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      GameDev.net and CRC Press have teamed up to bring a free ebook of content curated from top titles published by CRC Press. The freebook, Practices of Game Design & Indie Game Marketing, includes chapters from The Art of Game Design: A Book of Lenses, A Practical Guide to Indie Game Marketing, and An Architectural Approach to Level Design. The GameDev.net FreeBook is relevant to game designers, developers, and those interested in learning more about the challenges in game development. We know game development can be a tough discipline and business, so we picked several chapters from CRC Press titles that we thought would be of interest to you, the GameDev.net audience, in your journey to design, develop, and market your next game. The free ebook is available through CRC Press by clicking here. The Curated Books The Art of Game Design: A Book of Lenses, Second Edition, by Jesse Schell Presents 100+ sets of questions, or different lenses, for viewing a game’s design, encompassing diverse fields such as psychology, architecture, music, film, software engineering, theme park design, mathematics, anthropology, and more. Written by one of the world's top game designers, this book describes the deepest and most fundamental principles of game design, demonstrating how tactics used in board, card, and athletic games also work in video games. It provides practical instruction on creating world-class games that will be played again and again. View it here. A Practical Guide to Indie Game Marketing, by Joel Dreskin Marketing is an essential but too frequently overlooked or minimized component of the release plan for indie games. A Practical Guide to Indie Game Marketing provides you with the tools needed to build visibility and sell your indie games. With special focus on those developers with small budgets and limited staff and resources, this book is packed with tangible recommendations and techniques that you can put to use immediately. As a seasoned professional of the indie game arena, author Joel Dreskin gives you insight into practical, real-world experiences of marketing numerous successful games and also provides stories of the failures. View it here. An Architectural Approach to Level Design This is one of the first books to integrate architectural and spatial design theory with the field of level design. The book presents architectural techniques and theories for level designers to use in their own work. It connects architecture and level design in different ways that address the practical elements of how designers construct space and the experiential elements of how and why humans interact with this space. Throughout the text, readers learn skills for spatial layout, evoking emotion through gamespaces, and creating better levels through architectural theory. View it here. Learn more and download the ebook by clicking here. Did you know? GameDev.net and CRC Press also recently teamed up to bring GDNet+ Members up to a 20% discount on all CRC Press books. Learn more about this and other benefits here.
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the games with the most influence on your life

29 posts in this topic

Rock n` Roll Racing (fun and style),

The Lost Vikings 2 (gameplay),

Fallout 1 (style, atmosphere and history),

Soul Reaver 1 (atmosphere, history and gameplay...and ozar midrashim),

GTA 3 (freedom and fun),

Super Metroid (style and gameplay),

Super Bomberman 4 (fun and gameplay),

AvsP 2 (atmosphere, gameplay),

Super Mario World (gameplay and fun),

Legend of Mana (art and style).

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As a child, I gained a very deep sense about what makes games terrible via Atari 2600’s E.T. the Extra-Terrestrial.  The seeds of understanding a player’s frustration at not knowing what to do and trying to do it with awful controls were planted.  Many games would later be examples of both good and bad gameplay, but being so young and the sheer level of bad it had reached made this one of the lessons learned with greatest impact.

 

Super Mario World was the first game I owned for myself, and it was the first to get me thinking about technical details behind how the computer works.  It got me asking the important questions: “How does it know to jump when I hit the button?  How does it know I hit a block or fell into lava?”.  I was 8.

 

Mario Paint would likely end up being the single most influential.  When I was 10, it allowed me to get into the R&D side of game development that would later be my career.

I wanted to animate sprites growing, shrinking, and rotating, but without built-in tools you had to do it manually.

I wasn’t content with the imperfections in the manual way so I designed a visual mathematical way to do it.

Let’s say I wanted to shrink a sprite by 2 pixels, one on each side.  I took the line tool and draw a line above the sprite with exactly the same width, but 2 pixels raised from end-to-end.  The two pixels where it changed heights were the columns I would eliminate from the sprite via copying and pasting one pixel over.  Repeat for vertical reduction.

I was able to scale sprites up and down in such a way they looked as if they were running on the FX chip.  I eventually invented a similar technique for rotations.

 

It let me, at an early age, explore my ideas for “algorithms” and to see my results come to life, making it easily the most overall influential.

 

 

 

 

And yet somehow I still didn’t know I was going to be a game programmer or even be in the industry at all.

I was already brainwashed by family, teachers, and classmates, who all insisted I would be able to land a top job as an artist at Disney.  I would still need some more influence.

 

The Legend of Zelda: A Link to the PastChrono Trigger and Final Fantasy VII would be the main pushes in that direction (though not all at once of course, as Final Fantasy VII would contribute, but not until later), but initially making me think about being a designer, not a programmer.  They showed me games were more than just technology to be figured out, but that they could fully engulf a player into a new world when done correctly.

I started designing my own board games with strategy elements from The Legend of Zelda: A Link to the Past mixed with story elements from the others.

 

I could do the art and design, but if I wanted to actually get something made, I would have to be able to do the programming and music too.

 

At the age of late 13/early 14 I started learning programming with TI-BASIC on a TI-81 calculator, and I concurrently began learning piano on my own.

 

Finally, with Starsiege: Tribes’ script language, I was ready to go full-blast with programming.  I already had a few years’ worth of C++ experience by then and now I had an easy way to get real 3D results into a game that others could play.

I finally learned that I like programming even more than design, and as I kept making mods for the game as well as my own side projects such as Something Something VII Online, it slowly became clear what I was meant to do.

 

And that is how I became an actor on Japanese TV and movies.

 

 

The End,

L. Spiro

 

 

 

As a side note, GoldenEye 007 and Perfect Dark were also both huge influences.  After I learned more about game development I had a better understanding, and the way they put team heads and personal touches into their games blew my mind, and I wanted to work specifically for Rareware growing up.

That ended as soon as they were bought by Microsoft.

Edited by L. Spiro
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Considering my "gaming peak" was in the mid 90s :

 

My favorite game of all time is Chrono Trigger.

 

Very close are :

Zelda : A link to the past

Super Mario World

Final Fantasy VI(III US)

Seiken Densetsu 3

 

The last game that really impressed me is Bioshock Infinite.

 

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Even if I do played many older classics like Mario, Duck Hunt, Contra, Ninja Gaiden, Megaman, Mortal Kombat, etc. And many PS1 classics like Gran Turismo, Resident Evil, Metal Gear Solid, Twisted Metal, Megaman X5, etc, (and many many more for GBA, SNES, and don't even start counting when I got my own PC to play with) my interest in computers began when I was 15 or 16 years old.

 

(holy hell I never thought before how many different games for different platforms I actually played!)

 

So I'd say that my actual tendency in "games I would like to make" was ignited by The Elder Scrolls 4 Oblivion. I was mildly interested in RPGs before but once I saw that RPG != dice roll/isometric view/party/point and click, I fell for that kind of game. I've been a big fan of whatever Bethesda does since then, even if I can say 800 things that went wrong on each of their games, I still like them a lot simply because those are the kind of games I'd like to make.

 

Btw OP, Gothic 3 was the buggiest thing I ever touched, but it has a very nice charm to it.

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