some positive things about them'. With this simple but explosive beginning, one of America's most well-respected professors of education looks seriously at the good that can come from playing video games. Gee is interested in the cognitive development that can occur when someone is trying to escape a maze, find a hidden treasure and, even, blasting away an enemy with a high-powered rifle. Talking about his own video-gaming experience learning and using games as diverse as Lara Croft and Arcanum, Gee looks at major specific cognitive activities: How individuals develop a sense of identity; How one grasps meaning; How one evaluates and follows a command; How one picks a role model; How one perceives the world.

      In this classic study, Caillois defines play as a free and voluntary activity that occurs in a pure space, isolated and protected from the rest of life. Play is uncertain, since the outcome may not be foreseen, and it is governed by rules that provide a level playing field for all participants. In its most basic form, play consists of finding a response to the opponent's action--or to the play situation--that is free within the limits set by the rules.   Caillois qualifies types of games-- according to whether competition, chance, simulation, or vertigo (being physically out of control) is dominant--and ways of playing, ranging from the unrestricted improvisation characteristic of children's play to the disciplined pursuit of solutions to gratuitously difficult puzzles. Caillois also examines the means by which games become part of daily life and ultimately contribute to various cultures their most characteristic customs and institutions.            Presented here in Meyer Barash's superb English translation, Man, Play and Games is a companion volume to Caillois's Man and the Sacred.

    Techniques covered include state- and goal-based behavior, inter-agent communication, individual and group steering behaviors, team AI, graph theory, search, path planning and optimization, triggers, scripting, scripted finite state machines, perceptual modeling, goal evaluation, goal arbitration, and fuzzy logic.

    The average young person in the UK will spend 10,000 hours gaming by the age of twenty-one. What's causing this mass exodus? According to world-renowned game designer Jane McGonigal the answer is simple: videogames are fulfilling genuine human needs. Drawing on positive psychology, cognitive science and sociology, Reality is Broken shows how game designers have hit on core truths about what makes us happy, and utilized these discoveries to astonishing effect in virtual environments. But why, McGonigal asks, should we use the power of games for escapist entertainment alone? In this groundbreaking exploration of the power and future of gaming, she reveals how gamers have become expert problem solvers and collaborators, and shows how we can use the lessons of game design to socially positive ends, be it in our own lives, our communities or our businesses. Written for gamers and non-gamers alike, Reality is Broken sends a clear and provocative message: the future will belong to those who can understand, design and play games.

    "Slay the Dragon" will help you understand the challenges and offer creative solutions to writing for a medium where the audience not only demands a great story, but to be a driving force within it. Aimed at traditional writers who want to learn interactive narrative as well as game creators who want to tell better, more emotionally involving stories, the book is written by two creative veterans of both Hollywood and "Nerdyhood." Through lively discussions and self-paced-exercises, Bryant and Giglio step you such topics as: the "no-act" structure of video games; writing great game characters; making gameplay emotionally meaningful; and bringing your game world alive.

    This book provides the design strategy and tactics you need to integrate game mechanics into any kind of consumer-facing website or mobile app. Learn how to use core game concepts, design patterns, and meaningful code samples to a create fun and captivating social environment.Whether you're an executive, developer, producer, or product specialist, Gamification by Design will show you how game mechanics can help you build customer loyalty.Discover the motivational framework game designers use to segment and engage consumersUnderstand core game mechanics such as points, badges, levels, challenges, and leaderboardsEngage your consumers with reward structures, positive reinforcement, and feedback loopsCombine game mechanics with social interaction for activities such as collecting, gifting, heroism, and statusDive into case studies on Nike and Yahoo!, and analyze interactions at Google, Facebook, and ZyngaGet the architecture and code to gamify a basic consumer site, and learn how to use mainstream gamification APIs from Badgeville"Turning applications into games is a huge trend. This book does a great job of identifying the core lasting principals you need to inspire your users to visit again and again." —Adam Loving Freelance Social Game Developer and founder of Twibes Twitter Groups

