Experimental Game Design
DETAILS
Pre class prep:
* Bring in one sample of best work (this does not have to
necessarily be “art”, but the best work you have done to date.) Not for
critique, but to know each others’ talents
* Do Personal Game Archaeology Project
Week
1:
Discuss
* overview of course
* What is a game?
Jesper Juul The Game, the Player, the
World: Looking for a Heart of Gameness
*
Why do people play games?
*
creative practice in cross disciplinary collaborations
*
studio practice
* definitions.html
Look at best works (not a critique)
* Rensselaer Folsom Library Game Research Resources review
* Play as Design by Brenda Laurel
* Your personal research. Please cite your
references in your presentation.
Assignments:
• If you have not done so already, bring sample of best work to next class
• Personal Game Archaeology Project due next week (see assignments section for
details)
Week 2:
Discuss:
Studio visit by Igor
* Personal Game Archaeology Project presentations
Week 3:
Discuss:
*
Collaboration:
Issues in interdisciplinary endeavor
Beyond Productivity:
Information Technology, Innovation and Creativity
http://books.nap.edu/html/beyond_productivity/ch2.html
(near footnote 43)
Tips
for successful collaboration:
some from my research
http://www.nwrel.org/cfc/frc/collabtips1.html
*
Teams formulate and work in studio and start work on Scenario Game of the
Future
Scenario Planning
Scenario
planning is a method for learning about the future by understanding the
nature and impact of the most uncertain and important driving forces affecting
our future. It is a group process which encourages knowledge exchange and
development of mutual deeper understanding of central issues important to the
future. The goal is to craft a number of diverging stories by extrapolating
uncertain and heavily influencing driving forces. The stories together with the
work getting there has the dual purpose of increasing the knowledge of the
business environment and widen both the receiver's and participant's perception
of possible future events.
The
method is most widely used as a strategic management tool, but this and similar
methods have been used for enabling other types of group discussion about a
common future.
Scenarios
are narratives of alternative environments in which today’s decisions may be
played out. They are not predictions. Nor are they strategies. Instead they are
more like hypotheses of different futures specifically designed to highlight
the risks and opportunities involved in specific strategic issues.
http://www.well.com/~mb/scenario/#What_is_Scenario_Planning
http://en.wikipedia.org/wiki/Scenario_planning
Visionaries
of the Future
the
Future: In a linear conception of time, the future
is the portion of the timeline that is still to occur, i.e. the place in
space-time where lie all events that still have not occurred. In this sense the
future is opposed to the past (the set of moments and events that have already
occurred) and the present (the set of events that are occurring now).
The
Future becomes the past
*
The 1939 New York World's Fair:
http://xroads.virginia.edu/~1930s/DISPLAY/39wf/front.htm
Artists
as “visionaries”
Futurists
The Futurists explored every medium of art, including painting, sculpture,
poetry,
theatre,
music,
architecture
and even gastronomy.
The Italian poet Filippo Tommaso Marinetti was the first
among them to produce a manifesto of their artistic philosophy
in his Manifesto of Futurism (1909), first released in Milan and published in the
French
paper Le Figaro
(February 20).
Marinetti summed up the major principles of the Futurists, including a
passionate loathing of ideas from the past, especially political and artistic
traditions. He and others also espoused a love of speed, technology
and violence.
The car, the plane, the industrial town were all legendary for the Futurists,
because they represented the technological triumph of man over nature.
Marinetti's impassioned polemic immediately
attracted the support of the young Milanese painters
—Boccioni, Carrà, and Russolo—who wanted to extend
Marinetti's ideas to the visual arts (Russolo was also a composer, and
introduced Futurist ideas into his compositions).
The italian painter and sculptor Umberto
Boccioni (1882-1916) wrote the Manifesto
of Futurist Painters in 1910 in which he vowed: “We will fight with all our
might the fanatical, senseless and snobbish religion of the past, a religion
encouraged by the vicious existence of museums. We rebel against that spineless
worshipping of old canvases, old statues and old bric-a-brac, against
everything which is filthy and worm-ridden and corroded by time. We consider
the habitual contempt for everything which is young, new and burning with life
to be unjust and even criminal.”
http://en.wikipedia.org/wiki/Futurist
The
Situationist
International:
In 1957 a few experimental European groups stemming from
the radical tradition of dadaism (http://en.wikipedia.org/wiki/Dadaism)
John Heartfield
http://www.towson.edu/heartfield/art/art.html
Hannah
Hoch
http://en.wikipedia.org/wiki/Hannah_H%C3%B6ch
Comics
as cultural barometers
http://en.wikipedia.org/wiki/Comics
COMICS: A TOOL OF SUBVERSION?
