Freemium Mobile Games, Presentation 1

Here is my first presentation in a series that will cover the content explored in Freemium Mobile Games: Design and Monetization, by Dimitar Draganov. This presentation will cover the current status quo of the mobile game industry.

Freemium mobile games from Alexander Rybak

Student Game Expo (September 2016)

In September of 2016, I was fortunate enough to be given the opportunity to help facilitate a Student Game Expo for current game development, undergraduate students. While I got to run and facilitate the SGX, I did have valuable assistance from fellow classmates Cardell King, Brian Vazquez, Justin Hentges, Jessica Lin, and Wade Martin. Additionally, there were a couple core faculty members that really did everything in their power to help us throw a great event. Nick Carver, in particular, was very passionate and motivational in helping us provide a unique, fun experience.

In addition to showcasing undergraduate game projects, the event included trivia (with awesome prizes), extreme video game music, food and drinks, photo opportunities with a polaroid camera, and lots of other fun activities. I was also able to secure a venue close to campus to host the event, Campus Cards and Games II. They were instrumental in coordinating with me to make sure we had the location and necessary furniture (tables and chairs) and really helped to build a solid relationship that helps both parties. Here is a flyer we used to help advertise the event online and around Orlando, FL.

The event had an amazing turnout with well over a hundred people coming in to experience the event. We got some great footage of the event to use as future promotional material (thanks to Marvin Welch for capturing and editing this video).

This was a great opportunity to practice running an event with many different attributes and aspects to cover. I was responsible for coordinating everything (with the help of my team) to ensure that the undergraduate students presenting had everything they could possibly need. These leadership and management skills will make a great addition to my skill set and I hope to utilize them again soon in the future.

Special thanks to Katherine Rybak for her volunteer work on this expo.

Mastery Journal Research Topic: Impact of Flow State on Monetization Design

            Several months of research, brainstorming, compiling, and editing have helped to present a finalized topic for my mastery thesis project. My thesis dwells in an established convergence of both Design and Monetization fields of video game development ("GDC 2017", 2016). With the rapid evolution seen over the past several years in the way games generate money, pugnacious realities can wreak havoc on a game for simply not utilizing the correct monetization structure (Rose, 2016). While monetization is one of the most vital aspects of game design, it is often the most overlooked in the industry today and not considered by many game designers (Rose, 2016). My thesis will aim to show the importance of monetization as a part of any game’s foundational design.

(via http://cdn.quotationof.com/images/mihaly-csikszentmihalyis-quotes-7.jpg)

          Flow, a mental state that elicits enjoyment accompanied by a precise and powerful focus, is the primary objective of all games and thus the most powerful apparatus in a designer’s toolbox (Chen, 2006). Since flow is an established element of the core purpose of a game’s design, it is logical to identify a relationship with monetization design. My thesis, in addition to providing data to support the importance of flow and monetization in design, will show how the two can work together in a mutually beneficial way. Being able to understand how these two aspects interact will give designers a way to reap the full potential of their creation. My proposal will show a how each monetization structure should be implemented with the flow aspects of game design. And since the video game industry generates over 16 billion dollars a year, there is limitless potential.

            While there are yet to be any major, established research in this specific area, there are several influential voices that handle these topics individually. Monetization, specifically in the mobile and social marketplaces, has been covered in-depth by Tim Fields of Kabam (Fields & Cotton, 2012). Other industry leaders such as Kate Flack, Ethan Levy, and Martin Koppel have also shared valuable information in regards to the impact of monetization on video games (Rose, 2016). Flow state in games has also been explored extensively by several industry voices. Mihaly Csikszentmihalyi, who first discovered Flow as a construct in the 1980’s and 1990’s, has spoken at length about the components of flow in games (Chen, 2006). Jenova Chen is also a notable voice who has explored flow in video game design, making large leaps forward in integrating the two together (Chen, 2006). I will use these voices and many more as I continue to build upon my thesis in the coming months.

