 To Know the different principles of games  To understand why these are important

 Visual style:  world (terrain, architecture, objects);  characters;  non-playing characters (NPC); f  Feedback interface;  perspectives (2D, 3D, first-person, third-person, scrolling, aerial, context-sensitive);  full motionvideo (FMV)  Gameplay  interaction model, eg avatar, omnipresence  single player;  multiplayer  narrative;  game setting eg physical, temporal, environmental, emotional, ethical  goals  challenges;  rewards  player actions  rules  difficulty  game mechanics (inventory, scoring, win condition)  balance  feedback  game structure(flowchart)  addiction

The type of terrain used in a game depends on the range of navigation needed. Some common styles of navigation are:  Top-down games only let you look at a downward angle, and do not have to deal with a wide range of distances. Hither clipping and LOD is greatly simplified or not needed.  Unconstrained ground games let you look up or down, and get close to the surface. They must allow a wide range of distances and levels of detail, and deal with hither clipping. Some have third-person display modes, but allow the full navigational freedom of a 1st-person point of view.  Unconstrained air games are similar, but do not have to deal with drawing near objects/scenery accurately.

the role of architecture in games, I started off by making a list of reasons that humans construct buildings in the first place:  To protect people, goods, and animals from the weather.  To organize human activity efficiently (factories, theaters, offices, sports arenas)  To conceal and protect goods and animals from theft (warehouses, barns, shops, storage facilities).  To offer personal privacy (toilets and private houses).  To protect people from other people (fortifications, military installations, prisons).  To impress, commemorate or simply decorate (civic monuments and religious buildings).  The primary function of architecture in games is to support the gameplay.

 How the character is played and used  How you interact with the character NPC  The term non-player character is also used in console and computer role-playing games to describe entities not under the direct control of players. Nearly always the connotation is that an NPC is allied with, or at least neutral toward, the player, while hostile characters are referred to as enemies, mobs or creeps. In video games, NPC is sometimes expanded as "non-playable character" or "non-player class".console computer role-playing gamesmobs  NPC behavior in computer games is usually scripted and automatic (see artificial intelligence), triggered by certain actions or dialogue with the player character(s).artificial intelligence

 There should be continuous visual and aural confirmation about the state of the system; if the user clicks on something it should move, preview, or make a noise; if something is thrown away it should whimper or vanish in an animated way; if new mail arrives, or new pages are downloaded, there should be a ping and some visual change, and so on. Also, all these noises should be modulated by the content of the page and the context of the user---otherwise the feedback is not providing any other information except that the event happened (which would rapidly become annoying). The user should never be in doubt about the state of the system.

 2D. A few years ago, the vast majority of games had only two dimensions. This was especially noticeable in 2D side-scrolling games such as Super Mario Bros. (see Figure 4.1). Mario could run left and right and jump up and down, but he could not move toward the player (out of the screen) or away from him (into the screen). Two-dimensional worlds have one huge advantage when you're thinking about how to display them: The two dimensions of the world directly correspond to the two dimensions of the monitor screen, so you don't have to worry about conveying a sense of depth to the player.

 3D. Three true dimensions. Thanks to 3D hardware accelerators and modeling tools, 3D spaces are now easy to implement on hardware that supports them. They give the player a much greater sense of being inside a space (building, cave, spacecraft, or whatever) than 2D spaces ever can. With a 2D world, the player feels as if he is looking at it; with a 3D world, he feels as if he is in it. 3D worlds are great for avatar-based games with exploration challenges, such as the Prince of Persia series (see Figure 4.3). Most large games for personal computers and consoles now use three dimensions, but many small casual games still need only two.

 In video games, first person refers to a graphical perspective rendered from the viewpoint of the player character. In many cases, this may be the viewpoint from the cockpit of a vehicle. Many different genres have made use of first-person perspectives, ranging from adventure games to flight simulators. Perhaps the most notable genre to make use of this device is the first-person shooter, where the graphical perspective has an immense impact on game play.graphical perspectiveadventure gamesflight simulatorsfirst-person shooter  Games with a first-person perspective are usually avatar-based, wherein the game displays what the player's avatar would see with the avatar's own eyes. Thus, players typically cannot see the avatar's body, though they may be able to see the avatar's weapons or hands.avatar

 In video games, "third person" refers to a graphical perspective rendered from a fixed distance behind and slightly above the player character. This viewpoint allows players to see a more strongly characterized avatar, and is most common in action games and action adventure games. Games with this perspective often make use of positional audio, which the volume of ambient sounds varies depending on the position of the avatar. [1]graphical perspectiveavataraction gamesaction adventure games [1]  There are primarily three types of third-person camera systems: the "fixed camera systems" in which the camera positions are set during the game creation; the "tracking camera systems" in which the camera simply follows the player's character; and the "interactive camera systems" that are under the player's control.