    They can be addicting. They are available almost anywhere you go and are appealing to people of all ages. They can eat up our time, cost us money, even kill our relationships. But it's not all bad! This book will show that rather than being a waste of time, video games can help us develop skills, make friends, succeed at work, form good habits, and be happy. Taking the time to learn what's happening in our heads as we play and shop allows us to approach games and gaming communities on our own terms and get more out of them. With sales in the tens of billions of dollars each year, just about everybody is playing some kind of video game whether it's on a console, a computer, a web browser, or a phone. Much of the medium's success is built on careful (though sometimes unwitting) adherence to basic principles of psychology. This is something that's becoming even more important as games become more social, interactive, and sophisticated. This book offers something unique to the millions of people who play or design games: how to use an understanding of psychology to be a better part of their gaming communities, to avoid being manipulated when they shop and play, and to get the most enjoyment out of playing games. With examples from the games themselves, Jamie Madigan offers a fuller understanding of the impact of games on our psychology and the influence of psychology on our games.

    Missile trajectories. Cornering dynamics in speeding cars. By applying the laws of physics, you can realistically model nearly everything in games that bounces around, flies, rolls, slides, or isn't sitting still, to create compelling, believable content for computer games, simulations, and animation. "Physics for Game Developers" serves as the starting point for those who want to enrich games with physics-based realism.Part one is a mechanics primer that reviews basic concepts and addresses aspects of rigid body dynamics, including kinematics, force, and kinetics. Part two applies these concepts to specific real-world problems, such as projectiles, boats, airplanes, and cars. Part three introduces real-time simulations and shows how they apply to computer games. Many specific game elements stand to benefit from the use of real physics, including: The trajectory of rockets and missiles, including the effects of fuel burn offThe collision of objects such as billiard ballsThe stability of cars racing around tight curvesThe dynamics of boats and other waterborne vehiclesThe flight path of a baseball after being struck by a batThe flight characteristics of airplanesYou don't need to be a physics expert to learn from "Physics for Game Developers, " but the author does assume you know basic college-level classical physics. You should also be proficient in trigonometry, vector and matrix math (reference formulas and identities are included in the appendixes), and college-level calculus, including integration and differentiation of explicit functions. Although the thrust of the book involves physics principles and algorithms, it should be noted that the examples are written in standard C and use Windows API functions.

    In this comprehensive and readable book--already a classic statement of the aesthetics of digital media, acclaimed by practitioners and theorists alike--Janet Murray shows how the computer is reshaping the stories we live by. Murray discusses the unique properties and pleasures of digital environments and connects them with the traditional satisfactions of narrative. She analyzes the dramatic satisfaction of participatory stories and considers what would be necessary to move interactive fiction from the formats of childish games and confusing labyrinths into a mature and compelling art form. Through a blend of imagination and techno-wizardry, Murray provides both readers and writers with a guide to the storytelling of the future.

    The game machines became fascinating technical and artistic platforms that were of limited real-world utility. The IBM products were all utility, with little emphasis on aesthetics and no emphasis on fun. Into this bifurcated computing environment came the Commodore Amiga 1000. This personal computer featured a palette of 4,096 colors, unprecedented animation capabilities, four-channel stereo sound, the capacity to run multiple applications simultaneously, a graphical user interface, and powerful processing potential. It was, Jimmy Maher writes in The Future Was Here, the world’s first true multimedia personal computer.Maher argues that the Amiga’s capacity to store and display color photographs, manipulate video (giving amateurs access to professional tools), and use recordings of real-world sound were the seeds of the digital media future: digital cameras, Photoshop, MP3 players, and even YouTube, Flickr, and the blogosphere. He examines different facets of the platform--from Deluxe Paint to AmigaOS to Cinemaware--in each chapter, creating a portrait of the platform and the communities of practice that surrounded it. Of course, Maher acknowledges, the Amiga was not perfect: the DOS component of the operating systems was clunky and ill-matched, for example, and crashes often accompanied multitasking attempts. And Commodore went bankrupt in 1994. But for a few years, the Amiga’s technical qualities were harnessed by engineers, programmers, artists, and others to push back boundaries and transform the culture of computing.

    Together, they ruled big business. They transformed popular culture. And they provoked a national controversy. More than anything, they lived a unique and rollicking American Dream, escaping the broken homes of their youth to produce the most notoriously successful game franchises in history—Doom and Quake— until the games they made tore them apart. This is a story of friendship and betrayal, commerce and artistry—a powerful and compassionate account of what it's like to be young, driven, and wildly creative.