We have been fighting over who gets to play with the Sifteo sample here at the office. These little blocks are addicting! Imagine all the fun of your favorite puzzle games meeting the touch-sensitivity of your smartphone meeting the accelerometer of your Wiimote. And the best part? It comes with the ability to write your own games!

Ironically, those voices were the same people who happily handed Tan money for the credits I provided. Happily handed me stacks of cash for Jedi accounts. Did I help in the demise of SWG? Yes. That is something I accepted long ago. The game that I loved so much, I helped to destroy

Even though narratology was conceived as a transmedial endeavour from its very beginnings in Russian formalism and French structuralism, most of its more influential models have been – and continue to be – developed in the context of literary criticism and film studies. In contemporary media culture, however, the creation of storyworlds is not limited to literature and traditional feature films. Rather, emerging forms of multimodal and interactive narration, experiments with the distinction between fictional and nonfictional narrative, various forms of intermedial adaptation, and attempts at ‘transmedia storytelling’ create new ways of presenting narrative content, thereby calling attention to the affordances and limitations of different narrative media as well as to their potential for cooperation. The increased interest in the relation between media and narrative sparked by the development of digital technology and the recent proliferation of delivery techniques in the context of media convergence has reinforced the need for an interdisciplinary and transmedial narratology that studies storyworlds across media.

There will be no escaping games in 2012. From the Olympics to hit shows on TV, lucrative games on your mobile phone to innovative live events, games are more a part of our everyday lives than they’ve ever been.
This briefing document looks ahead to the key issues that can help guide your strategy in 2012. And, since the gaming world evolves fast, we’ve drawn some concrete examples of these trends from front-runners in 2011, so you can get to grips with what they mean in practice. 

Over the years, my job gave me the priviledge of meeting amazing people. People who had a deep impact on my career, on my knowledge, on my personalty, and on what I am as a whole.

That must be why I am so fond of stories about game development that focus on people. The technology keeps changing, but the motivation that drives it remains. The people who shaped one way or another what our industry looks like today are for me an endless source of inspiration and motivation.

So I decided to share with you a few books I recently read, both have the same focus on the people behind the technology rather than on the technology itself.

As a bunch of “old-school” RPG fans hang out here, we’re accustomed to griping about how “dumbed down” RPGs have become over the years.

But it’s not just our favorite genre. As much as we complain about RPGs becoming first-person shooters, first-person shooters aren’t what they used to be, either.

To illustrate this point, this excellent video by kmooseman

The larger man spoke. He gestured while doing so. “You teach the player how to play the game in one minute. Within that one minute, you give them in-game money. You make them spend all of that money to buy an investment that will begin to earn them profit. They build a thing. It says: this thing will be finished in five minutes. Spend one premium currency unit to have it now. You happen to have one free premium currency unit. The game makes you use it now. Now you have a thing. Now it says to wait three minutes to collect from that thing. So they have a reason to stick around for three minutes. When those three minutes are up, you tell them to come back in a half an hour. You say, ‘You’re done for now. Come back in a half an hour.’ The phone sends them a push notification in a half an hour. Right here, you’re telling them to wait. You’re expressing to them the importance of patience. They’re never going to forget the way it feels to wait a half an hour after playing a game for one minute. They’re going to forget the second time they wait for a half an hour, and the third time, and they’ll then not forget the first time they have to wait for four hours, then twenty-four hours. This is why they’ll start to pay to Have Things Right Now.

Carnegie Mellon University Professor, Jesse Schell, dives into a world of game development which will emerge from the popular "Facebook Games" era.

Spielen ist Lernen – auch wenn es auf den ersten Blick schwerfällt, in dem über 350 Millionen mal heruntergeladenen Casual Game Angry Birds mehr als nur Zeitvertreib zu sehen. Und den suchen nicht wenige von uns:  Fast jeder zweite deutsche Internetnutzer besucht Online Gaming-Seiten. Knapp 40 Prozent der Smartphone Besitzer nutzen ihr Handy zum Spielen (comscore 2011). Kein Wunder, dass mehr und mehr darüber nachgedacht wird, den Gebrauch von Produkten oder Services für Nutzer mit Erfolgsfaktoren aus dem Spielesektor attraktiv und belohnend zu gestalten. Das Zauberwort heisst Gamification.

