Better Game Characters by Design- P13

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Better Game Characters by Design- P13: The game industry is a powerful and driving force in the evolution of computer technology. As the capabilities of personal computers, peripheral hardware, and game consoles have grown, so has the demand for quality information about the algorithms, tools, and descriptions needed to take advantage of this new technology. To satisfy this demand and establish a new level of professional reference for the game developer, we created the Morgan Kaufmann Series in Interactive 3D Technology....

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INDEX H Johnson, W. Lewis, 100–103 Laidlaw, Marc, 218–222 Half-Life, 129, 203, 218–219, 220, 221, 296–297 Lazzaro, Nicole, 279–283 four-layer model, 203 Pagulayan, Randy, 276–279 objectives and abilities in, 236 Schafer, Tim, 261–265 Hall, Edward, 162 Tsurumi, Roppyaku, 62–100 Halo, 44, 55–56, 123, 124, 277, 298–299 Walter, Sarah, 121–125 male gamer style, 119 intimacy, 164 objectives and abilities in, 236 Iron Giant (movie), 67 version 2, 130 halo effect, 7–9 happiness, 145–146 Hasegawa, Ryoichi, 62–100 J Hearts, 126 Jak and Daxter: The Precursor Legacy, 4, 14, hierarchy of needs, 24–25 84–85, 235, 302–303 high-context cultures, 51–52 agreeableness cues in characters, 28 The Hitchhiker’s Guide to the Galaxy, 240, 299–300 attractive characters in, 9 Hitomi, Kuroki, 81 babyface features, 11, 12 Hollywood movie tie-in games, 61 body language, 30 hosts, 249–250 character design tactics, 24 dominance cues, 33, 34, 192 friendliness of characters, 30 I relationship diagram for, 38 villainous creatures in, 14 ICO, 54, 140, 232, 301–302 Jak II, 74 movements of player-character, 173–174 Japanese culture, 47–48, 50, 52, 53 touch and interpersonal distance, 138, 165, 175 Japanese developers, 81 identity Japanese market, 65 communicated by body, 167–174 Johnson, W. Lewis, 100–103 and social context, 188–190 JoJo’s Bizarre Adventure, 74 Ik technology, 89 Jones, Gerard, 206 imitation, 165–166, 175 joy, 186 impressions, see first impressions Jun, Miura, 71 Impro book, 39 justice scarf, 72 Inanoglu, Zeynep, 193 The Incredible Machine, 122 The Incredibles (movie), 66 informants, 247–249 K Insomniac Games, 63, 70 Katamari Damacy, 124 interaction logistics, 193 father-son relationship, 61 interaction-based social qualities, 23 human universals in character relationships, 60 interdependence, 228 Kazuo, Koike, 78 interpersonal circumplex, 25–26 kinesthetic properties, 209 interpersonal distance, 162–165, 175 Kingdom Hearts game, 44, 59, 125, 129 interpersonal interaction, 25 King’s Quest series, 122 interviews Kojima, Hideo, 307 Bergman, Stephanie, 125–128 Caneel, Ron, 193–194 Clanton, Chuck, 176–180 Condaxis, Daniel, 128–131 L Frasca, Gonzalo, 17–20 Laban, Rudolf, 171–172 Hasegawa, Ryoichi, 62–100 Laidlaw, Marc, 218 Inanoglu, Zeynep, 193–194 Laura Bow, 122 332
INDEX Lazzaro, Nicole, 276, 279–283 Mortal Kombat, 112, 202, 308–309 The Legend of Zelda series audience’s reactions to, 247 traders role in, 248 competing players in, 243 The Windwaker, 2, 15, 129, 151, 303–304 motion-capture native speakers, 101–102 boss monsters in, 244 movements, 161, 169–171 characters’ faces, 11, 136, 138, 149, movie tie-in games, 61 153–155, 156 Mulan (movie), 66 counter-stereotype qualities in characters, 16 music, 192 Leisure Suit Larry, 3, 14, 305 Lilo and Stitch (movie), 66 listening, 195 local media contexts, 54–60 N localization of characters, 61 