 A side-scrolling game or side-scroller is a video game in which the gameplay action is viewed from a side-view camera angle, and the onscreen characters generally move from the left side of the screen to the right. These games make use of scrolling computer display technology.video gamegameplayscrolling  [edit] Use of side-scrollingedit  The most popular use of the side-scrolling format is in the platform game genre. Platform games are action games that feature jumping, climbing, and running characters who must be guided through many diverse levels. Games such as Super Mario Bros. and Sonic the Hedgehog are among the most famous side-scrollers of this type. platform gamegenreSuper Mario Bros.Sonic the Hedgehog

 FMV cutscenes became a nearly mandatory component in computer games, and even as a better- quality replacement for sprites in FMV games. Popular platforms for FMV include QuickTime, MPEG and Smacker.cutscenesFMV gamesQuickTimeMPEG  FMV differs from real-time cutscenes in that real-time cutscenes must render the game environment just as in the actual game, whereas FMV is simply a playback of something that was previously recorded, usually rendered by a much more powerful machine. Thus, FMV was traditionally usually much higher quality than real-time cutscenes, and the two can usually be differentiated by this.

 A single-player video game is a variant of a particular video game where input from only one player is expected throughout the course of the gaming session. "Single-player game" usually implies a game that can only be played by one person

 A multiplayer game is a game which is played by several players. [1] The players might be independent opponents, formed into teams or be just a single team pitted against the game [1]

 The standard model for storytelling in video games is based upon having the player complete a set of goals and then playing a cut scene which advances the plot. Some may argue that this is fine; the cut scenes represents a reward given to the player for completing a section of the game

 The temporal dimension of a game world defines the way that time is treated in that world and the ways in which it differs from time in the real world.  The environmental dimension describes the world's appearance and its atmosphere  The physical surroundings define what the game actually looks like  The emotional dimension of a game world defines not only the emotions of the people in the world but, more important, the emotions that you, as a designer, hope to arouse in the player. Single-player games have to influence players' emotions with storytelling and gameplay.  The ethical dimension of a game world defines what right and wrong mean within the context of that world.

 What the player of a game has to strive for. A goal is an assignment of value to the possible outcomes of a game. The goal refers to the game as an activity, not to the game as an object. Additionally, some games enforce goals, while other games have optional goals.

 Challenge: an important way to shape the experience of play. If the challenge of a game is too high for a player’s skills, they might become anxious or frustrated. If there is not enough challenge, boredom results. Ideally games provide a balanced challenge at all moments.

 Mechanical Rewards: such as increases in stats that the player can feel the effect of. Highly motivating for many players –  Narrative rewards: a little narrative exposition is effective for certain players as a reward. A cut scene can be a bigger reward than dialogue - when used well.  Emotional rewards: related to the above, but applicable when the player feels they have done something for someone in the game.

 every game has actions that it lets the player perform. The player can run, shoot, paint, throw, eat, duck, swap polarity, teleport,  It is the process by which a player takes action withinthe designed system of a game, and the system responds to this action.

 Rules are a fundamental part of any game. They provide the structure out of which play emerges, by defining what a player can and cannot do, as well as the relationships between components in the system.

 In general usage, difficulty level refers to the relative difficulty of completing a task or objective.  In computer and video games, the term specifically delineates the ease or difficulty with which an average user may complete a game or a part of a game

 Game mechanics are a construct of rules intended to produce an enjoyable game or gameplay.  Scoring: If any kind of reward system is in the game  Win and Lose Conditions How do you win and how do you lose the game.

 Game balance is a concept in game design describing fairness or balance of power in a game between multiple players or strategic options.  One example of imbalance in action games, especially first-person shooters, is the possibility of spawn camping, which can cause players to be killed before they have a chance to defend themselves. This is a clear example of the player being unable to influence the outcome of the game.

 Positive Feedback Positive feedback occurs when the act of succeeding makes it more likely that you will succeed. The lead car not only has a lead that can be protected, but doesn’t have to deal with other cars forcing him out of the optimal line.  Negative Feedback Negative feedback either constrains the player in the lead, or gives an advantage to the player or players trailing

Addiction of Finishing the Game An addiction to finish the game is often based on either wanting to see the end result or just to complete it. Addiction of the High Score Addiction of Exploration