Creating Emotion In Games

Master the future in game development and design by learning how to create emotional immersion in games, known as emotioneering. - Packed with 150 hands-on techniques that can be applied immediately to any game in development. - Author is highly sort after and works with companies including Microsoft, Sony, Activision, and Midway and also speaks regularly at the Game Developers Conference and DICE. - Foreword by Wil Wright, the creator of The Sims.

Freeman brings readers the insider scoop on how to apply the emotioneering techniques he's so well known for. He teaches readers how to identify and apply his techniques so that they can apply these same techniques and better their games.

An engaging examination of how video game design can create strong, positive emotional experiences for players—with examples from popular, indie, and art games. This is a renaissance moment for video games—in the variety of genres they represent, and the range of emotional territory they cover. But how do games create emotion? In How Games Move Us, Katherine Isbister takes the reader on a timely and novel exploration of the design techniques that evoke strong emotions for players. She counters arguments that games are creating a generation of isolated, emotionally numb, antisocial loners. Games, Isbister shows us, can actually play a powerful role in creating empathy and other strong, positive emotional experiences; they reveal these qualities over time, through the act of playing. She offers a nuanced, systematic examination of exactly how games can influence emotion and social connection, with examples—drawn from popular, indie, and art games—that unpack the gamer’s experience. Isbister describes choice and flow, two qualities that distinguish games from other media, and explains how game developers build upon these qualities using avatars, non-player characters, and character customization, in both solo and social play. She shows how designers use physical movement to enhance players’ emotional experience, and examines long-distance networked play. She illustrates the use of these design methods with examples that range from Sony’s Little Big Planet to the much-praised indie game Journey to art games like Brenda Romero’s Train. Isbister’s analysis shows us a new way to think about games, helping us appreciate them as an innovative and powerful medium for doing what film, literature, and other creative media do: helping us to understand ourselves and what it means to be human.

Level design connects the player to the game through challenges, experiences, and emotions. This book is an invaluable introduction to the evolving practices of Level Designers across the games industry. The increasingly complex role of the Level Designer requires technical and creative skill as it brings together architecture, art, player psychology, interaction design, usability, and experience design. This book explores in detail the principles designers employ when planning levels and building engaging spaces for the player. As well as practical approaches to level design, the book delves into the theoretical underpinnings of the processes and charts a path towards thinking like a Level Designer. Throughout the book you will be guided through the fundamentals of level design: each chapter builds on the types of research, ideation, best practices, and methodologies Level Designers employ when creating prototypes and shipped games. A series of interviews with designers and case studies from game studios examine the application of industry-wide expertise used to create triple-A and indie game titles. By the end of this book you will have gained valuable insight into the role of a Level Designer and be able to devise, plan, and build your own engaging and entertaining game levels.

This book presents an overview of the emerging field of emotion in videogame soundtracking. The emotional impact of music has been well-documented, particularly when used to enhance the impact of a multimodal experience, such as combining images with audio as found in the videogames industry. Soundtracking videogames presents a unique challenge compared to traditional composition (for example film music) in that the narrative of gameplay is non-linear – Player dependent actions can change the narrative and thus the emotional characteristics required in the soundtrack. Historical approaches to emotion measurement, and the musical feature mapping and music selection that might be used in video game soundtracking are outlined, before a series of cutting edge examples are given. These examples include algorithmic composition techniques, automated emotion matching from biosensors, motion capture techniques, emotionally-targeted speech synthesis and signal processing, and automated repurposing of existing music (for example from a players own library). The book concludes with some possibilities for the future.

How can video games be fun and immerse players in fantastic worlds where anything seems possible? How can they be so engaging to have become the main entertainment product for children and adults alike? In On the Way to Fun, the author proposes a possible answer to these questions by going back to the roots of gaming and showing how early games, as

"Explains what level design is and how to use it to make engaging video games"--

How gaming intersects with systems like history, bodies, and code Why do we so compulsively play video games? Might it have something to do with how gaming affects our emotions? In Playing with Feelings, scholar Aubrey Anable applies affect theory to game studies, arguing that video games let us “rehearse” feelings, states, and emotions that give new tones and textures to our everyday lives and interactions with digital devices. Rather than thinking about video games as an escape from reality, Anable demonstrates how video games—their narratives, aesthetics, and histories—have been intimately tied to our emotional landscape since the emergence of digital computers. Looking at a wide variety of video games—including mobile games, indie games, art games, and games that have been traditionally neglected by academia—Anable expands our understanding of the ways in which these games and game studies can participate in feminist and queer interventions in digital media culture. She gives a new account of the touchscreen and intimacy with our mobile devices, asking what it means to touch and be touched by a game. She also examines how games played casually throughout the day create meaningful interludes that give us new ways of relating to work in our lives. And Anable reflects on how games allow us to feel differently about what it means to fail. Playing with Feelings offers provocative arguments for why video games should be seen as the most significant art form of the twenty-first century and gives the humanities passionate, incisive, and daring arguments for why games matter.

The core message of this book is: computer games best realise affective interaction. This book brings together contributions from specialists in affective computing, game studies, game artificial intelligence, user experience research, sensor technology, multi-modal interfaces and psychology that will advance the state-of-the-art in player experience research; affect modelling, induction, and sensing; affect-driven game adaptation and game-based learning and assessment. In 3 parts the books covers Theory, Emotion Modelling and Affect-Driven Adaptation, and Applications. This book will be of interest to researchers and scholars in the fields of game research, affective computing, human computer interaction, and artificial intelligence.