Tomonobu Itagaki spent the better part of two decades at Tecmo and Team Ninja, where his major projects included developing the Dead or Alive fighting game series and making sure you knew the competition (Tekken in particular) wasn't any good. He left the developer several years ago and is now working on action game Devil's Third at Valhalla Game Studios. In other words, he's no longer in the fighting game business and therefore no longer trash talks the competition -- and it's exactly that which Tekken boss Katsuhiro Harada misses.

Though there can be many answers to that question, perhaps the simplest answer is escapism.

No matter whats occurring in your life many people enjoy the ability to escape to somewhere else for a few minutes or an hour or two and just forget about real life for a bit.  Whether its scoring the winning goal in a football game or racing in an F1 car, shooting terrorists in a FPS or defending the realm against an evil wizard, that ability to skip to someone else is a compelling reason to spend time and money for most people.

I was thinking back to those long-vanished days recently as I stepped on the plane to Anaheim, California. My destination was the Major League Gaming (MLG) Pro Circuit, brainchild of Sundance DiGiovanni. MLG started its life in 2002 featuring primarily console games, but experienced unexpectedly large growth with the release of Blizzard's StarCraft II in 2010 (read our review). After arriving in Anaheim, I experienced this growth myself as I found my way to the end of a gigantic line stretching all the way to the end of the Anaheim Convention Center and into the adjacent parking lot. Passing tourists with their Mickey Mouse ears would sometimes turn and stare at us, and I could see them thinking: who were these people and what exactly were they lining up for?

Bernie Maddoff is in jail for the next 150 years. He misled investors with a Ponzi scheme, a scam in which you promise people a high return on investment, which you pay not with any real business, but with the money new investors give you. In real life, this is fraud, and if you are caught you will go to jail for it. In a game, for example if I offer you a dodgy deal for a street in Monopoly counting on the fact that you are bad with numbers, this is part of the game and I won't go to jail for it. It's just play money. But what of situations that are in between?

Okay, you may not think two full articles to be all that brief, but considering the scope and significance of the series, this seems pretty well abridged to me. G4TV has a two-part history of the series

We (PopCap Games), in partnership with Information Solutions Group, published a report on social game users earlier this year.

The research covered 5,000 social game players in the US and UK, and found that the average social gamer is a 43-year old woman. But the reality is much more multi-faceted... here are the key findings:

Among the nearly 5,000 consumers who responded to the survey, more than 1,200 play games on social networking sites and platforms at least once a week, qualifying them as "social gamers" for the purposes of the survey. Two-thirds of all qualified survey respondents are U.S.-based. 55% of all social gamers are female and 45% are male — with the disparity being even larger among UK consumers (58% vs. 42%). The average age of social gamers is 43, with U.S.-based social gamers averaging 48 years of age compared to 38 for those based in the UK. Further, 46% of American social gamers are 50 or older, compared to just 23% in the UK. Only 6% of all social gamers are age 21 or younger.

Steam conducts a monthly survey to collect data about what kinds of computer hardware and software our customers are using. Participation in the survey is optional, and anonymous. The information gathered is incredibly helpful to us as we make decisions about what kinds of technology investments to make and products to offer.
Now with Mac! Use the dropdown below the graphs to filter by platform or view combined stats.

OK, so this basically gives me permission to ramble on a bit about how games evolve over time. Designers can stop reading now, there's nothing here you don't already know...

I suppose, as I'm stating the obvious, I should begin by pointing out that there are four kinds of changes that happen to games.

I don't play golf. But if I did, and I'd tell my colleagues at the office that I spent €250 on a golf club, they would nod wisely and say that this is what a decent golf club costs. But if I told them I spent 2,500 hours on the driving range training, they would think I'm crazy. Online players think differently. They'd nod wisely if I told them I spent 2,500 hours in an online game, and think I'm crazy because I spent €250 on World of Tanks. I didn't spend 2,500 hours in WoT, but I did 2,500 battles, so well over 250 hours, which at less than 1€ per hour still is cheaper than most other forms of commercial entertainment.

First, the Eve playerbase feels both empowered and angry. They feel very much as though they should have a voice in how the game is run. CCP has not disagreed with this, and their “Council of Stellar Management” player advisory council is currently winging its way to Iceland, at CCP’s expense (and knowing the expense of last-minute airline reservations, more than cancelling any benefit from selling virtual monocles). We’ve seen player protests in MMOs before, but this is the first overt player riot - enabled in part by Eve’s own strengths of being a unitary server game so that if, say, someone decides it’s a good idea to shoot up a statue commemorating the in-game NPC leaders as a political gesture, it can get legs.

