fromthenormsofagameappealingtoadults.Changingthenormsofagoodgameleadstoadifferentsetofdesignrecommendations.
The norms for a game made for children will be different from the norms of a game thats designed for adults. Changing the norms of a good games changes the set of design recommendations.
Becausegameplayersbecometheircharacters,gamewritersshouldconfinethemselvestosingle-person,limitedpointofview.Thismeansthattheplayershouldneverbeshownortoldanythingthatthecharacterhas not experienced directly.
Since players become their characters they play, game designers should limit themselves to a single person point of view, this means that the layer should never be shown or told something that they have not experienced directly.
Thediscussionfocussedonwhatisagoodgameandhowtodesignthosekindsofgames.Designapproachesaredrivenbynorms.
One theory about what makes a good game is using design approaches that are driven by what is normal to the player.
As the design process itself takes place in its own context as well, designers additionally need to be aware that values of their own design context may become part of the game design.Therefore, a critical view towards the design choices and underlying design assumptions needs to be taken.
Designers also need to be aware that values of their design context might become part of the game design, which means they have to pay close attention to the design choices they make.
Considering the possible contexts in which the game will be played during the designprocess, requires the designer to investigate and form a model of the intended user.
Considering that the game might be played during the design process, this means that the designer might have to form a model of the intended user.
The game designer is in direct control of establishing the mechanics, whilethe aesthetics that players perceiveare separated from them in time, space, and context. Reversely, the player directly perceives the aesthetics while the me-chanics can only be experienced through the dynamics of gameplay.This conceptual-ization of game design as a second-order design problem emphasizes the complexity of predicting how design choices affect the player experience.
The game designer decides on the mechanics of the game while the aesthetics are separated from them in time, space and context, the player considers and recognizes the aesthetics of the game while the mechanics can only be experiences through playing the game. This makes it hard to predict how the design choices affect the player experience.
We will do so by pointing out a number of different, and often opposing, perspectives. From a user perspective, we will start with the different views that designers and users haveof the game.
Users and designers usually have opposing perspectives of the purpose of the game.
Consider-ing this context for which a serious game is designed is therefore an important step of the design process: from this context stems an important set of specific design require-ments for the serious game.
It is difficult for game designers to develop an effective serious game as they do not know the specific context that the game will be played in and the cultural aspects that can affect the players experience. Therefore it is important to have a set of specific design requirements for the serious game.
This chapter provides an over-view ofvarious approaches, models, and frameworks that can be used to support the design and development of serious games.
This paper provides an overview of different approaches that can be used to support the design and development of serious games.
In other words, transplant gamesactually have changed the gameplay that is relied onby the original games, and there is surely not absoluteguarantee that new designed games can be successfulin new platforms
Games that are transferred from PC/ console have changed the gameplay that was originally made for a different platform which makes it not guaranteed that the game will be successful in the new platform.
The present interaction ways have great lim-itations, which not only make the properties ofsmartphones not be used fully, but result in that theentertainment experience and playability of directlytransplanted games are far less than those installedon computers or professional game devices
The current smarthphone interaction ways are very limited, which makes the experience of mobile games way less enjoyable than console or pc.
How-ever, based on the market survey, it is founded thatthe current smartphone-games on the market is caughtin a serious homogenization, and most smartphone-games are directly transplanted from computer gamesor the console games, and there are few games devel-oped for smartphones specifically [10].
It has been recently found, that most mobile games are transferred from computer or console games, and there are few games that are specifically designer just for mobile.
In this trend, smartphone-game seems to bepopular overnights, and how to use the characteristicsof the smartphones plus the advantages of the networkto improve the attraction of smartphone-games is cru-cial for the smartphone-game developers to makesuccess in the fierce market competition
Game developers understanding the use of characteristics of the smartphone to improve the appeal of mobile games is very important to become successful within the market.
The interface is the only∗Correspondingauthor. ZheJi.E-mail:rckr515119@126.com.way for users to have interaction with smartphone-games, so the games’ interface interaction design willfinally define whether the game will be successful.
Since the interface is the only way for users to have interaction with the smartphone games, the games interface interaction will define whether the game will be a success.
due to the limitation of interactiondesign, users always feel the gameplay experience onsmartphones is weaker than that on the personal com-puters or game consoles
Due to the limitation of interaction design in mobile games, users feel the experience is not as good as on a computer or console.
This study can provide technical support forthe analysis of smartphone-game interface design.
This study can be used to provide technical support and further understanding of the smartphone game interface design.
By analyzingthe development process and the main features of smartphone-games, the current status of smartphone-games design arepresented, and three kinds of prototype methods are used to combine the interactive design process and the managementprocess which are devoted to improve the interface design
By analyzing the development process, the current state of smartphone games and the protyping methods, we can understand how we can improve the interface design.
this study focus on how to provide better experience for users and make up for the rapid prototypemethod in designing user interface to provide some references for smartphone-game interface designers.
This study focuses on how designers can provide a better experience for users and to make up for the fast prototyping methods for the smartphone interface designers.
It seems clear that the growing complexity of the real world will pose a growing challenge to game designers, which reshapes the way we need to look at game design even now.
