Commercial game development expert Robert Nystrom presents an array of general solutions to problems encountered in game development. For example, you'll learn how double-buffering enables a player to perceive smooth and realistic motion, and how the service locator pattern can help you provide access to services such as sound without coupling your code to any particular sound driver or sound hardware. Games have much in common with other software, but also a number of unique constraints. Some of the patterns in this book are well-known in other domains of software development. Other of the patterns are unique to gaming. In either case, Robert Nystrom bridges from the ivory tower world of software architecture to the in-the-trenches reality of hardcore game programming. You'll learn the patterns and the general problems that they solve. You'll come away able to apply powerful and reusable architectural solutions that enable you to produce higher quality games with less effort than before. Applies classic design patterns to game programming. Introduces new patterns specific to game programming. Brings abstract software architecture down to Earth with approachable writing and an emphasis on simple code that shows each pattern in practice. What you'll learn Overcome architectural challenges unique to game programming Apply lessons from the larger software world to games. Tie different parts of a game (graphics, sound, AI) into a cohesive whole. Create elegant and maintainable architecture. Achieve good, low-level performance. Gain insight into professional, game development. Who this book is forGame Programming Patterns is aimed at professional game programmers who, while successful in shipping games, are frustrated at how hard it sometimes is to add and modify features when a game is under development. Game Programming Patterns shows how to apply modern software practices to the problem of game development while still maintaining the blazing-fast performance demanded by hard-core gamers. Game Programming Patterns also appeals to those learning about game programming in their spare time. Hobbyists and aspiring professionals alike will find much to learn in this book about pathfinding, collision detection, and other game-programming problem domains.

    The concepts and techniques described are the actual ones used by real game studios like Electronic Arts and Naughty Dog. The examples are often grounded in specific technologies, but the discussion extends way beyond any particular engine or API. The references and citations make it a great jumping off point for those who wish to dig deeper into any particular aspect of the game development process.Intended as the text for a college level series in game programming, this book can also be used by amateur software engineers, hobbyists, self-taught game programmers, and existing members of the game industry. Junior game engineers can use it to solidify their understanding of game technology and engine architecture. Even senior engineers who specialize in one particular field of game development can benefit from the bigger picture presented in these pages.

    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.

    The best description of the first edition comes from two Amazon reviewers; the first proclaiming, "I got the same feeling of enlightenment when reading this one as I did all those years ago when I read the classic book "Code Complete" and the second stating "This is the first game book I have read that I was sorry when I got to the end because there wasn't any more."For Game Coding Complete, Second Edition, McShaffry returns with many more of his highly popular, shoot-from the hips war stories and expert game programming insight that only a real insider could provide. McShaffry uses his experience as a leading programmer for Origin Systems, Microsoft, and Ion Storm a division of Eidos, to illustrate real-world techniques and solutions, including examples from his recent work on the major game, Thief Deadly Shadows. Game Coding Complete, Second Edition takes programmers through the complete process of developing a professional quality game using hundreds of insider tricks and techniques developed and perfect by the author from over a decade of game development experience. It covers a range of topics that will appeal to the most discriminating programmers such as key "gotcha" issues that could trip up even veteran programmers. The new edition features expanded coverage of 3D programming, several new chapters on game interface design, game audio, game scripting, game engine technology, code optimization, production and scheduling, plus it now includes a CD-ROM packed with valuable source code and game development tools. The appendix offers solid advice on starting your own game company. The C++ language is used to explain specific programming concepts with added discussion of development with C# and Managed DirectX programming.

    Things that we thought were good for us turn out to be bad for us (and vice versa); people we thought we knew well behave in mysterious ways; the stock market takes a nosedive. Thanks to an inexplicable optimism, most of the time we are fairly cheerful about it all. But we do devote much effort to managing and ameliorating uncertainty. Is it any wonder, then, asks Greg Costikyan, that we have taken this aspect of our lives and transformed it culturally, making a series of elaborate constructs that subject us to uncertainty but in a fictive and nonthreatening way? That is: we create games.In this concise and entertaining book, Costikyan, an award-winning game designer, argues that games require uncertainty to hold our interest, and that the struggle to master uncertainty is central to their appeal. Game designers, he suggests, can harness the idea of uncertainty to guide their work.Costikyan explores the many sources of uncertainty in many sorts of games -- from Super Mario Bros. to Rock/Paper/Scissors, from Monopoly to CityVille, from FPS Deathmatch play to Chess. He describes types of uncertainty, including performative uncertainty, analytic complexity, and narrative anticipation. And he suggest ways that game designers who want to craft novel game experiences can use an understanding of game uncertainty in its many forms to improve their designs.