CCP Zulu (aka Arnar Hrafn Gylfason, Eve’s senior producer)

The investment of money in EVE should not give you an unfair advantage over the investment of time. The CSM, under NDA, has been presented with CCP‘s plans for continued evolution of the business model and agrees that nothing they saw breaks this principle. CCP has committed to sharing their plans with the CSM on this front on an ongoing basis.

The Mittani (aka Alexander Gianturco, Eve’s senior politician)

We believe that the situation that has unfolded in the past week has been a perfect storm of CCP communication failures, poor planning and sheer bad luck.  Most of these issues, when dealt with in isolation, were reasonably simple to discuss and resolve, but combined they transformed a series of errors into the most significant crisis the EVE community has yet experienced.

Holy god.. that trailer makes me relive so many horrible memories.. yet is just so awesome.

For those of you who dont know, Tommy and i were both documented by a tiny 2 person team called Blink Works on and off for about a year during the middle-end of development of Super Meat Boy. We met them at GDC the year we lost at the IGF.. they approached us after the loss and told us they were thinking about doing a short documentary about indie games. They had been talking to many indie devs and wanted to do something that could show the world the life of an indie game designer, we agreed and they followed us back to santa cruz. For the next 9+ months of development our lives were peppered with their cameras and almost sickeningly kind and gentle nature (they are Canadian).

Sifteo cubes are 1.5 inch computers with full-color displays that sense their motion, sense each other, and wirelessly connect to your computer. You, your friends, and your family can play an ever-growing array of interactive games that get your brain and body engaged.

Sifteo’s initial collection of titles includes challenging games for adults, fun learning puzzles for kids, and games people can play together.

Games perpetually revolutionize computer use toward denser interaction with the human mind. To do that, they perpetually revolutionize themselves. Understanding the next frontiers of the genre is one way to understand where society is going.

In this talk Jesse Schell explores the social, cognitive, and technological trends in computer game design and use.

Jesse Schell is the CEO of Schell Games, the author of the authoritative text, The Art of Game Design: a book of lenses, and a Professor of Entertainment Technology at Carnegie Mellon, specializing in Game Design. At Walt Disney, he was Creative Director of the Imagineering VR Studio.

If you’re an MMO designer, and you *still* don’t grok the griefer-mindset, or you somehow hope/believe that “one day, there will be no griefers”, then maybe this RPS interview with the always-fun-to-watch Goonswarm will help you:

Video games, we have been led to believe, are about wasting time. It is a misunderstanding that players and game makers have railed against for 40 years. While movies and television are endlessly analysed and debated in the mainstream media, games are characterised as troubling, irresponsible or banal, the fatuous byproducts of the digital revolution.

But a growing number of theorists and designers disagree. This is, after all, an entertainment medium that worldwide makes $50bn a year, a medium in which an estimated one third of UK adults indulge. An emerging school of thought, drawing on cognitive science, psychology and sociology, suggests that our growing love of video games may actually have important things to tell us about our intrinsic desires and motivations.

"Gamification efforts have come under criticism from many in the games industry for being shallow..."
Yes, you got that part right.
"-- that is, lacking the narrative quality of games made with a pure entertainment motive."
I don't think you understand the criticism, then, if you think "shallow" simply refers to "less narrative quality".

My gamified syllabi in classes, for exampled, have bombed. Students *really* don't want their grades determined by MMORPG mechanicsms. That's because one of the essential conditions of XP acquisition - that you can try and try again indefinitely - are missing in a classroom. In teaching, time is limited. So are mob pulls; you can't have as many shots at challenges as you want. In a classroom, you have a few challenges, time runs out, and somebody - me - has to judge how you did. Also, there are not enough opportunities for loose, flowing grouping; every teamwork exercise in a class is forced-grouping which, we've learned, people hate. Add to that the fact that ultimately the class is serious and not play. This means no one can say "settle down, it's just a game." And therefore, they DON'T settle down. They get almost homicidal when another team-mate screws up their grade.

Sony’s huge PlayStation Network (PSN) has been down for a week now following the theft of ID and credit card data on some or all of the gaming and video entertainment network’s 77 million customer accounts. Readers have been asking for comment but I stay out of these things unless I have something new to contribute. That something finally comes a week into the crisis as gamers begin to wonder why the network is still not back in operation and speculate on what this all means to Sony? It’s a huge loss of face, if course, but beyond that the damage to Sony is minimal. And the upside for PSN members, including those involved in the many emerging class action lawsuits, is likely to be bupkes. Nothing.