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References

Chen, J. (2006). Welcome to Flow in Games. Jenovachen.com. Retrieved 30 October 2016, from http://jenovachen.com/flowingames/introduction.htm

Fields, T. & Cotton, B. (2012). Virtual Goods. Gamasutra.com. Retrieved 31 October 2016, from http://www.gamasutra.com/view/feature/135067/virtual_goods__an_excerpt_from_.php

GDC 2017. (2016). Gdconf.com. Retrieved 28 October 2016, from http://www.gdconf.com/conference/

Rose, M. (2016). Understanding the realities of video game monetization. Gamasutra.com. Retrieved 30 October 2016, from http://www.gamasutra.com/view/news/205412/Understanding_the_realities_of_video_game_monetization.php

Flow State in Video Games

Mastery Journal Article Analysis: Flow State

Identification of Topic

     For my Mastery Program research assignment, I have chosen to investigate the area of game design. There are many facets to game design that present themselves as possible areas of research, but this paper will investigate flow state. Specifically, it aims to build upon the major influences of flow state: Seung-A Annie Jin, Marin Klasen, Rene Weber, and Mihaly Csikszentmihalyi.

Ozone (Game Design Project)

Last week, in Game Design class, I was tasked with creating a Game Design Powerpoint Pitch, Game Mechanics Document, User Interface mockups, and a Prototype. I was given a couple stipulations in regards to the game design.

1. First, the game would have to involve a social issue (similar to Games for Change) in some way. 
2. Second, the game should involve a unique form of player movement outside of industry norms such as running, walking, jumping, crouching, etc. 

For this project, I decided to collaborate with Justin Hentges, a fellow student in the Game Design program who also has a background in Game Art.

First, Justin and I decided to brainstorm ideas for the game, focusing on the two stipulations given for the design. We got really lucky and developed a good narrative early on that lent itself to both of our goals: a turn-based strategy in a sci-fi setting against a parasitic race. We took this idea and evolved it into Ozone, a game where the player assumes the role of planet earth, pitted against the humans who are polluting and destroying Her. Environmentalism is a shared passion that me and Justin found out we shared, and it's a growing problem. Why not make a game, marketed towards teen kids, that can show the dangers of humanity's impact on Earth in an engaging way?

We would also allow players to taking control of the entire Earth. Through both localized attacks and galactic movement, players would get to move as a celestial body.

When determining the genre and world of the game, we featured
After building upon the core mechanics of the game, we came up with a very exciting and interesting game. Here are some really interesting bullets of the design that we came up with:

• Player's health would be displayed in a unique way, as the Ozone layer. Being able to see a physical representation of the health was something we really liked because it allows for an education display versus a simple HUD element.
• All mechanics of the game will be based on an internal historical database of scientific data. Planet movement, strategic attacks, AI response, and correlations between effects will have outcomes based on scientific fact, to help back up the educational factor of the game.
•  We decided that on the first play, we would present a tutorial that starts at the Industrial Revolution and ends at the current time. This will allow players the ability to learn the mechanics of the game in a known setting. Being able to prepare for known events will prepare the player for the more complex interactions that take place during the futuristic game play.

Here's the initial design pitch we came up with:

Ozone (Game Design Pitch) from Alexander Rybak

Immersion in Video Games

Immersion in Video Games (Topic #4) 

Being able to completely immerse a player into a game requires several different factors involved in the game design process. The narrative of the game can influence immersion. It can also be influenced by the physical hardware the player uses. Being able to immerse players seamlessly in a video game has been a constant goalpost in the video game industry.

a. Immersed in virtual worlds and minds: Effects of in-game storytelling on immersion, need satisfaction, and affective theory of mind

i. I learned that storytelling within the game can create a more immersive experience for the player. Need satisfaction, the intrinsic sense of accomplishment when aspirations are fulfilled, also becomes positively affected. This ultimately leads to players being able to take on the roles, beliefs, and convictions of others (theory of mind). This strongly indicates a causation between immersion, needs satisfaction, and theory of mind being accomplished.

ii. As a game designer, understanding the impact of your work is very important. By understanding the causal relationships listed above, a game designer can recognize the potential effect his creation might have on an audience. Additionally, a designer could share unique experiences with others who would be able to truly relate, thanks to an unbridled immersion level.