http://www.albany.edu/scj/jcjpc/vol2is6/comics.html
Machinima http://en.wikipedia.org/wiki/Machinima
http://www.machinima.com/films.php?id=1232
Roy Lichtenstein http://www.artchive.com/artchive/L/lichtenstein.html#images
* Ernest Adams Design Philosophy
* Adams and Rollings,
Creating the User Experience
* Basic Game Design Fundamentals by Chris Crawford
Assignments:
Work with your team on “Yet to
Come” Scenario Planning Game
Week 4:
Feb 5
* Studio:
Team work on Scenario Planning Games
Discuss:
Homo Ludens:
A study of the Play Element in Culture
*
Level Design
Show “The Making of Myst”
* On
storyboarding: http://www.mediaed.org.uk/posted_documents/Storyboarding.html
Storyboard examples: http://movies.warnerbros.com/ed/cmp/storyboards.html
http://movies.warnerbros.com/eraser/cmp/sketches.html
http://sleepers.warnerbros.com/cmp/storyboards.html
* Level
Design:
* Adams
and Rollings The Level Design Process
*
mise en scene in videogames
* Jason Rubin's
"Great Game Graphics... Who Cares?"
* The Art and
Science of Level Design by Cliff Bleszinski
also other articles at: http://www.cliffyb.com/rants/
* How
to Build a Better Cutscene
* Color Theory for
Game Design
* A
Multi-Dimensional Typology of Games
____________
Feb 8
* Scenario Planning Game Design Presentations
The Construction of Experience:
Interface as Content David Rokeby
Gender and Human Computer Interface
Assignments:
Consider prospective teammates
and potential final project ideas
Week
5:
Feb
12
Discuss
*
Final Project Teams Formation
Innovative creative ideas and artists who create games:
INNOVATIVE IDEAS:
Blended reality games
Physically based games:
Issues: Obesity,
Coronary Heart Disease & Diabetes
DDR
http://www.ddrgame.com/?gclid=CLLE7u7-p4oCFR4cgQodbStGqA
ParaparaParadise
http://www.youtube.com/watch?v=BSeCfMpeMOQ
Guitar Hero
http://www.guitarherogame.com/gh1/
http://www.youtube.com/watch?v=PW_Zkc7WAS8
Sony patent towards real life MATRIX.doc
"The pulsed ultrasonic signal alters the neural timing in the
cortex," the patent states. "No invasive surgery is needed to assist
a person, such as a blind person, to view live and/or recorded images or hear
sounds."
Rez -
http://www.youtube.com/watch?v=eHuQvctStmw
Sega's quirky, abstract art-influenced
shooter, an endorphin machine, video game inspired by the abstract
artist Kandinsky aims to overload the senses with its psychedelic visuals and
pulsating dance beats.
Rez for the Playstation 2 seeks to create a sense of synaesthesia, literally a
crossing of the senses, so that you can "see" sounds or
"taste" colours.
"Rez is an experience, a fusion of light, vibration and sound completely
immersed in synaesthesia," said its creator, Tetsuya Mizuguchi of Japanese
game developers United Game Artists.
The game takes place in a virtual world inside a computer. You play a hacker of
sorts, flying through six levels of cyberspace in search of the artificial
intelligence at the heart of this world.
But there is a twist to the traditional shoot-em approach that makes Rez stand
out.
Virtual DJ Every time you destroy one of the insect-like enemies, a
sound is generated. This sound becomes a form in the scrolling, flashing 3D
computer world rushing past.
Gonzalo Frasca http://www.powerfulrobot.com/web/index_content.html
_______________
Bot Fighters-
http://www.botfighters.com/
location based mobile games
Can
You See Me Now? by Blast Theory
Activating Play
http://www.arts.rpi.edu/%7Eruiz/ExperimentalGameDesignSp04plus/EGD_Prof_Ruiz/ACTIVATINGPLAY/newwebsite/index.html
http://www.arts.rpi.edu/%7Eruiz/ExperimentalGameDesignSp04plus/index.html
Natalie Bookchin
‘The Intruder’ [1999] an experimental adaptation of a short
story by Jorge Luis Borges, and represents a new hybrid form of narrative that
exists on the border of computer and video arcade games, cinema and literature.
