Foreword |
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xix | |
Acknowledgments |
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xxv | |
About the Author |
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xxvii | |
Introduction |
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xxix | |
Chapter 1 A Brief History of Architecture and Level Design |
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1 | (50) |
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Breaking The Rules Of Level Design |
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2 | (3) |
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An Experiential History Of Architecture |
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5 | (24) |
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Elements of Architecture and Level Design |
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7 | (1) |
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7 | (1) |
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7 | (1) |
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7 | (1) |
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The Beginnings of Architectural Sight Lines |
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8 | (2) |
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Architecture as Representation in Ancient Mesopotamia |
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10 | (1) |
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Architecture as Statement in Ancient Egypt |
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11 | (2) |
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Spatial and Symbolic Relationships in Greek Architecture |
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13 | (4) |
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Indian, Southeast Asian, and Asian Representational Architecture |
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17 | (2) |
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Linear Experiences in Roman Architecture |
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19 | (2) |
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Medieval Christian and Islamic Symbolic Architecture |
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21 | (2) |
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The Renaissance Return to Human-Centered Architecture |
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23 | (2) |
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Ornamental Reformations and Material Revolutions |
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25 | (4) |
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The History Of Gamespaces |
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29 | (8) |
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Board Design for Early Games |
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30 | (1) |
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Physical Gamespaces and Architecture |
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31 | (1) |
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32 | (5) |
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Ways Of Seeing For Level Design |
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37 | (3) |
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40 | (1) |
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40 | (1) |
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41 | (3) |
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44 | (7) |
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Chapter 2 Drawing for Level Designers |
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51 | (58) |
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51 | (8) |
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Adjusting Player Behavior |
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53 | (3) |
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56 | (1) |
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57 | (2) |
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Non-Digital Level Design Techniques |
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59 | (29) |
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60 | (5) |
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61 | (1) |
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Contours and Line Weights |
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62 | (1) |
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63 | (1) |
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63 | (1) |
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64 | (1) |
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Types of Architectural Drawings |
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65 | (8) |
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65 | (2) |
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67 | (1) |
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68 | (1) |
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69 | (2) |
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71 | (2) |
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Sketching and Journal Writing |
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73 | (2) |
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75 | (2) |
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Notation Methods for Level Design |
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77 | (11) |
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77 | (2) |
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79 | (3) |
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82 | (1) |
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83 | (2) |
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Mark Brown's Boss Keys diagrams |
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85 | (3) |
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Digital Level Design Tools |
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88 | (12) |
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89 | (3) |
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92 | (1) |
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Engine Primitives and Placeholder Art |
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93 | (4) |
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97 | (3) |
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100 | (1) |
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100 | (1) |
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101 | (2) |
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103 | (6) |
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Chapter 3 Level Design Workflows |
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109 | (36) |
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109 | (6) |
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Form Follows Core Mechanics |
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110 | (4) |
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Level Progression with Scaffolding Mechanisms |
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114 | (1) |
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115 | (20) |
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115 | (9) |
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124 | (1) |
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Digital Prototypes with Grayboxing |
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125 | (1) |
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Pacing Your Levels with the Nintendo Power Method |
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126 | (4) |
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Iterative Design with Playtesting |
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130 | (2) |
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132 | (3) |
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135 | (5) |
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136 | (1) |
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137 | (2) |
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139 | (1) |
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140 | (1) |
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141 | (1) |
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142 | (3) |
Chapter 4 Basic Gamespaces |
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145 | (68) |
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Architectural Spatial Arrangements |
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146 | (9) |
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146 | (5) |
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151 | (1) |
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151 | (2) |
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153 | (2) |
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Historic Gamespace Structures |
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155 | (6) |
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155 | (1) |
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156 | (3) |
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159 | (2) |
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161 | (7) |
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161 | (2) |
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163 | (3) |
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166 | (2) |
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168 | (6) |
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The Basics of Molecule Design |
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168 | (1) |
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Spatial Types as Molecule Nodes and Edges |
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169 | (5) |
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174 | (2) |
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176 | (10) |
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Pathfinding with Architectural Weenies |
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177 | (2) |
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Organizing the Sandbox: Kevin Lynch's Image of the City |
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179 | (7) |
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180 | (1) |
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180 | (2) |
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182 | (1) |
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183 | (2) |
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185 | (1) |
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Working With Camera Views |
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186 | (12) |
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187 | (4) |
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188 | (1) |
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189 | (2) |
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191 | (14) |
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192 | (2) |
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194 | (2) |
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Axonometric/Isometric Views |
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196 | (2) |