iii. Understanding immersion can help me with my project this month, coordinating a Game Expo. Understanding what types of environments and factors result in higher levels of immersion and entertainment will allow me to facilitate a conducive environment for the expo. I will further research how I can make the expo environment more appealing and immersive to players coming to attend.

b. Video Games, Immersion, and Cognitive Aggression: Does the Controller Matter?

i. This article gave a good amount of information on the impact the seemingly inconsequential factors can have. In this case, something as simple as the controller a player uses can have a positive impact on the player’s sense of immersion and their cognitive (or planned) aggression. In this scenario, players felt more immersed in a boxing game while using a controller that mimicked a boxing glove. Due to the realism, they were also more prone to “aggressive” behavior. In this case, boxing.

ii. Understanding how the hardware used can affect a player’s experience is vital in the gaming field. This industry is constantly evolving and changing, with new consoles and controllers being developed all the time. As a designer, it is important to take into consideration all of the potential factors that might be affected by external aspects of gameplay, such as a controller.

iii. This article does not directly relate to my project this month.

Topic #4 References

Bormann, D. & Greitemeyer, T. (2015). Immersed in Virtual Worlds and Minds: Effects of In-            Game Storytelling on Immersion, Need Satisfaction, and Affective Theory of Mind. Social            Psychological And Personality Science, 6(6), 646-652.                                                                            http://dx.doi.org/10.1177/1948550615578177

McGloin, R., Farrar, K., & Krcmar, M. (2013). Video Games, Immersion, and Cognitive                        Aggression: Does the Controller Matter?. Media Psychology, 16(1), 65-87.                                        http://dx.doi.org/10.1080/15213269.2012.752428

Video Games and Choice Culture

Video Games and Choice Culture (Topic #3)

As culture is influenced by the “post-modern condition” the need for choice becomes more and more prevalent (Wilkinson & Clark, 2014). Rigid rules and predictability are mundane and often not tolerated by today’s youth. Video games offer a truly unique and exceptional experience compared to its heavily scripted counterparts in the media realm. Video games are reliant on choice, so I wanted to explore the correlation between choice theory and video games.

a. DIGITAL CHOICES AND FULFILLMENT OF CHOICE THEORY'S FOUR BASIC PSYCHOLOGICAL NEEDS

i. In this article I learned about the four basic psychological needs (love, power, freedom, and fun) and how video game players were able to achieve at least one of these needs through the choices presented in gameplay (Alexander, Rainey, & Page, 2016). This shows that, through choice theory, we can allow audience members to potentially meet all four of their basic psychological needs.

ii. I can easily see how this information should be applied to the video game industry. Being able to meet the needs of a player’s psychological needs should be a top priority of any game designer. Understanding that meeting these needs will lead to other benefits such as increased immersion and character identification will have an untold positive influence on the audience’s experience.

iii. During the Game Expo project this month, I will implement by knowledge of choices and psychological need fulfillment to provide the best possible experience for those involved possible.

b PAY NO ATTENTION TO THE MAN BEHIND THE CURTAIN: THE REJECTION OF ARTIFICE AND THE CULTURE OF CHOICE

i. This article did well to instruct me much on American society has shifted towards utilizing less-rigid, more ambiguous systems. More choices are available in nearly every corner of our daily experiences, and stagnation isn’t accepted by younger generations anymore. This allows video games, and other “user-controlled” forms of media, to give players a form of choice control needed by their culture.

ii. Understanding how the culture and its demands has shifted is important to anyone working within the video game industry. Being able to adapt to the needs of the consumer, in this case a multitude of assortments to pick from, will give one an advantage in the field. Additionally, I would strive to further explore the choice culture and how it relates to the decisions available to us throughout the overarching narrative of a game.

iii. Part of my project this month, coordinating the Game Expo, will potentially require me to deal with feedback. I will apply my knowledge of the choice culture to better understand the needs of the players.


