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Game invaders : the theory and understanding of computer games / Clive Fencott [and others].

Contributor(s): Fencott, P. C.
Material type: materialTypeLabelBookSeries: IEEE Computer Society Publications.Publisher: Hoboken, New Jersey : Wiley, IEEE Press ; 2012Description: 1 online resource.Content type: text Media type: computer Carrier type: online resourceISBN: 9781118347577; 1118347579; 9781118347553; 1118347552; 9781118347560; 1118347560; 9781118347584; 1118347587.Subject(s): Computer games | Computer games -- Design | Video games | Video games -- Design | COMPUTERS -- Programming -- Games | Computer games | Computer games -- Design | Video games | Video games -- Design | COMPUTERS -- Programming -- GamesGenre/Form: Electronic books. | Electronic books.Additional physical formats: Print version:: Game invaders.DDC classification: 794.8 Other classification: COM012040 Online resources: Wiley Online Library
Contents:
Why Do People Play Games? -- You Are the One -- Tools to Think With -- Getting Started -- Genre -- What Are Genres? -- What Are Genres For? -- Genre Maps -- Computer Game Genres -- A Theory of Computer Game Genres -- Activity -- The Story of Activity Groups -- An Overview of Activity Profiles -- Three Driving Games -- Calculating Genres -- Tasks -- Pleasure -- Aesthetics and Computer Games -- Spacewar -- Zork -- Pac-Man -- Comparative Aesthetics -- Tasks -- Two Rail-Shooters -- Star Fox and Rez -- Activity Profiling and Genre Theory -- Applying Aesthetic Theory -- The Method of Game Analysis -- Tetsuya Mizuguchi, Rez, and Beyond -- Why Don't People Play Games -- What Do We Mean by Games? -- Resident Evil -- Why Not Ask the Players? -- Emotional Models of Play -- Player Types -- Demographic Research -- Why Don't People Play Games? -- Conclusions -- What Is a Game? -- Just an Ordinary Day -- The Glass Vial -- Unrealisms -- Perceptual Opportunities -- Sureties -- Surprises -- Attractors -- Connectors -- Rewards -- Getting It All Together in SinCity -- Perceptual Mapping in SinCity -- AS-OceanFloor -- Big Bad Streets -- Driver School -- Sureties -- Surprises -- Driver and SinCity Comparisons -- Time to Visit Yokosuka -- Shenmue -- Genre and Activity Profile -- Aesthetics -- Shenmue POs -- PSAS and Cut Scenes -- Interactive Storytelling? -- And On With General Aesthetics -- Meaning What? -- Semiotics and Signs -- Pac-Man's Signs -- Icons, Indexes, and Symbols -- Denotation, Connotation, and Myth -- Syntagms and Paradigms -- Codes -- Making Up Pac-Man -- Filling Gaps -- All Work and Play -- The Work of Meaning -- Signs of Interaction -- The Mechanics of Interaction -- The Inside-Out Code -- Where Is the Player? -- Big Game Hunting -- Semiosphere -- The Code of Interaction -- The Myth of Interaction -- What Is a Game? -- How Do You Get Out of Here? -- Big Game Hunting -- Glossary -- List of Games -- Bibliography -- Index.
Summary: "Introduces a practical critical method for analyzing existing games and designing future games"-- Provided by publisher.
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"Introduces a practical critical method for analyzing existing games and designing future games"-- Provided by publisher.

Includes bibliographical references and index.

Print version record and CIP data provided by publisher.

Part I. Why Do People Play Games? -- 1. You Are the One -- Tools to Think With -- Getting Started -- 2. Genre -- What Are Genres? -- What Are Genres For? -- Genre Maps -- Computer Game Genres -- A Theory of Computer Game Genres -- 3. Activity -- The Story of Activity Groups -- An Overview of Activity Profiles -- Three Driving Games -- Calculating Genres -- Tasks -- 4. Pleasure -- Aesthetics and Computer Games -- Spacewar -- Zork -- Pac-Man -- Comparative Aesthetics -- Tasks -- 5. Two Rail-Shooters -- Star Fox and Rez -- Activity Profiling and Genre Theory -- Applying Aesthetic Theory -- The Method of Game Analysis -- Tetsuya Mizuguchi, Rez, and Beyond -- 6. Why Don't People Play Games -- What Do We Mean by Games? -- Resident Evil -- Why Not Ask the Players? -- Emotional Models of Play -- Player Types -- Demographic Research -- Why Don't People Play Games? -- Conclusions -- Part II. What Is a Game? -- 7. Just an Ordinary Day -- The Glass Vial -- Unrealisms -- Perceptual Opportunities -- Sureties -- Surprises -- Attractors -- Connectors -- Rewards -- Getting It All Together in SinCity -- Perceptual Mapping in SinCity -- AS-OceanFloor -- 8. Big Bad Streets -- Driver School -- Sureties -- Surprises -- Driver and SinCity Comparisons -- 9. Time to Visit Yokosuka -- Shenmue -- Genre and Activity Profile -- Aesthetics -- Shenmue POs -- PSAS and Cut Scenes -- Interactive Storytelling? -- And On With General Aesthetics -- 10. Meaning What? -- Semiotics and Signs -- Pac-Man's Signs -- Icons, Indexes, and Symbols -- Denotation, Connotation, and Myth -- Syntagms and Paradigms -- Codes -- Making Up Pac-Man -- Filling Gaps -- 11. All Work and Play -- The Work of Meaning -- Signs of Interaction -- The Mechanics of Interaction -- The Inside-Out Code -- Where Is the Player? -- 12. Big Game Hunting -- Semiosphere -- The Code of Interaction -- The Myth of Interaction -- What Is a Game? -- How Do You Get Out of Here? -- Big Game Hunting -- Glossary -- List of Games -- Bibliography -- Index.

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