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Enemies As Alternative Architecture |
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198 | (2) |
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200 | (1) |
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201 | (1) |
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201 | (4) |
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205 | (8) |
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Chapter 5 Communicating through Environment Art |
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213 | (44) |
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Teaching Theories For Game Levels |
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214 | (8) |
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Behavior Theory and Operant Conditioning |
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214 | (2) |
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216 | (3) |
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219 | (3) |
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Symbols And Visual Design In Games |
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222 | (14) |
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Implementing Symbols in Games |
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223 | (2) |
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Teaching with Symbols in Games |
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225 | (5) |
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225 | (2) |
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227 | (3) |
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Designing and Placing Symbols for Effective Communication |
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230 | (8) |
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230 | (2) |
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232 | (1) |
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233 | (1) |
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234 | (2) |
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Architectural Forms And Types |
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236 | (2) |
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Controlling Information In Memory Palaces |
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238 | (7) |
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239 | (1) |
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240 | (2) |
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242 | (1) |
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Putting It All Together in a Memory palace |
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243 | (2) |
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245 | (1) |
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245 | (1) |
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246 | (3) |
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249 | (8) |
Chapter 6 Building Exciting Levels with Dangerous Architecture |
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257 | (42) |
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Survival Instincts And Game Complexity |
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258 | (7) |
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Maslow's Hierarchy of Needs |
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261 | (1) |
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"Bad Spaces": Vulnerability as a Game Mechanic |
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261 | (4) |
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Vulnerability as a Game Structure |
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262 | (1) |
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Vulnerability in Individual Game Challenges |
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263 | (2) |
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Prospect And Refuge Spatial Design |
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265 | (12) |
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Creating Paths with Refuges, Prospects, and Secondary Refuges |
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266 | (2) |
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Prospects and Refuges in Architecture |
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268 | (4) |
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Prospects and Refuges in Video Games |
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272 | (5) |
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Shade, Shadow, And Ambiguity |
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277 | (10) |
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279 | (3) |
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282 | (3) |
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285 | (2) |
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287 | (3) |
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290 | (2) |
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292 | (1) |
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292 | (3) |
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295 | (4) |
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Chapter 7 Rewards in Gamespaces |
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299 | (26) |
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300 | (4) |
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Incentivizing In-Game Behaviors |
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300 | (1) |
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301 | (1) |
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Creating a Sense of Curiosity |
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302 | (2) |
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The Types Of Rewards In Gamespaces |
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304 | (5) |
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305 | (1) |
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306 | (1) |
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307 | (1) |
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308 | (1) |
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Making Rewards Exciting Through Denial |
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309 | (9) |
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309 | (3) |
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Frank Lloyd Wright's Hanna House |
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312 | (1) |
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Religious Structures and Eastern Garden Design |
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313 | (3) |
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316 | (1) |
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317 | (1) |
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Goals And Reward Schedules |
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318 | (3) |
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Long- and Short-Term Goals |
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319 | (1) |
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320 | (1) |
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320 | (1) |
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321 | (1) |
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322 | (1) |
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322 | (3) |
Chapter 8 Level 1-1: The Tutorial Level |
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325 | (62) |
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The Many Functions Of First Levels |
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326 | (4) |
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326 | (2) |
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328 | (2) |
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Building Blocks For Tutorial Design |
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330 | (20) |
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331 | (9) |
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331 | (3) |
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334 | (3) |
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337 | (1) |
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338 | (2) |
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Behavioral building blocks |
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340 | (5) |
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340 | (3) |
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Access as a First Level Reward |
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343 | (2) |
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Montessori Building Blocks |
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345 | (3) |
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Constructivist Building Blocks |
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348 | (4) |
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348 | (2) |
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350 | (2) |
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Playtesting In-Game Teaching |
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352 | (9) |
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A Literature Game for Those Who Have Not Read the Book |
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352 | (3) |
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Teaching Molecular Immunology in Only Four Levels |
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355 | (1) |
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Developing Concepts into Challenges in a Math Game |
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356 | (5) |
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Puzzles as Problems, Levels as Lessons |
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357 | (1) |
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Four-Step Tutorial Design |
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358 | (3) |
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Tutorial Assets And Media |
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361 | (7) |
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Effective Visual Elements |
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362 | (2) |
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364 | (4) |
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Teaching Gameplay Through Advertising Methods |
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368 | (6) |
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Demonstrative Advertising with Scripted Events and Triggers |
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368 | (2) |
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Illustrative Advertising through Environmental Narrative |
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370 | (1) |
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Associative Advertising as Deconstruction |
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371 | (3) |
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374 | (1) |
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374 | (2) |
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376 | (3) |