                                                               

Topic #3 References

Alexander, J., Rainey, S., & Page, B. (2016). DIGITAL CHOICES AND FULFILLMENT OF         CHOICE THEORY'S FOUR BASIC PSYCHOLOGICAL NEEDS. International Journal Of             Choice Theory & Reality Therapy, XXXV(2), 25-35. Retrieved from                                                   http://search.ebscohost.com.oclc.fullsail.edu:81/login.aspx?                           direct=true&db=a9h&AN=115876649&site=ehost-live

Wilkinson, M. & Clark, P. (2014). PAY NO ATTENTION TO THE MAN BEHIND THE                   CURTAIN: THE REJECTION OF ARTIFICE AND THE CULTURE OF CHOICE. ASBBSEjournal, 10(1), 132-141. Retrieved from                                                                     http://search.ebscohost.com.oclc.fullsail.edu:81/login.aspx?                                                               direct=true&db=bth&AN=102984642&site=ehost-live

Using Virtual Reality to Treat Veterans with Post-Traumatic Stress Disorder

Using Virtual Reality to Treat Veterans with Post-Traumatic Stress Disorder (Topic #2)

As virtual reality comes into mainstream culture, there are more and more avenues being explored for practical applications of virtual reality (VR). One such use that has begun to be explored by those in the video game industry is utilizing VR to treat military veterans who suffer from PTSD. While rudimentary applications have been implemented before, none have aimed to be as immersive as the Department of Defense’s Virtual Iraq (Halpern, 2008). PTSD is widespread amongst military veterans and can affect one’s ability to interact with others in a social setting, work setting, or other important areas that require optimal functioning (Derby, 2016). As a veteran myself, I think PTSD is a terrible affliction and we should explore every possible solution: including virtual reality.

a. Virtual Iraq: Using simulation to treat a new generation of traumatized veterans

i. This report in The New Yorker, written by Sue Halpern, taught me a great deal about some of the current applications being used to treat PTSD, along with a program called Virtual Iraq. Virtual Iraq is a form of exposure therapy that a patient, accompanied by a trained psychiatrist, can partake in to help overcome traumatic incidents. A generation of kids that grew up on video games are now coming back from service with a low quality of life. Why not try using those games to help them?

ii. This topic represents a wealth of information I can apply directly to the video game industry. While games are fun, and we all love them, I think it is vital that we remember other beneficial outcomes of advanced technology and game design. Using the methods and technology available can expand outside of making games just for fun, and rather making games to help people.

iii. While the information gleaned in this report was insightful, there is no obvious application of the techniques learned to my Month 3 project (coordinated a Game Expo). I will keep the information in mind as I remember to keep an open mind and always consider new possibilities.

b. Virtual realities: The use of violent video games in U.S. military recruitment and treatment of mental disability caused

i. I learned quite a bit from this report, in particular, the video game applications employed by the U.S. military, such as America's Army and Virtual Iraq.

ii.There were several controversial video game applications developed by the military that have been called into question, especially games aimed at recruiting teenagers (Derby, 2016). Derby goes on to allude that these very violent games are a contributing factor to PTSD itself, amongst veterans. While a possible contributor to the many-faceted issue of PTSD, the military is a definite solution with tools like Virtual Iraq being implemented. Derby even posits that Virtual Iraq could be used to detect soldiers who might suffer from PTSD before they deploy. I found this information very intriguing and I would apply it to my career by investigating it further. The possibility to help others through the technology and methodology of game design is very exciting!

iii.None of the information in this article contributes to my project this month.

                                                           

Topic #2 References

Derby, J. (2016). Virtual realities: The use of violent video games in U.S. military recruitment          and treatment of mental disability caused by war. DSQ, 36(1).                                                              http://dx.doi.org/10.18061/dsq.v36i1.4704

Halpern, S. (2008). Virtual Iraq: Using simulation to treat a new generation of traumatized              veterans. The New Yorker, (MAY 19, 2008), 1-13. Retrieved from                                                        http://www.newyorker.com/magazine/2008/05/19/virtual-iraq

Flow Theory in Video Games

In the week of August 28th, 2016, in Project and Team Management class, I was prompted to find four topics to research in the video game industry. After picking 4 subjects that I was passionate about, I found two peer-reviewed, scholarly resources for each one. Below I will list the areas I have chosen to investigate, the scholarly resources used, how I would apply the information once in the industry, and how the data can be utilized in my Month 3 project.

