A THEORY OF FUN FOR GAME DESIGN RAPH KOSTER PDF
And the pursuit of fun in interactive media like games is never ending. By Raph Koster A Theory of Fun for Game Design is not your typical how-to book. A Theory of Fun for Game Design is a book written and illustrated by Raph Koster . It is based upon a presentation Koster gave at the Austin Game Conference in. A Theory of Fun for Game Design is not your typical how-to book. It features a novel way of teaching interactive designers how to create and improve their.
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Return to Book Page. Will Wright Foreword by. A Theory of Fun for Game Design is not your typical dor book. It features a novel way of teaching interactive designers how to create kster improve their designs to incorporate bame highest degree of fun. As the book shows, designing for fun is all about making interactive products like games highly entertaining, engaging, and addictive.
The desiggn unique approach of providing a highly visual storyboard approach combined with a narrative on the art and practice of designing for fun is sure to be a hit with game and interactive designers. At first glance A Theory of Fun for Game Design is a book that will truly inspire and challenge game designers to think in new ways; however, its universal message will influence designers from all walks of life.
This book captures the real essence of what drives us to seek out products and experiences that are truly fun and entertaining. The author masterfully presents o engaging theory by showing readers how many designs are lacking because they are predictable and not engaging enough.
He then explains how great designers use different types of elements in new cesign to make designs more fun and compelling. Theoty who is interested in design will enjoy how the book works on two levels–as a quick inspiration guide to game design, or as an informative discussion that details the insightful thinking from a great mind in the game industry.
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Summary + PDF: A Theory of Fun for Game Design, by Raph Koster | Allen Cheng
Aug 31, Matija rated it it was ok Shelves: Don’t bother with this one. Luckily it’s quite short, but even so I just skimmed a chapter or two. To me, this is a collection of sometimes barely coherent stream-of-thought ramblings of a video-game executive, apparently about what makes games fun, though you’d barely know to read it.
They don’t really seem to have much purpose to it, except to draw rzph to how educated and cultured th Don’t bother with this one. They don’t really seem to dedign much purpose to it, except to draw attention to how educated and cultured the author is he frequently makes comparisons to classical music and other “classical” forms of art, as if to say, hey look at me, I’m a man of rzph world.
Also, the chapter titles often don’t match the contents, like the one on ethics. If there’s a central theme to it, it’s that fun means learning and then “grokking” as in deeply internalizing something new, though I’m ttheory sure that revelation was worth the six bucks.
Theory of Fun for Game Design
It looks like the author called up a couple of his contacts all well known industry figures and asked them to write a glowing cover blurb or a foreword to his book. Him being an important industry executive, they naturally obliged, though the generic tone of their recommendations should have been a giveaway.
There’s a lesson to be learned here about celebrity endorsements, kids. Excellent start for someone who has no idea even where to start when it comes to game design. The style in witch this book is written is quite casual and it doesn’t go too much into details as I said, good for absolute beginners.
Jun 14, Travis Miller rated it liked it. I wasn’t a big fan of this book. I was hoping to learn specific approaches for designing games that are engaging, or which provide certain kinds of experience for the player – how to choose mechanics and fit them together, how to balance a game, how to design rulesets that encourage emergence, how to model the game world intuitively to the player, and so on. What I got was a much squishier affair, more concerned with presenting little parables and going off on scattered tangents into philosophy, I wasn’t a big fan of this book.
What I got was a much squishier affair, more concerned with presenting little parables and going off on scattered tangents into philosophy, art, and psychology. Koster’s central argument is that play is about learning – when we play a game, the pleasure we experience is the pleasure of exploring, learning about, and eventually mastering an idea space.
Fair enough – but that doesn’t help me design games.
It’s a short read, though – so if you’re interested in hearing one game designer’s more philosophical thoughts dewign his craft, it’s worth a shot. Just don’t expect to learn much that’s practical. Dec 26, Tom rated it really liked it Shelves: If I ever teach a class on video games this will be the first book I add to the syllabus. A must-read for gamers, casual gamers and designers of interactive digital environments.
More importantly, I think this book is a must-read for parents and teachers. joster
Koster does a great job of explaining what it is about games that eat up so many hours of our kids’ and students’ lives. Aug 16, Hoang Lien rated it it was amazing Shelves: I found this book very inspiring and deep, especially the parts where the author tries to theogy games and arts and fun.
Some parts of the book are abstract and a little bit hard to grasp as the book includes many metaphors.
