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      Download the Game Design and Indie Game Marketing Freebook   07/19/17

      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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About joshua_lux

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  1. Dude, that sounds quality! Reminds me of Forbidden Siren in terms of mechanics.
  2. Hmm, if you want the game to be more 'open' then perhaps the idea of going up the tower is a little limiting. But if the areas are going to be quite open then the tower makes a great visual motif: wherever you are in the landscape you can see it, and it's an ominous shadow on everything you do. Someone has already suggested the enemies reacting to the sound of the tower. If the tower is always visible on the horizon it adds some agency to the sound it makes: the tower is 'controlling' what goes on in the game, it's always at the centre of what happens. It would make an effective 'hub' as well (i.e. you start levels there and always find your way back to it). I think that the more present the tower is, how well and often you can see it etc, the more effective the atmosphere. I really like the concept of being an old man too. Games that are truly frightening always find a way to add vulnerability to the player. Playing an old man is quite a novel concept, and it makes you slow, old, fragile etc. Stuff is scarier when you can't just run away from it.
  3. "Time is fluid here. I waited for days for someone to let me out. I cried and hollered until my throat was raw, until I spat blood. I should be hungry. I should be dead from thirst. I'm not thirsty. I might be dead. There are words written on my arms in marker. On my left arm it says: Try to stay awake. On the right it says: David. I think David might be my name. The sound of the bell has kept me down here till now. When it comes I can't help but cower, hide in the shadows. It hurts. It hurts everything. But there's no-one coming. This door won't open. The only way out is up."
  4. @stormynature I really like the idea of locations representing previous decisions, even memories. Puzzles and clues in the locations could be direct representations of repressed or uncomfortable memories, similar to the dream analysis of Jung and Freud. It's been done before in Silent Hill and elsewhere, but there are always interesting ways of getting the locations to 'fit' with the memories. What would be more interesting is if you could add an element of further repression within the game itself. For example, finishing a locations '100%' i.e. solving the puzzle correctly, collecting all necessary items, defeating all enemies etc, leads to the protagonist remembering the past event correctly, objectively, truthfully, then dealing with it. Not doing so (or perhaps choosing not to do so) means that the memory is imperfectly recalled or the protagonist flat-out refuses to address the issue. The memories you confront could be interlinked, so that the way you deal with them informs your path through (or up) the tower. Very Silent Hill, but involving the mind and memory gives you the opportunity for some complex storytelling.