Do you have an idea for a board game, card game, role-playing game or tabletop game? Have you ever wondered how to get it published? For many years Brian Tinsman reviewed new game submissions for Hasbro, the largest game company in the US. With The Game Inventor's Guidebook: How to Invent and Sell Board Games, Card Games, Role-playing Games & Everything in Between! he presents the only book that lays out step-by-step advice, guidelines and instructions for getting a new game from idea to retail shelf.

    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.

    Regardless if they are customers, employees, patients, students, citizens, stakeholders, organizations struggle to meaningfully engage their key constituent groups who have a precious and limited resource: their time. Not surprisingly, these stakeholders have developed deflector shields to protect themselves. Only a privileged few organizations are allowed to penetrate the shield, and even less will meaningfully engage. To penetrate the shield, and engage the audience, organizations need an edge. Gamification has emerged as a way to gain that edge and organizations are beginning to see it as a key tool in their digital engagement strategy. While gamification has tremendous potential to break through, most companies will get it wrong. Gartner predicts that by 2014, 80% of current gamified applications will fail to meet business objectives primarily due to poor design. As a trend, gamification is at the peak of the hype cycle; it has been oversold and it is broadly misunderstood. We are heading for the inevitable fall. Too many organizations have been led to believe that gamification is a magic elixir for indoctrinating the masses and manipulating them to do their bidding. These organizations are mistaking people for puppets, and these transparently cynical efforts are doomed to fail.This book goes beyond the hype and focuses on the 20% that are getting it right. We have spoken to hundreds of leaders in organizations around the world about their gamification strategies and we have seen some spectacular successes. The book examines some of these successes and identifies the common characteristics of these initiatives to define the solution space for success. It is a guide written for leaders of gamification initiatives to help them avoid the pitfalls and employ the best practices, to ensure they join the 20% that gets it right. Gamify shows gamification in action: as a powerful approach to engaging and motivating people to achieving their goals, while at the same time achieving organizational objectives. It can be used to motivate people to change behaviors, develop skills, and drive innovation. The sweet spot for gamification objectives is the space where the business objectives and player objectives are aligned. Like two sides of the same coin, player and business goals may outwardly appear different, but they are often the same thing, expressed different ways. The key to gamification success is to engage people on an emotional level and motivating them to achieve their goals.

    Connecting games to math, science, and psychology, GameTek has grown to be one of the most popular parts of the show.This volume commemorates the anniversary with a collection of over seventy of the best segments, many with annotations and illustrations.With chapters on everything from Rock, Paper, Scissors to the Prisoner’s Dilemma to Player Engagement to Quasicrystals to Buddha’s Forbidden Games, GameTek is sure to delight not just game designers and players, but anyone who wants to learn about the world from a new perspective.Sections:• Game Theory• Math• Psychology• Science• Game Mechanics• Psychology Games• HistoryFrom the first time I heard it, the GameTek segment in The Dice Tower podcast became my favorite part of the show. Listening to Geoff is like going to your favorite lesson with your favorite teacher. He teaches about games (yay!) and does it in a very interesting way with lots of examples. He does amazing stuff. He knows about the construction of games, he knows the theory, he knows all that stuff behind the scenes that we gamers do not see when just playing a game and having fun.Ignacy Trzewiczek, Portal GamesThere are many hobby game 'experts' out there, dying to give you their opinion on how the industry works, how games work, what types of games are best, and so on. Geoff Engelstein is the expert that requires your attention. He is a scholar of games, and his research on games and other principles that apply to gaming is matched by none.Stephen Buonocore, Stronghold GamesOver the years, I’ve listened to a lot of people talk about board games, yet the short snippets that Geoff puts out are the ones that I find myself thinking about in the quiet of the night. His are the segments that you laugh at and say, “I have NO idea what you are talking about” — but later on use to show people just how intellectual you are.Tom Vasel, The Dice Tower

    In the 1987 Nintendo Entertainment System videogame Zelda II: The Adventure of Link, a character famously declared: I AM ERROR. Puzzled players assumed that this cryptic mesage was a programming flaw, but it was actually a clumsy Japanese-English translation of "My Name is Error," a benign programmer's joke. In I AM ERROR Nathan Altice explores the complex material histories of the Nintendo Entertainment System (and its Japanese predecessor, the Family Computer), offering a detailed analysis of its programming and engineering, its expressive affordances, and its cultural significance.Nintendo games were rife with mistranslated texts, but, as Altice explains, Nintendo's translation challenges were not just linguistic but also material, with consequences beyond simple misinterpretation. Emphasizing the technical and material evolution of Nintendo's first cartridge-based platform, Altice describes the development of the Family Computer (or Famicom) and its computational architecture; the "translation" problems faced while adapting the Famicom for the U.S. videogame market as the redesigned Entertainment System; Nintendo's breakthrough console title Super Mario Bros. and its remarkable software innovations; the introduction of Nintendo's short-lived proprietary disk format and the design repercussions on The Legend of Zelda; Nintendo's efforts to extend their console's lifespan through cartridge augmentations; the Famicom's Audio Processing Unit (APU) and its importance for the chiptunes genre; and the emergence of software emulators and the new kinds of play they enabled.