http://www.calarts.edu/~bookchin/intruder/
Eric Zimmerman GAmeLab
‘Sissyfight’ [2000]
an intense war between a bunch of girls who are all out to ruin each other's
popularity and self-esteem.
http://www.sissyfight.com
Michelle Teran & Amanda Ramos
The Playgirls [2000]
http://www.ubermatic.org/playgirls/
Thomson & Craighead
‘Trigger Happy’ [1998]
http://www.triggerhappy.org/
Jodi
‘sod’ [2000]
http://sod.jodi.org/
selectparks.net games by artists
http://selectparks.net/
GAME PATCHES
Josephine Starrs & Leon Cmielewski
‘Bio-Tek Kitchen’ [1999] is a Marathon Infinity game patch. In Bio-Tek, the player
cleans up the kitchen laboratory of a home biotech enthusiast using weapons
such as dish cloths and egg flippers.
http://lx.sysx.org/biotek/index.html
Anne Marie Schleiner
‘Madame Polly’ [1998] a video game whose eponymous heroine engages in first person
shooter style combat. The premise of this experimental game is that the near
future is characterized by data "population overcrowding"; it is
flooded with human controlled avatars and software personalities of all ages,
sexes and gene lines. This problem is exacerbated by the emergence of a
prolific hybrid breed of software agents called data ghosts, which are
imprinted personalities of humans who continue to participate, to learn and
thrive well beyond the life span of their physically human bodies.
Playskins
http://www.playskins.com/about.html
Robert Nideffer
Tomb Raider patch [1999]
http://proxy.arts.uci.edu/~nideffer/crack/
Exhibits:
http://switch.sjsu.edu/web/v5n2/index2.html
http://www.banffcentre.ab.ca/WPG/past/language.htm
http://www.re-load.org/
Behavior:
* From Sun
Tzu to Xbox: War and Video Games by Ed Halter
Write a short reaction paper
Write a short reaction paper
* Baudrillard
and Hollywood: subverting the mechanism of control and The Matrix by
Jim Rovira
Write a short reaction paper
* The Oxymoron of
Virtual Violence, J. Baudrillard
Write a short reaction paper
Assignments:
Work with your team on Phase I Proposal of Final Project Presentations: rough
storyboards, concept ideas
Week
6: Class does not meet on Monday, but
will meet on
Tues
Feb 20
Discuss
Behavior:
Social Issues:
Are we constructing our game characters or
are they constructing us?
Military Industrial Entertainment Complex:
* From Sun Tzu to Xbox: War and Video Games
by Ed Halter
* Lenoir-Lowood_TheatersOfWar
* WarCraft
Problematics of Warcraft:
http://www.gamasutra.com/features/20060222/sirlin_01.shtml:
http://www.gamasutra.com/features/20060224/qhong_01.shtml
Two contrasting ideas about Play:
Play creating culture
Homo Ludens written in 1938 by Dutch historian, Johan Huizinga
Huizinga_ Nature Significance of Play.pdf
"play-instinct" as an instinct that emerged very early
in human prehistory - in fact, he sees it as one of humanity's primary
instincts, one which provides the fundament for other elements of society, such
as religious ritual, war, and poetry. He has an esthetic approach to history,
where art and spectacle play an important role. He was held in detention by the
Nazis where he died in 1945.
The Ambiguity of Play
Brian Sutton Smith_ Play and Ambiguity.pdf
by Brian Sutton Smith, a
Play shows us the dark underbelly of the world
Catharsis and inoculation against the dangers of reality
Symbolic side of human culture
A child gets the chance to make mistakes
Adaptation, teaching skills
Introducing us into certain communities
Fate, power, communal identity, frivolity, the imaginary, the self
Jenny Terry: Killer Entertainments: Conditions and Consequences
of Remote Intimacy. The project theorizes remote intimacy by tracing the
relationship between entertainment technologies and militarism in the
The technology brings its military weight to creators.
The Oxymoron of Virtual Violence:
* Baudrillard
and Hollywood: subverting the mechanism of control and The Matrix by
Jim Rovira
* The Oxymoron of
Virtual Violence, J. Baudrillard
Are violent games cathartic or desensitizing?
- See Video & Discuss, An interview with Lt Col. Grossman
Stop Teaching our Children to Kill
Col. Dave Grossman
believes that returning veterans are less likely to engage in violent acts than
civilians, despite the psychological effects of war, because of the discipline
learned while in service. However, he also cautions that "with the advent
ofinteractive 'point-and-shoot' arcade and video games there is significant
concern that society is aping military conditioning, but without the vital
safeguard of discipline. There is strong evidence to indicate that the
indiscriminate civilian application of combat conditioning techniques as
entertainment may be a key factor in worldwide, skyrocketing violent crime
rates, including a sevenfold increase in per capita aggravated assaults in
America since 1956."