Its clear that the growing difficulty of the world will become a threat to game designers, which changes the way we need to look at game design.
The aim of this article is to look into the current state of understanding complexity in simulation gaming and put it in the context of learning with and through complexity.
The aim of this article is to look into the current problem in simulation gaming and design and learn with the problems or through these circumstances.
changes to the way we design simulation games nowadays call for better research and design methods
The way we design games nowadays needs better design methods and more research.
This article offers another look at the complexity in simulation game design and implementation.
This article looks at the problem of design and implementation inn simulation games.
Without any available effective commu-nication tool between designers, artists and programmers, it has been achallenge to conceive and deliver a cohesive concept of a virtual en-vironment into a digital game.
Without any universal communication tool or design system between designers and programmers, it is hard to create a cohesive concept of a virtual environment into a game.
The interview participants pointed outthat without any clear design methodology, the quality of result greatlydepends on a few senior designers’experiences.
The interviewee's said that without a clear design system, the quality of the game depends on the few more experienced game designers.
Amongthe 106 responses collected, the answer to the lack of universal designmethodology was most repeated 36 times. The second most frequentlycollected answer with 34 answers is issues of communication betweendifferent teams and individuals.
Game designers were interviewed to ask their opinion on what's the most challenging part of game design and the most repeated answer was the lack of a universal design system that they can all use, the second most frequent answer was the issues with communication between team members.
,itiscritical to establish a precise design methodology to develop a digitalgame.
It is very important to establish an exact design system to develop a game.
Choi[1] mentioned that de-signing a virtual landscape requires the same amount of effort as creatinga digital game itself. Therefore, designing a virtual environment require agreat amount of manpower and usually is the most time-consumingprocess within game designing.
Designing a virtual game environment requires the same amount of effort as creating a game itself. Designing a game takes a large amount of workforce and is usually the most time-consuming process for game designers.
Contrary toother areas of game design such as designing characters, UI, rules withinthe game, designing a virtual environment of a digital game requires acomprehensive consideration as well as extensive editing of the variousdigital game components.
Designing a virtual environment for you game requires a lot of consideration and substantial editing of the many digital game components.
Furthermore, the use of standardized tools can bring industry and academiacloser, contributing to build a universal knowledge base of game design. Thedesign document, the main tool cur-rently used, is considered by many authorsas inappropriate to such aspirations.
Using standardized tools can help the industry build a universal knowledge base of game design.
On one hand, professionals andcompa-nies crave for tools that allow them to improve production and reducethe risks of investment in new projects. On the other, independent developersand beginners seek for tools that can bring them productivity and directions.
Designers want tools that will help them improve the production of games while also reducing the risk of investing into new projects that may fail. New developers want tools that will help guide them in the right direction and increase productivity.
The Game design lacks a shared tool box containing both broad applicationsolu-tions and specific to certain genres of games.
The game design process doesnt have a broad application solution to designing games and also specific to certain genres
They proposed conceptual and concrete tools that couldcomplement or replace the design document, aiming improvements to the gamescreation process.This paper presents a systematization of these efforts through a chronologicaloverview of the main approaches and their implementations, in order to mapthem within the context of the state of art of design tools.
Paper contains new proposed ways of improving the game design/creation process.
With the emergence of new technologies, production tools have evolved consid-erably, but little has been made to provide support to game design. Designersstill use the same instruments from the beginning of the area and, although theindustry has seen con-secutive successes in sales, researchers and professionalsagree that the lack of tools, whether conceptual or software, imposes a barrier toany standardization attempt and hinders the knowledge transfer between gen-erations of designers.
Talks about how the current game design process is flawed and there is no standardization to the game design process which makes it hard for knowledge to be passed through generations of designers.
This paper presents a sys-tematization over thecontributions of researchers and designers towards con-ceptual and con-crete tools. These efforts converge to two approaches: the build of ashared design vocabulary and a game design modeling language.
This paper contains useful information about approaches to game design.
onsequently, research has revealed that many game scholars have shared an interest in observing and categorizing player’s behavior to explain how and why they are engaged with various gaming experiences
Many game scholars are interested in observing the payers behavior to understand why and how they are engaged in various game experiences.
At present, many of these typologies encourage game designers to use these models as part of their design (e.g. [19]) or at least to consider their aspects as a lens to view the experience (or parts of it) through. This is often with the intention of improving customer engagement and motivation (i.e. via gamification) with an experience or product
Game designers are ecouraged to use typologies from players as part of their design process, this can be used with the intention of improving the customer engagement with the product.
Ideally, for game designers to design and connect with a player’s needs, they need to create meaningful experiences. Personalized and tailored game experiences have been the focus of many studies
Game designers need to create a meaningful experience for players to connect with their needs. Personalized game experiences have been the main focus of many studies.
In this way, game designers can then utilize this information towards the design of more tailored (game and gamified) experiences based on what players prefer, with the potential for producing more meaningful interactions for the player.
By studying players gaming experiences, game designers can use the information towards their game design process to create a better experience for the players
Many approaches to the topic of player-centered design have resulted in the development of player typologies to understand the kind of ex-periences that draw in players and how players behave towards and within them. P
The many approaches to players centered game design have resulted in better understanding of how to create experiences that players are drawn into.