Naoki, Urasawa, 71 low-context cultures, 51 national culture, 49 Lucas Arts, 99 Naughty Dog, 63–64 Ludology.org, 17 Nausicaa of the Valley of the Wind, 68 NBA Live 2004, 247, 309 NCAA Football, 124 negative feelings, 193 M Neopets, 234, 310 males, gamer style, 108, 130 neuroticism, 36 manga-style video games, 57 newsgaming.com, 17 Maniac Mansion, 122 nonplayer-characters, 118, 191, 192, 225–252; Manny Calavera, 210–211, 295–296 see also characters; player-characters Mario, 59–60 common social roles, 229–250 Mario Kart, 127 ally, 236–237 Mario Party, 124 archenemy, 245–246 market research, 256, 269–270, 284 audience, 246–247 marketing, 257, 261 boss monster, 244–245 masks, 215–216, 218 competitor, 243–244 Maslow, Abraham, 24–25 enemy, 241–243 massively multiplayer online role-playing games guide, 237–238 (MMORPGs), 110 host, 249–250 The Matrix , 95 informant/trader, 247–249 Max Payne, 207–210, 306–307 mentor, 238–240 four-layer model, 203 minion, 230–231 Mechner, Jordan, 316 obstacle, 240–241 media, 54–60 overview, 229–230 mentors, 238–240 pet, 233–234 Meretsky, Steve, 299 rescuee, 231–232 Metal Gear Solid 2: Sons of Liberty, 237–238, 307 sidekick, 234–236 Metal Gear Solid 3, 73 dimensions of social roles and, Metroid Prime, 82 228–229 Michael Jackson’s Moonwalker, 90 faces of, 156–157 Mickey Mouse:Castle of Illusion, 99 overview, 225 minions, 230–231 psychological principles, 225–227 MIT Media Laboratory, 193 nonverbal component of lessons, 102 Miyamoto, Shigeru, 314 Molyneaux, Peter, 288 moment-to-moment game play, 243 Monkey Island, 122 O Monkey Mania, 87 obligations, 228, 229 moodicons, 179 obstacles, 240–241 333
INDEX OCEAN (openness, conscientiousness, play-testing, 257, 260–261, 270–271 extroversion, agreeableness, and neuroticism), 35 Pokémon, 67–68 Oddworld: Munch’s Odyssee, 231 polygon model, 93–94 Onimusha 3, 75 positive feelings, 193 online social get-away environment, 177 postproduction, 257, 261 openness, 35–36 postures, imitating, 167–169 Opposing Force, 221 power distance, 55, 56 Otomo Katsuhiro, 71 power dynamics, 228 overgeneralization, 10 preproduction, 256, 259–260, 271–274 Prince of Persia, 316–317 process of game development, 255–265 overview, 255 P postproduction, 257, 261 Pagulayan, Randy, 252, 275, 276–279 preproduction, 256, 259–260, 271–274 paralinguistic cues, 184 production, 256–257, 260–261 PaRappa the Rapper, 239, 311 project planning, 256 patches, 257 prosody, 184 pedagogical agents, 100 proximity, 162 personal distance, 164 Psychonauts, 263–264 personality, 35–36, 39 public distance, 162 person-perception variables, 228 puppets, 214–215, 218 pets, 233–234 Petz, 233, 312–313 phonation, 184, 185 physical characteristics, social norms about, Q 50–54 Quake, 125, 126, 128, 218–220 Picard, Rosalind, 194 quality, 255 Pikmin, 231, 313–314 questions, making clear, 268 Pixar films, 67 plan social role, 250 Planetfall, 315 planning, 268–269 R platform-based games, 205 Ratchet & Clank, 63–64, 68, 80, 84, 88, 92–93, Player Experience Research, 279 94, 97 player-characters, 203–223; see also characters; real-time analysis, 194 nonplayer-characters real-time back-channel sounds, 191 creating and refining, 220 real-time vocal adaptation, 191 Gordon Freeman, 207–210 region specific character polygon models, 94 layers of player’s psychological experience of, relationships, 162–163 204–206 diagram for, 38 cognitive immersion, 205 focusing on, 191 fantasy affordances, 206 shown by body, 162–167 overview, 204 imitation, 165–166 social affordances, 205–206 interpersonal distance and touch, visceral feedback, 204–205 162–165 Manny Calivera, 210–211 overview, 162 masks, 215–216 social grouping, 166–167 Max Payne, 207–210 in voices, 188 overview, 203 Reno, Jean, 75 puppets, 214–215 rescuees, 231–232 The Sims, 211–212 Rocky’s Boots, 122 tools, 212–214 Role-playing games (RPGs), 125 PlayStation 3, 85, 89, 90 roles, 54–57, 227, 250, 251 334