    Now, on YouTube and blogs and Facebook and Twitter, we are media. And while we watch more television than ever before, how we watch it is changing in ways we have barely slowed down to register. No longer content in our traditional role as couch potatoes, we approach television shows, movies, even advertising as invitations to participate—as experiences to immerse ourselves in at will. Wired contributing editor Frank Rose introduces us to the people who are reshaping media for a two-way world—people like Will Wright (The Sims), James Cameron (Avatar), Damon Lindelof (Lost), and dozens of others whose ideas are changing how we play, how we chill, and even how we think. The Art of Immersion is an eye-opening look at the shifting shape of entertainment today.

    This first volume is a candid account of the personal, creative and technical struggles that led to his breakthrough success with Karateka, which topped bestseller charts in 1985, and planted the seeds of his next game, Prince of Persia.

    All our lives we’ve been told that games are distractions—playful pastimes, but unrelated to success. In Game Frame, Aaron Dignan shows us that the opposite is true: games produce peak learning conditions and accelerated achievement. Here, the crucial connection between the games we love to play and the everyday tasks, goals, and dreams we have trouble realizing is illuminated. Aaron Dignan is the thirty-something founder of a successful digital strategy firm that studies the transformative power of technology in culture. He and his peers were raised on a steady diet of games and gadgets, ultimately priming them to challenge the status quo of the modern workplace. What they learned from games goes deeper than hand-eye coordination; instead, this generation intrinsically understands the value of adding the elements of games into everyday life. Game Frame is the first prescriptive explanation of what games mean to us, the human psychology behind their magnetic pull, and how we can use the lessons they teach as a framework to achieve our potential in business and beyond. Games are a powerful way to influence and change behavior in any setting. Here, Dignan outlines why games and play are such important trends in culture today, and how our technology, from our iPhones to our hybrid cars, primes us to be instinctive players. Game Frame tackles the challenging task of defining games and the mechanics that make games work from several perspectives, then explores these ideas through the lens of neuroscience. Finally, Dignan provides practical tips for using basic game mechanics in a variety of settings, such as motivating employees at work or encouraging children at home, giving readers the tools to develop their own games to solve problems in their everyday lives. Illuminated throughout with a series of real-world examples and hypothetical scenarios, Game Frame promises a crash course in game design and behavioral psychology that will leave the reader—and, by extension, the world itself—more productive. Revolutionary, visionary, practical, and time-tested, Game Frame will change the way you approach life.

    Even games that are well-received at launch may fail to engage players in the long term due to issues with the user experience (UX) that they are delivering. That's why makers of successful video games like Fortnite and Assassin's Creed invest both time and money perfecting their UX strategy. These top video game creators know that a bad user experience can ruin the prospects for any game, regardless of its budget, scope, or ambition.The game UX accounts for the whole experience players have with a video game, from first hearing about it to navigating menus and progressing in the game. UX as a discipline offers guidelines to assist developers in creating the optimal experience they want to deliver, including shipping higher quality games (whether indie, triple-A or "serious" games) and meeting business goals -- all while staying true to design vision and artistic intent.At its core, UX is about understanding the gamer's brain: understanding human capabilities and limitations to anticipate how a game will be perceived, the emotions it will elicit, how players will interact with it, and how engaging the experience will be. This book is designed to equip readers of all levels, from student to professional, with cognitive science knowledge and user experience guidelines and methodologies. These insights will help readers identify the ingredients for successful and engaging video games, empowering them to develop their own unique game recipe more efficiently, while providing a better experience for their audience."The Gamer's Brain: How Neuroscience and UX Can Impact Video Game Design"Is written by Celia Hodent -- a UX expert with a PhD in psychology who has been working in the entertainment industry for over 10 years, including at prominent companies such as Epic Games (Fortnite), Ubisoft, and LucasArts.Major themes explored in this book: Provides an overview of how the brain learns and processes information by distilling research findings from cognitive science and psychology research in a very accessible way. Topics covered include: "neuromyths", perception, memory, attention, motivation, emotion, and learning. Includes numerous examples from released games of how scientific knowledge translates into game design, and how to use a UX framework in game development. Describes how UX can guide developers to improve the usability and the level of engagement a game provides to its target audience by using cognitive psychology knowledge, implementing human-computer interaction principles, and applying the scientific method (user research). Provides a practical definition of UX specifically applied to games, with a unique framework. Defines the most relevant pillars for good usability (ease of use) and good "engage-ability" (the ability of the game to be fun and engaging), translated into a practical checklist. Covers design thinking, game user research, game analytics, and UX strategy at both a project and studio level. This book is a practical tool that any professional game developer or student can use right away and includes the most complete overview of UX in games existing today.