Probably the single biggest thing that stands between the idea of making a great game and the reality of actually doing it is the cost.

Even with agile practices in place, games need a certain level of development before they start to show their potential. The game actions need to extend, the loops need to be in place, the dynamic needs to be coming together and the wins need to build toward something. It needs to develop an aesthetic voice and style, work on the user experience and finally have some level of testing. These things take time and money.

How much? It varies massively depending on what it is, but the bare minimum is $100,000. If you find yourself pitching well below that, it usually portends trouble

In her new book, Reality Is Broken, Jane McGonigal argues that the rules, rewards and feedback offered by modern videogames can be used to make the world a happier and more productive place. We sit down with her to learn more.

I've been playing Minecraft a lot lately (when I'm not porting our newest game to Windows and iPad), and I will have several things to write about this truly fascinating game. For example, my nine year old daughter is addicted to it, and I thought her first experience with it was telling.

With exclusive access to Minecraft creators Mojang, I spent a day with Markus ‘Notch’ Persson and his team in their Stockholm offices, from the first meeting of the morning to the Friday afternoon’s booze and gaming relaxation. With kebab in between. Notch talks to us about how he came to be in the position he’s now in, his intentions for Minecraft and Scrolls, and the philosophy behind his game development. I also speak to his colleagues Jakob Porser and Carl Manneh, find out how the team deals with player feedback, their passion for transparency, and Notch’s plans for games after he’s completed Minecraft.

Do you have dusty games in the closet that you grew bored with years ago?

Do your kids beg you to play with them, but you can't stand another round of roll-the-die/pick-a-card, move-your-piece, do-what-the-space-tells-you-to-do, and somebody wins a few hours later?

Do you want to add fun and excitement to your life without spending a dime?

In the last fifteen years, board game designers and dedicated board gamers around the world have learned a thing of two about what really makes board games fun for adults. The principles used in modern board game designs can be used to help you rejuvenate your old board games. You, too, can learn to love board games again.

OK. It’s Friday night and I admit I’ve had a drink or possibly two already, which means that I’m in a mood for talking and sharing, possibly more than I normally would. But sharing is a bit of the point of blogging, isn't it?

There won't be any pretence or cover-up. This is the truth, the reality the way it is, including cracks and less-than-perfect. But even if this post starts in misery, I assure you it will get much better towards the end. Don’t worry. Just have a seat and a pint and relax while I'm sharing my story, OK? And don't forget I love my guild.

Now let's get started, shall we? (Larísa fills a pint to the brim and heads for her favorite armchair, takes a sip and clears her throat before speaking up.)

Eyewitness Accounts of MMO Hacks, Griefs, and Cheats on a Grand Scale
Put enough people in one place and sooner or later someone will test the boundaries. MMORPGs are no exception. Ranging from the hilariously frivolous to the monetarily disastrous, here are five stories of player-fueled negativity that have made an indelible mark on massively multiplayer gaming, plus a bonus interview of gamers taking extraordary steps to restore one MMORPG to its former glory.

The Assassination of Lord British

At 6am on 7th May 2004, Axel Gembe awoke in the small German town of Schönau im Schwarzwald to find his bed surrounded by police officers. Automatic weapons were pointing at his head and the words "Get out of bed. Do not touch the keyboard" were ringing in his ears.

Gembe knew why they were there. But, bleary-eyed, he asked anyway.

"You are being charged with hacking into Valve Corporation's network, stealing the videogame Half-Life 2, leaking it onto the internet and causing damages in excess of $250 million," came the reply. "Get dressed."

Gamification is a new vocabulary word lately, and there’s even a summit about it. What is the definition of gamification? The word gamification is used to describe companies integrating game mechanics into their non-gaming product or service to drive user engagement. These companies are “gamifying” their products and services by adding light game mechanics on top of them.

What does that actually look like? While the term is relatively new, the tactics aren’t and have already been in play for quite some time. Here are some examples of gamification in action.

I’ve been thinking a lot lately about Bayonetta. I gave up on it about a month ago, mostly because I found it tedious, incoherent, and punishing (purely from a receptive standpoint), but also because I felt embarrassed playing it. I found myself having to explain the indulgence to my partner, who, while sitting next to me on the couch or passing by the TV, would reel in horror as Bayonetta’s porn star Barbie body fought doll faced angels with stripper like finesse. From an outsider’s perspective, Bayonetta is an encapsulation of all that is wrong with videogames. But I don’t think that is entirely the case, and the shame I felt had more to do with the reception of my partner than what I was actually feeling while playing the game. In fact, quite unexpectedly, Bayonetta exhibits feminist resistances lacking from most other games; however, it is ultimately a failed project because these resistances are not adequately engaged with patriarchal hegemony. Or to put it another way, Bayonetta needs to learn from Lady Gaga.