Nevertheless, raaph paragraphs still give me goosebumps as they are so true and profound. The author has many strong arguments and also very has high ideals when it comes to game designing. A game is designed not only for entertainment, but also for educating and helping pla I found this book very inspiring and deep, especially the parts where the author tries to connect games and arts and fun.
A game is designed not only for entertainment, but also for educating and helping players overcome their theody. He has inspired hopes in readers that one day, games will be no longer considered meaningless and trivial, but will join literature, music, dance and theatre as a form of “the arts”.
My favourite quotes include: Contrasting games and stories: Stories are good at empathy. How players prefer to wander in their comfort zone: In role-playing games there are few rules. The emphasis is on collaborative storytelling. You can construct your character any way you want, use any background, and take on any challenge you like.
And yet, people choose the same characters to play, over and over. Never once has he been a vivacious small girl”- Players tend to choose foe games they’re already good at, will they one day go out of their zones to play the game concentrating on enhancing the skills they lack?
If they do, they’ll improve many flr and become a more rounded person. People like to master and learn things in a safe and non-pressure environment, which is game: Fun is just another word for learning.
Brain needs stuffs stories, information to process all the time- notice how your mind never stops thinking and wandering from one place to another; however, it does not prefer challenging and complicated stuffs; it theort familiar patterns: Games are just exceptionally tasty patterns to eat up.
What’s left behind after daph finish playing a game?
Will the puzzle already stops bugging you once the boss’s dead and the princess’s in your arms? Feb 09, Mike rated tame liked it Recommends it for: This book is about what psychological elements of video games capture peoples attention. In particular which of these elements create a fun game.
Its very short and written in the format of a children’s book with every other page being a full page cartoon of the concept discussed in the previous page.
It is not a children’s book since they thsory things like “grokking” and pattern recognition. The author is one of the creative leads for Sony interactive entertainment, so you learn a bit about how This book is about what psychological elements of video games capture peoples attention. The author is one of the creative leads for Sony interactive entertainment, so you learn a bit about how designers create games and how they cater towards players by trying to put elements that have been psychologically tested to be “fun”.
Good short collection of info for anyone interested in game design or fo psychology. Jan 29, Franco rated it really liked it. Feb 09, Nicolay Hvidsten rated it did not koter it Shelves: Like McCloud, Koster feels like his medium of choice of course, he obfuscates this point – but more on that later is misunderstood, and that it deserves a cultural status akin to that of literature and art.
To defend his position, he goes on in great detail about how rsph games function, and what they truly are about at their most basic level – learning patterns. Koster claims that the fact that games are basically pattern learning machines or pattern grokking as he might call it is generally ignored by society, and kowter this is the main reason that games are misunderstood.
He goes on to rather bombastically propose that graphics look and feel of games are somewhat irrelevant to the actual game itself, and that this game aspect is ggame just wrapping paper. He fuh like a true purist in this sense, and his annoyance towards the trend of improving graphics rather than game mechanisms is very evident throughout the book.
To prove his point, Koster further claims that there only are a few different types of games cartoon on page 71and that newer games just build on existing creations and just add thory few new elements the cartoon on page 79 illustrates this point. He desperately wants games to evolve beyond the focus on surface, and instead start to focus on the fundamental subjects the games revolve around. Kpster in order for games to evolve, they must first be understood, and Koster does a really good job in explaining how he believes games work.
He claims that games provoke a very distinct chemical reaction in the brain when they are designed correctly, and introduces the concept of flow. The most important thing Koster touches on however, is in my opinion how games can become educational tools.
kostet He claims that games are, in essence, about learning. According to him, patterns occur constantly in our daily lives exerting power, controlling territories etc.
Because games are at their most basic forms just patterns waiting to be absorbed, Koster claims that s fully engaging with a game we will absorb learn the pattern represented by the game – a notion I fully agree with. Koster goes on in great detail about how the brain reacts to game stimuli, and how grokking patterns is the result of the brain chunking the information presented to us – basically automating it.
Now that we have established a basic foundation of what games fundamentally represent, lets move on to another interesting aspect of games that Koster brings up: This is an aspect of games where Koster and I gravely disagree, and I feel that his claim that the fiction surrounding a game is largely irrelevant to the effect games have on us is just plainly wrong.
Just like movies have evolved from just being sequential images showing motion, games have evolved from being faces kf dots to complex, three-dimensional pun intended characters joined together in intriguing, multi-layered rap epic stories.