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379 | (8) |
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Chapter 9 Storytelling in Gamespaces |
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387 | (42) |
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388 | (5) |
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Narrative Design and Worldbuilding |
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390 | (1) |
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Narrative Worldbuilding in Games |
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391 | (2) |
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393 | (5) |
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Narrative as a Generator of Design |
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393 | (1) |
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Mechanics vs. Story Narrative |
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394 | (2) |
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Mechanics vs. Gameplay Narrative |
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396 | (2) |
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398 | (8) |
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399 | (2) |
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401 | (1) |
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402 | (2) |
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Resource-Providing Spaces |
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404 | (2) |
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Environment Art Storytelling |
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406 | (5) |
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Storytelling with Modular Assets |
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407 | (2) |
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Environment Art and Cinematography |
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409 | (2) |
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Materiality And The Hero's Journey |
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411 | (5) |
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Pacing And Narrative Rewards |
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416 | (4) |
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The Dramatic Arc as a Pacing Tool |
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416 | (2) |
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Rewarding Exploration with Embedded Narrative |
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418 | (1) |
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Rewarding Exploration with Optional Narrative and Easter Eggs |
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418 | (2) |
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420 | (1) |
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420 | (1) |
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421 | (4) |
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425 | (4) |
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Chapter 10 Possibility Spaces and Worldbuilding |
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429 | (46) |
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Understanding Immersion And Player Individuality |
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430 | (3) |
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431 | (1) |
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432 | (1) |
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Architectural Phenomenology And Play |
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433 | (3) |
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436 | (3) |
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437 | (1) |
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438 | (1) |
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Miniature Garden Aesthetic |
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439 | (10) |
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441 | (4) |
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Overviews in Historic Games |
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442 | (1) |
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442 | (3) |
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445 | (1) |
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Possibility Space and Procedural Literacy |
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446 | (3) |
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Japanese Garden Design And Worldbuilding |
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449 | (9) |
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Points of View in Japanese Gardens |
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451 | (2) |
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453 | (1) |
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454 | (4) |
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Offering Experiential Choice |
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458 | (9) |
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458 | (1) |
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459 | (1) |
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Shaping Choice, Risk, and Reward |
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460 | (2) |
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"Metroidvania": Worlds of Rewards and Possibility |
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462 | (5) |
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467 | (1) |
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468 | (1) |
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469 | (1) |
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470 | (5) |
Chapter 11 Working with Procedurally Generated Levels |
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475 | (28) |
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How I Learned To Stop Worrying And Love PCG |
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476 | (4) |
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480 | (4) |
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481 | (1) |
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Working with Patterns in Level Design |
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482 | (2) |
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Blending Handmade Design With Procedural Generation |
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484 | (9) |
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485 | (2) |
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Combining Handmade Design and PCG |
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487 | (1) |
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Night of the Living Handmade/PCG Case Studies |
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488 | (20) |
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PCG Alternative Architecture in Left 4 Dead |
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488 | (1) |
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Mixing Methodologies in Dead Man's Trail |
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489 | (4) |
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493 | (1) |
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494 | (1) |
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494 | (2) |
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496 | (7) |
Chapter 12 Influencing Social Interaction with Level Design |
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503 | (26) |
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Emergence And Social Interaction |
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504 | (4) |
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Learning From Urban Emergence |
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508 | (11) |
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Modernism and Non-Emergent Cities |
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509 | (3) |
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Jane Jacobs and Mixed-Use Emergent Neighborhoods |
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512 | (2) |
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Integrating Urban Design into Multiplayer Gamespace |
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514 | (5) |
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The Importance Of Spawn Points And Quest Hubs |
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519 | (4) |
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Shaping with Spawn Points |
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519 | (1) |
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Shaping Player Interaction with Quest Hubs |
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520 | (1) |
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Enticing Exploration with Side Quests |
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521 | (2) |
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Houses, Homes, And Hometowns In Games |
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523 | (2) |
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525 | (1) |
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525 | (1) |
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526 | (3) |
Chapter 13 Sound, Music, and Rhythm in Level Design |
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529 | (26) |
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The Role Of Rhythm In Games And Buildings |
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530 | (12) |
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531 | (4) |
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Rhythm and Interactive Sound |
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535 | (2) |
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Rhythmic Entrainment in Games and Spaces |
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537 | (1) |
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Varying Structural Rhythms |
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538 | (4) |
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Complementing Level Design With Ambient Sound |
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542 | (3) |
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542 | (1) |
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543 | (2) |
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Enhancing Gameplay Experiences With Sound Design |
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545 | (5) |
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Sound as Gameplay Feedback |
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547 | (1) |
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548 | (2) |
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Sound as Narrative Indicators |
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550 | (1) |
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550 | (1) |
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551 | (1) |
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552 | (3) |
Conclusion |
|
555 | (2) |
Index |
|
557 | |