Flow Theory in Video Games (Topic #1) 

Flow Theory was first thought up and named by Mihaly Csikszentmihayi’s in 1975 (Snyder & Lopez, 2009). So when you’re in a state of flow, you are intrinsically motivated by the activity for its own sake, according to Csikszentmihayi’s work in the field. In this state, you will perform at your ABSOLUTE BEST and become engrossed in the activity and be flooded with positive emotions (Snyder & Lopez, 2009). Klasen, Weber, Kircher, Mathiak, & Mathiak state that there is a general understanding that flow effects video game players and their enjoyment too (2011, p. 486).

This means there is a neurological response in your body when you become immersed in a video game for hours at a time, often putting off food or sleep. That response allows you to act and think at a subconscious level, where button combos become reflexes. You’re no longer consciously thinking about the fact that you are pressing buttons on a controller. By using flow theory, we can research what those underlying neural connections are, thus understanding how the process works (Klasen, Weber, Kircher, Mathiak, & Mathiak, 2011).

a. Neural contributions to flow experience during video game playing

i.I learned that there is conclusive evidence of neural activity correlating to flow state via brain scans, as seen in the figure below.

ii.                           (via Klasen, Weber, Kircher, Mathiak, & Mathiak, 2011)

iii. The information in this study will be vital in my approach to the video game industry. Understanding the involuntary, instantaneous reactions that players undergo will allow me to influence the experience being shared with the audience.

iv. For my project this month, I will be working with a group to plan a Game Expo for the Game Development undergraduate degrees at an off-campus location. The teams will present games to the public for testing to get feedback. I will be involved in coordinating the event with the off-site location, vendors, merchants, and students. Advertising, budgeting, and strategizing an effective marketing campaign are some of my roles. By understanding these primal, neural reactions, I can then market the event in such a way to trigger positive responses. Additionally, understanding what elements trigger which corresponding synapse will be vital in understanding the feedback given.

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v.                                  (via Associated Press, photo ID #040821015084)

 b.Measuring Video Game Engagement Through the Cognitive and Affective Dimensions

i.This report detailed research conducted on the flow state of video game players and laid a solid, validated foundation for further research to be conducted in this field (Sharek & Wiebe, 2014). The main achievement of the project was the production of an enhanced, methodological measurement tool to access the many different facets of the flow state. This tool was a game-clock device used during load screens and intermission periods to calculate the player’s motivation for reengagement. This tool, coupled with the NASA-TLX cognitive load questionnaire, provided a validated overview of Cognitive-Affective Outcomes (Sharek & Wiebe, 2014).

ii.Here’s a great table showing the correlation between cognitive load and motivation for reengagement. Understanding these different relationships will be vital tools in the video game industry, especially during the game design process, allowing designers to share the best experience possible with the audience.

(via Sharek & Wiebe, 2014)

iii. I can also utilize the conclusions formed in this paper for my Game Expo project I discussed above. By understanding what factors can trigger boredom, flow, and frustration in a game, I can help understand feedback that relates to these areas of study. Before we move on to the next topic, here are the references for topic #1. The references in blue are peer-reviewed, scholarly journals selected via EBSCOhost.


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Topic #1 References

Favre, J. (2004, August 21). Image ID 040821015084 [Photograph]. Retrieved from Associated Press        Images

Klasen, M., Weber, R., Kircher, T., Mathiak, K., & Mathiak, K. (2011). Neural contributions to flow         experience during video game playing. Soc Cogn Affect Neurosci, 7(4), 485-495.                                 http://dx.doi.org/10.1093/scan/nsr021

Sharek, D. & Wiebe, E. (2014). Measuring Video Game Engagement Through the Cognitive and               Affective Dimensions. Simulation & Gaming, 45(4-5), 569-592.                                                             http://dx.doi.org/10.1177/1046878114554176

Snyder, C. & Lopez, S. (2009). Oxford Handbook of Positive Psychology (2nd ed., pp. 195-198).            Oxford, United Kingdom: Oxford University Press.

Scientific Validity behind Success in the Video Game Industry

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     An analysis of successful video games and studios reveals that causal research, otherwise known as explanatory research, plays a very significant, scientific role. This paper will begin by explaining causal research and its two largest components: validity and reliability. Next, there are three different types of validity that will be analyzed. Construct validity, external validity, and internal validity are all methods for inferring data or compiling statistics. These tools have several threats in the form of counter-arguments they have to overcome in order to maintain validity. Once there is a solid understanding of causal relationships, that information can by synthesized and applied to success in the video game industry. A clear and present correlation will be shown between these causal research methods and the techniques employed by thriving, industry leaders.  