LoPiccolo, Phil.
Editor-in-Chief, Computer
Graphics World, Vol 23, Issue7, July 2000
From the FTC youth
violence report http://www.ftc.gov/os/2000/09/pitoftestst.htm
Trigger Happy : Videogames and the Entertainment Revolution by Steven
Poole
Videogames
first came on the market thirty years ago as a marginal technological
curiosity. Now they are virtually everywhere. Videogame sales have equaled
movie sales. They are played by more adults than children, and game design can
even be studied in college. Yet videogames are still often viewed as a minor
form of entertainment, at best shallow, or at worst harmful. Now, Steven Poole
argues that videogames are a nascent art for on track to supersede movies as
the most popular and innovative form of entertainment in
the new century.
- ABOUT WAR:
REALITY: GAMES & GUTS
- Issues & ethics: osma
games nytJanuary 10.htm
- most current: www.americasarmy.com
(absence of blood and gore)
- tried and true: www.counter-strike.net
(lots of blood)
- Tom Clancy based games: http://www.redstorm.com/
(minimal blood)
-Beyond Shoot your Friends http://www.cpandfriends.com/writing/digital-illusion.html
New Ways of seeing the “other”
Saving
the World, One Video Game at a Time .doc
Feb 22
* Students present Phase I
Proposal of Final Project Presentations: rough storyboards, concept ideas
Gender:
* Complete
Freedom of Movement: Video Games as Gendered PlaySpaces by Henry Jenkins
Assignment:
Work on Phase III Game Prototype &
Formal Group Presentation
Feb 26 with formal presentation March 1
Rough Prototype
Week 7:
Feb 26
Discussion:
* Phase
II Rough Prototype of Final Projects Reality Check Studio
Gender:
* Show Laura Croft movie excerpt
* Genderplay:
Successes and Failures in Character Designs for Video games April 16, 2003
posting by Jane
* Skins,
Patches, and Plug-ins Becoming
Woman in the New Gaming Culture http://www.genders.org/g34/g34_polsky.html
* Does Lara Croft wear fake polygons? http://www.opensorcery.net/lara2.html
* Genderizing HCI by Justine
Cassell
* Henry
Jenkins, “Complete Freedom of Movement: Video Games as Gendered PlaySpaces
Addiction:
- The Addictiveness of Games, Steve Meretsky
- Addictive Technologies http://www.cpandfriends.com/writing/addictiv.html
Engagement & Social Formation:
- social conditions in MMORPGs:
http://research.yale.edu/lawmeme/modules.php?name=News&file=article&sid=1222
- From
See: http://www.gamestudies.org/0302/castronova/
-----------
March 1
Phase III
of Final Project: Game
Prototype & Formal Group Presentation
* Genres
Genre and the Video Game:
http://www.robinlionheart.com/gamedev/genres.xhtml
A Taxonomy of Computer
Games by Chris Crawford:
http://www.vancouver.wsu.edu/fac/peabody/game-book/Chapter3.html
General Taxonomy of Game Genres:
“Flash” Games
First-Person Shooters (fps)
Action Games
Real-Time Strategy
Turn-Based Strategy
RPGs
Sports Games
Simulations
Adventure Games
Emerging:
Immersive Reality: majestic
PainStation
Soda Constructor http://www.sodaplay.com/
NGame: http://www.addictinggames.com/ngame.html
PC
Mac
On-line
Dedicated
systems
Hand held
emerging
- Everything
But the Words: A Dramatic Writing Primer for Gamers
by Hal Barwood
- Storytelling in
Action by Bob Bates
- Building
Character- An Analysis of Character Creation by Steve Meretzky
- Building Character By Toby Gard
Assignments:
Prep for Phase IV Game Content
March 12
Week
8:
:::::::::::::::::::::::: BREAK:::::::::::::::::::::::
:::::::::::::::::::::::::ENJOY::::::::::::::::::::::::::::::::::::::::::::::
Week
9:
March
12
*
Phase IV Game Content
Discuss
-
- Building Character By Toby Gard
- Motion
- Characters who look line real
people:
http://www.3dtotal.com/home2/gallery/gallery.asp?cat=character
* Possible Visiting Artist:
presentation of both personal and professional work.