​It's hard to keep track of every event in gaming's past. The industry has grown, fallen, and expanded for over forty years, and it shows no signs of stopping.

The are many wonderful books that follow extensive history of video games, but we'd like to talk about five films that should be watched for a holistic view of the medium. Some of these films may be hard to track down, but check them out if you can because they will make you understand the way other people play games.

Christmas is usually pretty fun in our family, and I do my best to add to the flavor of the season. I still make weird faces for the group picture (my hope is that my family will not have any “normal” photos for my funeral collage and instead will have to put pictures of me with my finger up my nose while they weep and say, “We will miss him!”), and I still come up with bizarre wish lists.

When I buy a AAA game from the store, I have a vested interest in liking the game. I’ve plonked $60 down for it, so there’s less of a chance I’ll abandon it just because the installer is annoying, or the tutorial is a bit dull, or because I have to create an account first. I’ll give the game a chance… at least a half hour.

But if it’s a web game, I’m not going to give it more than a minute of my time. That first minute has to hook me, draw me into the second minute. The second minute has to draw me into the third, and so on, until I’m solidly invested in the game.

Kinect is a new video game system that is fully controlled by bodily movements. It's vaguely similar to the Wii, but doesn't use a controller (and doesn't have the associated risk of banging up your living room if you lose your grip on the Wii wand during an aggressive tennis swing).

Kinect observes users through a video camera and recognizes gestures they make with different body parts, including hands, arms, legs, and general posture. The fitness program, for example, is fond of telling me to "do deeper squats," which it can do because it knows how my entire body is moving. Analyzing body movements in such detail far exceeds the Wii's capabilities, though it's still not going to put my trainer down at the gym out of work.

In this manuscript we propose that Challenge-avoiders, also referred to as Impression Managers, are a
heretofore ignored but commonly occurring player type. We consider whether and how eight very
different modern games accommodate Explorers, Challenge-seekers, and Challenge-avoiders and discuss
implications for entertainment and learning game design

It’s really, really easy to exceed customer expectations by doing one simple thing: Have the customer’s back. Customers want to feel like someone is on their side, and being on the customer’s side is the job of the community team.

Increasingly I find myself drawn to games that have a sense of progression, a feeling of permanence, or some other ‘value’ beyond the immediate sensation of fun. I guess I’m a pretty ambitious, and long-term thinking person, so that naturally spills out into my gaming habits. I want my gaming time to be an investment.

Playing video games is a time-consuming business. Even the shortest games can take upwards of four hours to complete.

Time, by contrast, is limited; and spare time is an even dearer commodity.

Why then should I prefer to spend time playing games over other activities? I’m not suggesting that I shouldn’t, but there must be a very good reason to justify spending a precious resource.

Exactly how much fun is it possible for someone have playing a game? My game design philosophy has always been that games create an Experience. For the vast majority of games that are made, I would say around 99%, the core experience that companies, student developers, and indie developers are shooting for is for the game to be fun.

Humans are naturally competitive. (We do call it the ‘human race’, after all!) We like validation of our place in the world. When society provides independent measures of our success, we can contextualize our personal achievements.

On paper, it sounds like business suicide. Offer up the core of your gameworld and a wealth of its content for free, to anyone willing to give it a taste test. Its roots are in the ’90s, an extension of the razor blades business model, emerging in gaming from the need to combat piracy in certain territories. It found its way into the west most memorably in Jagex’s RuneScape, an MMORPG that launched, completely free for registrants, in 2001. Free-to-play is a draw for one big reason: the numbers add up.

The history of Flash-game website Armor Games, which both hosts and develops some of the biggest browser-based titles around. Browser games, sometimes referred to as 'Flash games,' are easy to access. There's no install required. They're widely available, with hundreds of websites stabling thousands of games. The price for accessing most of these titles? A highly attractive zero dollars." Our lives changed when the mainstream latched onto the Internet, and it changed again when broadband access replaced dial-up in the workplace. Suddenly, text and images loaded in a blink. Improved streaming technology even let us tinker with games in between waiting for the paperwork or phone call that would fire up their corner of the corporate machine once again.