Causality

     The process of examining cause-and-effect is known as causal research (Trochim, 2006). Everything around us is a result of a never-ending cycle of cause-and-effect. This even includes the business world and industries such as the world of video game production. There are two main methods for deciphering the causal relationships between events: experimentation and research (Trochim, 2006). Empirical research can be conducted on gathered data to get an idea of causative changes and their impact on the industry as a whole. Opposite of statistical research, experiments can allow for specific controls to manipulate the mechanics of the experience. Regardless of which method or combination is being used, a strong understanding of validity and reliability is vital when it comes to inferring data and drawing conclusions.

Reliability

     Reliability is a fairly common word and, in the world of causal events and research, it means essentially the same thing. Being able to build or find statistical patterns adds to the reliability of a conclusion or inference (Trochim, 2006).  Since reliability is really part of a ratio, there is another component known as variance (Trochim, 2006). Variance is a measurement that shows us how much of an offset there can be from the reliable baseline. These two factors come together to complete an estimation of reliability, from 100% to 0% (Trochim, 2006).

Validity

     After reliability has been established, we can move forward to validation. While measurements or samples cannot be validated, the conclusions we infer from the data can have validity as an attribute (Trochim, 2006). The methodology of research needs to remain under constant vigilance in order to continuously guarantee both reliable and validated suppositions. A measure or consensus that is both reliable and validated can then be referred to as a dependable evaluation. Theory and observation are the two territories involved in all forms of causal research (Trochim, 2006). Because this is a cause-and-effect study, there is a cause construct and an effect construct located in the theory hemisphere that are simply theorized contemplations (Trochim, 2006). In the observational hemisphere, there is the program (what you do) and the observations (what you see) that are linked by a program-outcome relationship (Trochim, 2006). There are four different modes of validity that function when studying these causal interactions and they all have different, distinct areas of the research realm from which they pull.

Internal Validity

     Once a relationship has been established between two variables in the research, one must then examine the affiliation to see if it is causal in nature. Once a cause-effect relationship is established, a conclusion can be drawn from that relationship that is then labeled as an internal validity (Trochim, 2006). Internal validity is only relevant to the exact study being conducted. Because everything is contained with an internal validity, there is a chance for threats to arise easily. Various groups or people in a position of leadership that are involved in the study have the capacity to completely invalidate the findings because they have forced their own will upon the results (Trochim, 2006). Isolating the social threats from one another is the best course of action to avoid any potential threats to validity of your inferences.

Construct Validity  

     Construct validity takes things a bit farther than an internal validation offers. A construct validation can only occur when two objectives are met, in addition to the objective of an internal validity (Trochim, 2006). If the program section of the study was implemented correctly and the outcomes were measured as intended; then we can claim a construct validity (Trochim, 2006). Extrapolating upon this, by labeling your conclusion as a construct validity, the argument is then being made that there was a knowledge of how the all parts of the study were constructed. The threats that arise from a construct validation often come from critics (Trochim, 2006). Being unable to adequately explain the constructs of the study, will result in a lack of widespread validation. Common issues arise when there is an overlap between constructs and their responsibilities or the observable size of a study is simply too small. These threats can be avoided by following basic protocols such as thinking through your concepts to entirety, obtaining subject matter experts to critique the conclusions you have drawn, or by utilizing methods that will help enhance your concepts (Trochim, 2006).

External Validity

     Another form of validity is referred to as an external authentication because they are only useful for generalizations. One method of achieving external validity would be through the sampling model; where one takes a sampling of the population and then infers the results and projects them onto the population at large, arguing that a wide enough sample was collected. The proximal similarity model on the other hand, is a much more accurate system because it only allows you to apply generalizations to groups similar to those you sampled. However, you still have no certain guarantee of an outcome from a study fortified with external validity (Trochim, 2006). The biggest threat opposing external validation is the ease with which a critic can question your generalized conclusion. Any stipulation or imposing specifications you must follow when conducting a study can also misrepresent themselves when generalized.