    But how did an obscure Soviet programmer, working on frail, antiquated computers, create a product which has now earned nearly 1 billion in sales? How did a makeshift game turn into a worldwide sensation, which has been displayed at the Museum of Modern Art, inspired a big-budget sci-fi movie, and been played in outer space? A quiet but brilliant young man, Alexey Pajitnov had long nurtured a love for the obscure puzzle game pentominoes, and became obsessed with turning it into a computer game. Little did he know that the project that he labored on alone, hour after hour, would soon become the most addictive game ever made. In this fast-paced business story, reporter Dan Ackerman reveals how Tetris became one of the world's first viral hits, passed from player to player, eventually breaking through the Iron Curtain into the West. British, American, and Japanese moguls waged a bitter fight over the rights, sending their fixers racing around the globe to secure backroom deals, while a secretive Soviet organization named ELORG chased down the game's growing global profits.The Tetris Effect is an homage to both creator and creation, and a must-read for anyone who's ever played the game-which is to say everyone.

    But instead of spending hours and hours trying to develop your own answers, now you can find out how the pros do it! Game Programming Gems is a hands-on, comprehensive resource packed with a variety of game programming algorithms written by experts from the game industry and edited by Mark DeLoura, former software engineering lead for Nintendo of America, Inc. and now the newly appointed editor-in-chief of Game Developer magazine. From animation and artificial intelligence to Z-buffering, lighting calculations, weather effects, curved surfaces, mutliple layer Internet gaming, to music and sound effects, all of the major techniques needed to develop a competitive game engine are covered. Game Programming Gems is written in a style accessible to individuals with a range of expertise levels. All of the source code for each algorithm is included and can be used by advanced programmers immediately. For aspiring programmers, there is a detailed tutorial to work through before attempting the code, and suggestions for possible modifications and optimizations are included as well.

    

    Like civilization, play requires structure and participants willing to create within limits. Starting with Plato, Huizinga traces the contribution of Homo Ludens, or "Man the player" through Medieval Times, the Renaissance, and into our modern civilization. Huizinga defines play against a rich theoretical background, using cross-cultural examples from the humanities, business, and politics. Homo Ludens defines play for generations to come."A happier age than ours once made bold to call our species by the name of Homo Sapiens. In the course of time we have come to realize that we are not so reasonable after all as the Eighteenth Century with its worship of reason and naive optimism, though us; "hence moder fashion inclines to designate our species asHomo Faber Man the Maker. But though faber may not be quite so dubious as sapiens it is, as a name specific of the human being, even less appropriate, seeing that many animals too are makers. There is a third function, howver, applicable to both human and animal life, and just as important as reasoning and making--namely, playing. it seems to me that next to Homo Faber, and perhaps on the same level as Homo Sapiens, Homo Ludens, Man the Player, deserves a place in our nomenclature. "--from the Foreward, by Johan Huizinga

    From a vast survey of primary sources ranging from eighteenth-century strategists to modern hobbyists, Playing at the World distills the story of how gamers first decided fictional battles with boards and dice, and how they moved from simulating wars to simulating people. The invention of role-playing games serves as a touchstone for exploring the ways that the literary concept of character, the lure of fantastic adventure and the principles of gaming combined into the signature cultural innovation of the late twentieth century.

    If you aspire to move from game player to game creator, it all starts with learning the fundamentals of C++ and game-programming basics. With BEGINNING C++ THROUGH GAME PROGRAMMING, FOURTH EDITION, you will find an up-to-date and thorough introduction to everything you need to get started—with no previous programming experience required. In the new fourth edition of this popular guide to learning C++, you will work with a complete program while learning each new concept and a game program at the end of each chapter. A final game project at the end of the book draws together everything you’ve learned. Written with the beginning programmer in mind, BEGINNING C++ THROUGH GAME PROGRAMMING, FOURTH EDITION is a great way to get started in game programming