    But how do games create emotion? In How Games Move Us, Katherine Isbister takes the reader on a timely and novel exploration of the design techniques that evoke strong emotions for players. She counters arguments that games are creating a generation of isolated, emotionally numb, antisocial loners. Games, Isbister shows us, can actually play a powerful role in creating empathy and other strong, positive emotional experiences; they reveal these qualities over time, through the act of playing. She offers a nuanced, systematic examination of exactly how games can influence emotion and social connection, with examples -- drawn from popular, indie, and art games -- that unpack the gamer's experience.Isbister describes choice and flow, two qualities that distinguish games from other media, and explains how game developers build upon these qualities using avatars, non-player characters, and character customization, in both solo and social play. She shows how designers use physical movement to enhance players' emotional experience, and examines long-distance networked play. She illustrates the use of these design methods with examples that range from Sony's Little Big Planet to the much-praised indie game Journey to art games like Brenda Romero's Train.Isbister's analysis shows us a new way to think about games, helping us appreciate them as an innovative and powerful medium for doing what film, literature, and other creative media do: helping us to understand ourselves and what it means to be human.

    It's a tour de force of VW design, stunning in intellectual scope, spanning the literary, economic, sociological, psychological, physical, technological, and ethical underpinnings of design, while providing the reader with a deep, well-grounded understanding of VW design principles. It covers everything from MUDs to MOOs to MMORPGs, from text-based to graphical VWs.Designing Virtual Worlds brings a rich, well-developed approach to the design concepts behind virtual worlds. It is grounded in the earliest approaches to such designs, but the examples discussed in the book run the gamut from the earliest MUDs to the present-day MMORPG games mentioned above. It teaches the reader the actual, underlying design principles that many designers do not understand when they borrow or build from previous games. There is no other design book on the market in the area of online games and virtual worlds that provides the rich detail, historical context, and conceptual depth of Designing Virtual Worlds.

    Author Mike Selinker (Betrayal at House on the Hill) has invited some of the world's most talented and experienced game designers to share their secrets on game conception, design, development, and presentation. In these pages, you'll learn about storyboarding, balancing, prototyping, and playtesting from the best in the business.

    Games are part art and part appliance, part tableau and part toaster. In How to Talk about Videogames, leading critic Ian Bogost explores this paradox more thoroughly than any other author to date.Delving into popular, familiar games like Flappy Bird, Mirror’s Edge, Mario Kart, Scribblenauts, Ms. Pac-Man, FarmVille, Candy Crush Saga, Bully, Medal of Honor, Madden NFL, and more, Bogost posits that videogames are as much like appliances as they are like art and media. We don’t watch or read games like we do films and novels and paintings, nor do we perform them like we might dance or play football or Frisbee. Rather, we do something in-between with games. Games are devices we operate, so game critique is both serious cultural currency and self-parody. It is about figuring out what it means that a game works the way it does and then treating the way it works as if it were reasonable, when we know it isn’t.Noting that the term games criticism once struck him as preposterous, Bogost observes that the idea, taken too seriously, risks balkanizing games writing from the rest of culture, severing it from the “rivers and fields” that sustain it. As essential as it is, he calls for its pursuit to unfold in this spirit: “God save us from a future of games critics, gnawing on scraps like the zombies that fester in our objects of study.”

    With the advent of programmable shaders, a wide variety of new algorithms have arisen and evolved over the past few years. This edition discusses current, practical rendering methods used in games and other applications. It also presents a solid theoretical framework and relevant mathematics for the field of interactive computer graphics, all in an approachable style. The authors have made the figures used in the book available for download for fair use.: Download Figures

    "Nonsense," says the sensible Bernard Suits: "playing a game is a voluntary attempt to overcome unnecessary obstacles." The short book Suits wrote demonstrating precisely that is as playful as it is insightful, as stimulating as it is delightful. Suits not only argues that games can be meaningfully defined; he also suggests that playing games is a central part of the ideal of human existence, so games belong at the heart of any vision of Utopia. Originally published in 1978, The Grasshopper is now re-issued with a new introduction by Thomas Hurka and with additional material (much of it previously unpublished) by the author, in which he expands on the ideas put forward in The Grasshopper and answers some questions that have been raised by critics.

    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.

    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.

    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.

    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.