How game designers can use the psychological phenomenon of loss aversion to shape player experience. Getting something makes you feel good, and losing something makes you feel bad. But losing something makes you feel worse than getting the same thing makes you feel good. So finding $10 is a thrill; losing $10 is a tragedy. On an “intensity of feeling” scale, loss is more intense than gain. This is the core psychological concept of loss aversion, and in this book game creator Geoffrey Engelstein explains, with examples from both tabletop and video games, how it can be a tool in game design. Loss aversion is a profound aspect of human psychology, and directly relevant to game design; it is a tool the game designer can use to elicit particular emotions in players. Engelstein connects the psychology of loss aversion to a range of phenomena related to games, exploring, for example, the endowment effect—why, when an object is ours, it gains value over an equivalent object that is not ours—as seen in the Weighted Companion Cube in the game Portal; the framing of gains and losses to manipulate player emotions; Deal or No Deal’s use of the utility theory; and regret and competence as motivations, seen in the context of legacy games. Finally, Engelstein examines the approach to loss aversion in three games by Uwe Rosenberg, charting the designer’s increasing mastery.

The Structure of Game Design is designed to help aspiring and existing game designers turn their ideas into working games. Creating a game involves understanding the core foundational elements of all types of games from paper-based games to the latest video games. By understanding how these core principles work in all types of games, you can apply these same principles to design your own game. Games are about goals, structure, play and fun. While everyone will always have their own idea of what might be “fun”, any game designer can maximize player enjoyment through meaningful choices that offer various risks and rewards. Such challenges, combined with rules and limitations, force players to overcome obstacles and problems using a variety of skills including dexterity, puzzle solving, intelligence, and strategy. Essentially games allow players to venture forth into new worlds and overcome problems in a safe but exciting environment that allows them to triumph in the end. Just as playing games have proven popular around the world to all ages, genders, and cultures, so has game designing proven equally popular. Games can challenge players to make the best move, solve puzzles, engage in combat, manage resources, and tell stories. By understanding how randomness, psychology, and balance can change the way games play, readers can decide what game elements are best for their own game creation. Whether your goal is to make money, learn something new, make a social statement, improve on an existing game idea, or challenge your artistic, programming, or design skills, game design can be just as much fun as game playing. By knowing the parts of a game, how they work, how they interact, and why they’re fun, you can use your knowledge to turn any idea into a game that others can play and enjoy.

The independent developer has ascended, and the new business model demands agility. You have to be able to work on all aspects of game creation, and your team's game will publish directly to platforms like Android, iPhone, and Facebook. You'll use Unity, the hottest game engine out there, to do it. In order to earn your place on the elite development team, you must master both sides of the development coin: art and programming. Holistic Game Development with Unity is an authoritative guide to creating games in Unity. Taking you through game design, programming, and art, Penny de Byl uses a holistic approach to equip you with the multidisciplinary skills you need for the independent games industry. With this book, you will master essential digital art and design principles while learning the programming skills necessary to build interactivity into your games. The tutorials will put these skills into action. The companion website offers: source code for completed projects from the book, art assets, instructional videos, a forum, author blog and lesson plans and challenge questions for professors. Examines art and programming in unison-the only one-stop shop for individual developers and small teams looking to tackle both tasks.

An important new voice provides an empowering look at why video games need feminism—and why all of us should make space for more play in our lives. You play like a girl: It’s meant to be an insult, accusing a player of subpar, un-fun playing. If you’re a girl, and you grow up, do you “play like a woman”—whatever that means? In this provocative and enlightening book, Shira Chess urges us to play like feminists. Playing like a feminist is empowering and disruptive—it exceeds the boundaries of gender yet still advocates for gender equality. Roughly half of all players identify as female, and “Gamergate” galvanized many of gaming’s disenfranchised voices. Chess argues games are in need of a creative platform-expanding, metaphysical explosion—and feminism can take us there. She reflects on the importance of play, playful protest, and how feminist video games can help us rethink the ways that we tell stories. Feminism needs video games as much as video games need feminism. Play and games can be powerful. Chess’s goal is for all of us—regardless of gender orientation, ethnicity, ability, social class, or stance toward feminism—to spend more time playing as a tool of radical disruption.

The ethics and experience of “treacherous play”: an exploration of three games that allow deception and betrayal—EVE Online, DayZ, and Survivor. Deception and betrayal in gameplay are generally considered off-limits, designed out of most multiplayer games. There are a few games, however, in which deception and betrayal are allowed, and even encouraged. In Treacherous Play, Marcus Carter explores the ethics and experience of playing such games, offering detailed explorations of three games in which this kind of “dark play” is both lawful and advantageous: EVE Online, DayZ, and the television series Survivor. Examining aspects of games that are often hidden, ignored, or designed away, Carter shows the appeal of playing treacherously. Carter looks at EVE Online’s notorious scammers and spies, drawing on his own extensive studies of them, and describes how treacherous play makes EVE successful. Making a distinction between treacherous play and griefing or trolling, he examines the experiences of DayZ players to show how negative experiences can be positive in games, and a core part of their appeal. And he explains how in Survivor’s tribal council votes, a player’s acts of betrayal can exact a cost. Then, considering these games in terms of their design, he discusses how to design for treacherous play. Carter’s account challenges the common assumptions that treacherous play is unethical, antisocial, and engaged in by bad people. He doesn’t claim that more games should feature treachery, but that examining this kind of play sheds new light on what play can be.

A study of the gruesome game characters we love to beat—and what they tell us about ourselves. Since the early days of video games, monsters have played pivotal roles as dangers to be avoided, level bosses to be defeated, or targets to be destroyed for extra points. But why is the figure of the monster so important in gaming, and how have video games come to shape our culture’s conceptions of monstrosity? To answer these questions, Player vs. Monster explores the past half-century of monsters in games, from the dragons of early tabletop role-playing games and the pixelated aliens of Space Invaders to the malformed mutants of The Last of Us and the bizarre beasts of Bloodborne, and reveals the common threads among them. Covering examples from aliens to zombies, Jaroslav Švelch explores the art of monster design and traces its influences from mythology, visual arts, popular culture, and tabletop role-playing games. At the same time, he shows that video games follow the Cold War–era notion of clearly defined, calculable enemies, portraying monsters as figures that are irredeemably evil yet invariably vulnerable to defeat. He explains the appeal of such simplistic video game monsters, but also explores how the medium could evolve to present more nuanced depictions of monstrosity.

A deep dive into practical game design through playful philosophy and philosophical play. What are video games made of? And what can that tell us about what they mean? In The Stuff Games Are Made Of, experimental game maker Pippin Barr explores the materials of video game design. Taking the reader on a deep dive into eight case studies of his own games, Barr illuminates the complex nature of video games and video game design, and the possibilities both offer for exploring ideas big and small. Through a variety of engaging and approachable examples, Barr shows how every single aspect of a game—whether it is code, graphics, interface, or even time itself—can be designed with and related to the player experience. Barr’s experimental approach, with its emphasis on highly specific elements of games, will leave readers armed with intriguing design philosophy, conceptual rigor, and diverse insights into the inner life of video games. Upon finishing this book, readers will be ready to think deeply about the nature of games, to dive into expressive and experimental game design themselves, or simply to play with a new and expanded mindset.