"Game Feel" exposes "feel" as a hidden language in game design that no one has fully articulated yet. The language could be compared to the building blocks of music (time signatures, chord progressions, verse) - no matter the instruments, style or time period - these building blocks come into play. Feel and sensation are similar building blocks whe

The biggest challenge facing many game programmers is completing their game. Most game projects fizzle out, overwhelmed by the complexity of their own code. Game Programming Patterns tackles that exact problem. Based on years of experience in shipped AAA titles, this book collects proven patterns to untangle and optimize your game, organized as independent recipes so you can pick just the patterns you need. You will learn how to write a robust game loop, how to organize your entities using components, and take advantage of the CPUs cache to improve your performance. You'll dive deep into how scripting engines encode behavior, how quadtrees and other spatial partitions optimize your engine, and how other classic design patterns can be used in games.

Applying a cultural sociology of performance, this book interrogates how the meaning of sport intersects with gender. Trygve B. Broch points out uncertainties in the causal arguments made by key figures in the cultural studies tradition, instead advancing a meaning-centered study of sports as involving both a social and an athletic performance. Sports not only reflect or reverse social realities, but capture and keep our attention when we use and experience them as a means to reflect on social life, injustice, and hierarchy. More specifically, blending approaches from media studies with ethnography, Broch explores the women-dominated sport of handball in Norway, a country that considers gender equality a basis of democracy. As such, the analyses here show how broadly available meanings about sameness and equality are mediated and experienced through a performative feel for the game.

The legendary Baltimore Ravens linebacker assesses the state of football while recounting his troubled youth, his rise to athletic fame, and the allegations that threatened his NFL career.

What is cute and pink and chases its tail? Skitty! And when this little Pokemon is in trouble, who comes to its rescue? (It is not who you would think!.).

Discusses the essential elements in creating a successful game, how playing games and learning are connected, and what makes a game boring or fun.

An investigation of the embodied engagement between the playing body and the videogame: how player and game incorporate each other. Our bodies engage with videogames in complex and fascinating ways. Through an entanglement of eyes-on-screens, ears-at-speakers, and muscles-against-interfaces, we experience games with our senses. But, as Brendan Keogh argues in A Play of Bodies, this corporal engagement goes both ways; as we touch the videogame, it touches back, augmenting the very senses with which we perceive. Keogh investigates this merging of actual and virtual bodies and worlds, asking how our embodied sense of perception constitutes, and becomes constituted by, the phenomenon of videogame play. In short, how do we perceive videogames? Keogh works toward formulating a phenomenology of videogame experience, focusing on what happens in the embodied engagement between the playing body and the videogame, and anchoring his analysis in an eclectic series of games that range from mainstream to niche titles. Considering smartphone videogames, he proposes a notion of co-attentiveness to understand how players can feel present in a virtual world without forgetting that they are touching a screen in the actual world. He discusses the somatic basis of videogame play, whether games involve vigorous physical movement or quietly sitting on a couch with a controller; the sometimes overlooked visual and audible pleasures of videogame experience; and modes of temporality represented by character death, failure, and repetition. Finally, he considers two metaphorical characters: the “hacker,” representing the hegemonic, masculine gamers concerned with control and configuration; and the “cyborg,” less concerned with control than with embodiment and incorporation.