Validity and Video Game Design

     Bruce Shelley, known for his contributions to the commercially successful franchises Civilization and Age of Empires, expressed his guidelines for creating commercially fruitful endeavors in the game industry (Shelley, 2001). Shelley’s parameters can easily be coupled with the scientific validity established earlier to bring about a truly successful venture. One of the guidelines entails building upon the work of previous games. While imitating a successful game will seem lazy and uninspired, advancing and innovating upon a previous idea is a great way to take an old idea and make it fresh (Shelley, 2001). A way that a developer could follow this recommendation would be by employing the research setup that includes the cause construct, effect construct, program, and observation. This setup will allow developers to formulate a theory on consumer wants and needs, conduct the study, and then potentially validate their ideas. By knowing the desired effect, utilization of the effect construct can be used to reverse-engineer the necessary variables of the cause construct.

     Shelley covers a variety of other guidelines, but it is easy enough to boil them down to their roots: making an enjoyable experience for as wide of a fan base as possible, building upon well-known foundations of the gaming industry along the way (Shelley, 2001). The video game industry is dependent upon experimentation and growth and being able to validate a reliable variable will ultimately give developers a better idea of how to appease a widespread audience. Conducting research in this manner will present the same pitfalls, though. Developers risk over-generalizing statistics or not accounting for permutations to offset the results. Developers will have to remain vigilant in their endeavors to ensure they validate any perceived trends in the industry. The gaming world is a constantly causal system as the industry is constantly reacting to tendencies and permutations.

     Being able to approach the video game industry with a scientific outlook will provide game designers with the ability to couple two effective skills together to create a successful project. Understanding the causal system and how to attack it critically will provide you with a much better understanding on how to research and enact validity in the most effective way possible. Approaching problems or obstacles in the game world with a scientific mind will potentially yield a much higher rate of success.

References

Shelley, B. (2014). Gamasutra - Guidelines for Developing Successful Games. Gamasutra.com. Retrieved 3 August 2016, from http://www.gamasutra.com/view/feature/131450/guidelines_for_developing_.php?print=1

Trochim, W. (2006). Home. Socialresearchmethods.net. Retrieved 3 August 2016, from http://www.socialresearchmethods.net/kb/index.php



Disclaimer: This blog post was originally submitted in August of 2016 to Full Sail University under my Master of Science degree in Video Game Design

Game Technologies (Project 3: Prop 3 Blockout)

My third and final prop blockout for GTE was a KitchenAid hand mixer (circa 1950s). I modeled it in Maya 2016 and rendered it in Unreal Engine 4. Final composition and reference image provided. 

Game Technologies (Project 2: Prop 2 Blockout)

My second prop blockout for GTE class was of a Revere Model 144 8mm camera. I modeled it in Maya 2016 and then imported it into Unreal Engine 4 to render it. I have provided both my render and the reference images used.

Game Technologies (Project 1: Prop 1 Blockout)

This month, one of the classes I'm in is Game Technologies. Earlier this month, you saw the three props I chose to model and compositions of the reference images (post here). The first prop I chose to block-out was the Zenith Radio (circa 1939). I modeled the radio in Maya, getting the basic shapes of the mesh ironed out. I then used Substance Designer to create all the materials necessary for the prop; such as wood, screen, plastic, bronze, and copper. I brought everything into Unreal Engine 4, and created a Glass material to apply to radio where needed. Last, I set up three point lighting by utilizing a key light, fill light, and rim light. This is a very basic block-out that I will work on in the future to achieve more realism and detail. Below is a comp of the radio in Unreal, along with the reference images used. 

Material Study (Substance Designer 5 & Unreal Engine 4)

This week I created 12 materials (6 clean, 6 dirty) using Substance Designer and Unreal Engine. I designed all the materials in Substance and them imported them into Unreal to render them out.

Game Technologies (Activity 1: Project Reference)

The first activity in Game Technologies class involved me doing research for props I plan on building. I chose three props that I thought would present a challenge, all following the same theme of vintage, household appliances. Below I have compiled the reference images I will use for my three props.