By now, we're used to letting Facebook and Twitter capture our social lives on the web -- building a "social layer" on top of the real world. At TEDxBoston, Seth Priebatsch looks at the next layer in progress: the "game layer," a pervasive net of behavior-steering game dynamics that will reshape education and commerce.

Dead End Thrills is a website dedicated to videogame photography, an emerging art form that’s as far from the average screenshot as it is the average photograph. In the virtual worlds of modern 3D games, the snapper has something their traditional counterpart does not: a supernatural level of control. Light, gravity and time are just toggles, sliders and developer commands. The rules of the game can change.

I waded into the debate on game achievements with my lecture at the 2010 Game Developers Conference entitled Achievements Considered Harmful?, with a strong emphasis on the "?". Since the game industry seems to be careening head first into a future of larding points and medals and cute titles on players for just starting up a video game, I wanted to raise awareness of the large body of research studying the impact on motivation from various types of rewards. Trying to be "fair and balanced", I delved into what the data show and what they don't show.

Lee Sheldon is an accomplished screenwriter and game writer, having worked on TV shows like ST:TNG and Charlie's Angels as well as the Agatha Christie series of games from The Adventure Company. He now teaches game design courses for Indiana University's Department of Telecommunications. Instead of assigning his students a grade at the end of the course, he instead starts every student at 0 xp and they earn points through completing quests like solo projects and quizzes in addition to grouping up for guild projects and pick up groups. How many points they have at the end of the course determines their actual "grade."

Matthew Wiggins of mobile developer Wonderland, creator of the chart-topping Godfinger, has claimed that charging any price for an iPhone game is a mistake.

Following the Canada-only release in March, Godfinger went to no 1 in the charts in 36 hours with no promotion. It also topped the charts come its worldwide release in June.

- I’ve always said employees should be using their real names to provide transparency and accountability. If you can’t handle being the public face of a company and all that implies, get another job. It’s that easy. It is not always that FUN, mind you. - My customers are not public citizens. Making them public citizens against their will is crappy. I can think of half a dozen reasons why someone should be allowed to be anonymous, and I’m not going to list them because any one of them is good enough. Want people to stop acting like asshats on the boards? Suspend in game accounts for out of game behavior. Hire more mods. Close the board. Whatever. This is just chickenshit.

Cactus may get away with abusing his players just for fun, but he's well recognised enough to be invited to talk at the GDC. I for one can't afford even to momentarily bore or annoy my audience, because they'll drop me like a hot coal and move on to something else. It's not like there's any shortage of free alternatives for them to try (none of my games are on that list - ledsen). You don't get any favours when nobody's heard of you (not that any of my games actually are any good).

I don't want to be all negative though, so how about something constructive? Let's have a look at "how not to make your game abusive", so as to preserve the universal balance of... the universe? To do so we'll be exploring three problems which can contribute to making your game particularly annoying: repetition, randomness and incoherence.

A 12-year-old boy in Norway evaded a rampaging moose that had charged him and his 10-year-old sister. When interviewed, he explained that he had used an ability he learned from World of Warcraft.

Our Mission - To explore the rich cultural genre of games; to give scholars a peer-reviewed forum for their ideas and theories; to provide an academic channel for the ongoing discussions on games and gaming.

Game Studies is a crossdisciplinary journal dedicated to games research, web-published several times a year at www.gamestudies.org.

Our primary focus is aesthetic, cultural and communicative aspects of computer games, but any previously unpublished article focused on games and gaming is welcome. Proposed articles should be jargon-free, and should attempt to shed new light on games, rather than simply use games as metaphor or illustration of some other theory or phenomenon.

Amy Jo Kim is a game/social/web designer known for bridging the divide between game and web design. She has designed software UIs, games, online communities, and wrote the seminal book Community Building for the Web way back in 2000. I have long admired her work, and I am grateful that she recently sat down for an interview on the basics of game mechanics and how they can be used in interaction design.

Welcome to Random Battle. This isn’t my first blog about the games industry, nor is it my personal blog, but it is where I’ll be trying to comment regularly on industry-relevant topics. The way I see it, I can’t keep posting on gaming community blogs without a site, because then no one can come back to my blog to yell at me.

The Laws of Online World Design - These are taken from both experience and from the writings of others. Most are the sort of "Duh" things that many who have done this sort of game design take for granted, but others may be less intuitive. Many of the laws here were actually stated as such by others, and not by me.

Next-Gen has compiled a list of the 50 books from which everyone in the game industry could learn something. Our list covers game design theory to histories of games companies to sociological texts to novels. Compiled by game designer and author Ernest Adams...