What
is a Game Engine? http://en.wikipedia.org/wiki/Game_engine
List of Game Engines: http://en.wikipedia.org/wiki/List_of_game_engines
Unreal:
http://www.cliffyb.com/rants/ut-ld-tips.shtml
Torque: http://www.garagegames.com/
Python:
http://www.python.org/
XNA:
runtime environment http://www.gamecareerguide.com/features/328/index.php?cid=GCG_MARK_022007
*
Artists who have worked with game engines:
Kurt
Hentschlager
http://epidemic.cicv.fr/geogb/art/gs/kurt/karma.html
Freidrich Kirschner
http://www.aec.at/en/global/press_detail.asp?iPressID=81&iAreaID=3
Paul Marino
http://www.machinima.org/
Workspace Unlimited
http://www.workspace-unlimited.org/vwa_flash.html
Readings:
project research
Assignments:
Phase V
Refinement
__________________
March 15
* Phase V Refinement
Poetics+Emotioneering
In
February's Game Developer magazine, David Freeman, a noted film, television,
and game industry writer and producer explained the important role of emotion
in games. "First of all, many more people watch film and television than
play games. Most will never be lured into playing games until games begin to
offer the emotional range and depth of the entertainment that they're used to
enjoying. Also, a more involving game experience means better word of mouth and
more buzz. The press likes to write about these kinds of games, which results
in more sales. Those creating games with stories and characters without
investing in putting emotional depth into their games will find themselves
further and further behind, and their games will be eclipsed." David
Freeman's webpage http://www.freemangames.com/idea/6_3.php
POETICS & Aristotle (Greek philosopher 384-322 B.C.) http://www.philosophypages.com/ph/aris.htm one of the fathers
of Western Philosophy, wrote over 400 books on nearly everything from mollusks
to immortal souls. He believed there was something wonderful about the whole of
the natural world.
Aristotle invented deductive logic:
Premise: all frogs can swim
Premise: This is a frog
Conclusion: Therefore it can swim
Similar logical structures or syllogisms can be produced with: No frogs” and
“Some frogs”
He is known for induction: These frogs can swim, therefore all frogs can
swim.
His teleological (circular) approach relies on methodological, cautious
tendencies which rely only on what one knows from what ones’ 5 senses tell
them. (This is in opposition to Platonic
tendencies which strive to seek hidden and ultimate mystical truths through the
use of reason.)
Aristotle's Poetics http://classics.mit.edu/Aristotle/poetics.mb.txt
Now I know who thought up plot, character, and grammar and wrote one of the
first style guides. He wrote that tragedy inspires fear and pity. Are any
computer games
tragedy- is it not possible to make and sell them?
His 4 kinds of tragedy: Complex; Pathetic; Ethical and Simple would apply to Computer
Games?
and similarly 4 kinds of epic stories (longer than a circuit of the sun and too
big to be staged)
Epics: "The Iliad is at once simple and 'pathetic,' and the Odyssey
complex (for Recognition scenes run through it), and at the same time 'ethical.'
Moreover, in diction and thought they are supreme." Part XXIV
He seems to say that tragedy is superior to epic but he hedges his bets (as a
Macedonian he had to be wary of Athenian prejudices?).
All of a sudden, Aristotle is everywhere. Following a link from
ludology.org (Thanks, Gonzalo), I found myself in the recently opened
"Armchair Arcade" (www.armchairarcade.com).
And lo and behold, what do I find there? Matt Barton's 'Treatise on
Videogames', in which he applies Aristotle's Poetics to (among others) Space
Invaders.
He writes: "Like tragedies in Aristotle's time, Space Invaders' story is
obvious and irrelevant. We also know how the story must end--eventually, the
player will be destroyed. The 'fun' of this videogame is not the story, but
rather the gameplay. In the case of Space Invaders and other tragic games, the
player's satisfaction arises not from the literary contemplation of a story,
but the measurement of his gameplay skill as represented by the score."
(http://www.armchairarcade.com/aamain/article.php?22.0)
So, Matt thinks Space Invaders is tragic, and - as he later points out -
even cathartic. But is it really? And why do we keep playing it if it cleans
our souls of eleos and phobos? [I am not going into the details about the
different possibilities of translating the according passage in Aristotle, but
for those of you into that sort of thing, there's a short summary and
bibliography on the subject at http://qsilver.queensu.ca/classics/clst312d.htm]
Narrative
The art of telling a good story…..
-Everything But the
Words: A Dramatic Writing Primer for Gamers by Hal Barwood
- Storytelling in
Action by Bob Bates
Assignments:
prep
for Phase VI Further Refinement & Formal Group Presentation
for
March 22
Week 10:
March 19
Inhabiting a virtual space: gamers
maximize their play
experience by performing
belief, rather than actually believing, in the permeability of the game-reality
boundary. http://www.avantgame.com/writings.htm)
Factors::
Flow and Action
Csikszentmihali, M., Flow: the Psychology of Optimal Experience.
Inherent in the escape from reality are factors that are akin to Mihaly
Csikszentmihalyi’s concepts of flow experience where the following occur: 1) a
challenging activity that requires skills, 2) the merging of action and
awareness, 3) clear goals and feedback, 4) concentration on the task at hand,
5) the paradox of control, 6) the loss of self consciousness and 7) the
transformation of time.
see
also see "Communication and Community in Digital Entertainment
Services" prestudy research report by Aki Jarvinen, Satu Helio and Frans
Mayra, University of Tampere, Hypermedia Laboratory pg.20-26.
http://tampub.uta.fi/tup/951-44-5432-4.pdf
Game Play
Gestalt
http://www.tii.se/zerogame/pdfs/CGDClindley.pdf
• McGonigal—A Real Little Game: The Performance of Belief in Pervasive Play
(download pdf, top paper listed at: http://www.avantgame.com/writings.htm)
March
22
* Phase VI:
Formal Group Presentations
Week 11:
March
26
meet
individually with Prof. Ruiz
Project
work and informal critiques on group game which further reflects project
progress and testing.
* Possible user evaluation test plan talk & testing guide if project is developed enough.
* If applicable Craft your User Evaluation Test Plan
Game
Theory
http://william-king.www.drexel.edu/top/eco/game/game.html
History of Game Theory
http://william-king.www.drexel.edu/top/class/histf.html
----------
March 29
Project Work
:::::::::::::::::::::::
Intensive Studio ::::::::::::::::::::::::::
• personal research bibliography
•
Salen/Zimmerman pp. 377-419; 461-489 (Chapters 26 Games as Narrative Play and
28 Games as Social Play)
Assignments:
Phase
VII Project Work
Week 12:
April 2
::::::::::::::::::::::: Intensive Studio
::::::::::::::::::::::::::
April 5
Phase VIII Final Project Pre-Reviews & Formal Group
Presentation
Discuss
*
User
evaluation test plan
Assignments:
Phase
VIII Final Project Pre-Reviews
also if
applicable: User Evaluation Testing
Summary and Recommendations
Week
13:
April 9
Phase IX- Perfected Game Festival-Ready
Games due
Also
due:
*
well designed game design document
*
project blurb & image page
*
project posters
Please
ensure that all work is spell checked.
It
must be printed and also submitted on labeled CD
-----
REQUIRED Lecture:
April 11- Ed Halter: War and Videogames
Location: West Hall Auditorium
Time: 7:30 PM
Admission: FREE
Halter’s multi-media lecture on the historical relationship between the
video game industry and the US Military, unveils the deep, dark ways in which
our most profitable form of entertainment gets us ready for war. www.edhalter.com
----------------
April 12
Intensive studio
Assignments:
preparation for Game Festival
:::::::::::::::GAME FESTIVAL APRIL 13 & 14::::::::::::::::::
Week 14:
April 16
Post Mortums
--------------
April
19
Post Mortums
Week
15
April
23
*
Phase X- Revised Games
Presentations
Final input for critiques
------------
April
26
*
Phase X- Revised Games
Presentations
Final input for critiques
Assignments:
complete and refine all work on
final projects for
Final Completed Game Project:
* CD # 1: your game and your game design document in
html format with all relevant files in a folder labeled:
yournamefinalproject.html for example, if I were a student, my files would be
accessed by: ruizfinalproject.html
* Printed posters
* Printed Final Game Design
Document
Week 16:
April 30::::::::::::::::FINAL
PROJECT REVIEWS &
:::::::LAST DAY FOR FINAL PROJECTS SUBMISSION
Formal Review and discussion of all games
Final Completed Game Project:
*
CD # 1: your game
and your game design document in
html format with all relevant files in a folder labeled: yournamefinalproject.html for example, if I were a
student, my files would be accessed by: ruizfinalproject.html
* Printed posters
* Printed Final Game
Design Document
Discuss the future of games, simulation and upcoming
developments.
* The Game Industry
Hyman,
The Studio Stance