INDEX S rescuee, 231–232 sidekick, 234–236 sadness, 145–146, 186 plans, 250 Sazae-san, 89 and voices, 188 Schafer, Tim, 261–265, 295 social signals in voice, 185–191 schemas, 57 emotion in voice, 185–188, 193 September 12, 17–18 overview, 185 sequel planning, 257 real-time vocal adaptation, 191 sex appeal, 45 social context and identity, 188–190 sidekicks, 234–236 social interaction logistics, 190–191 signature traits, 70 social status, 193 SimCity, 122 social stereotypes, 12–16, 251 The Sims, 59, 121, 122, 124, 211–212, social surface 317–318 attractiveness, 7–10 anime-style character designs in, 58 babyfaces, 10–12 emotion in voice, 140–141 overview, 5 and female gamer style, 112–115, 117 reacting to, 5–7 four-layer model, 203 stereotypes, 12–16 paralinguistic cues in, 186–187 social-cue research, 135 Simlish language, 187 social-psychological evaluation criteria, 255 Sly 2: Band of Thieves, 93 Solitaire, 126 Sly Cooper, 69 Sonic the Hedgehog, 96, 97 smile muscles, 151–152 space, dimension of, 171 Snoopy character, 96 Space Channel 5, 96 social affordances, 205–206 Space Invaders, 202, 242, 319 social context, and identity, 188–190 speech, 184–185, 193 social distance, 162, 165 sports audiences, 246–247 social grouping, 166–167 Spyro the Dragon, 63 social interaction logistics, 190–191 Squares, 129–130 social learning, 146–149 SSX 3, 124, 140, 320–321 social norms puppet-style player characters in, 215 about expression and physical characteristics, signature moves and general grace of 50–54 athletes, 174 about roles and expectations, 54–57 Star Trek 25th Anniversary, 129 social roles, 54, 225–227 Star Wars Galaxies, 215–216 and nonplayer-characters, 228–229 Star Wars: Knights of the Old Republic, 119–120, agreeableness and dominance, 228–229 321–322 ally, 236–237 Star Wars (movie series), 61 archenemy, 245–246 stereotypes, 12–16, 251 audience, 246–247 street cred check, 104 boss monster, 244–245 Street Fighter II, 73 competitor, 243–244 subcultural backgrounds, 57 enemy, 241–243 submissiveness, 32, 229 guide, 237–238 Super Monkey Ball 2, 137, 151, 152, 323–324 host, 249–250 archenemy in, 245 informant/trader, 247–249 puppet-style player characters, 201, 215 interdependence, 228 mentor, 238–240 minion, 230–231 obligations and investment, 229 T obstacle, 240–241 Tactical Language Project, 100–103 overview, 228–230 Takahiro, Tohu, 71 pet, 233–234 Tales series, 85 335
INDEX target culture, 62 voice, 183–197 target players, qualities of, 259 characteristics, 183–184 tasks, learning, 147 cues of agreeableness, 28 team culture, creating, 269 cues of dominance, 31, 32 technical advances, 255 mechanics of speech, 184–185 technical feasibility testing, 256 modulations, 190 testing, see evaluation overview, 183 testosterone, 110 social signals in, 185–191 Tetris, 90 emotion in voice, 185–188, 193 There, 139, 161, 169, 176–180, 324 overview, 185 body language in, 167 real-time vocal adaptation, 191 incorporating group dynamics, 175 social context and identity, 188–190 masks in, 215–216 social interaction logistics, 190–191 3D techniques, 91 synthesis, 194 time, and movement analysis, 171 use as emotional regulator, 192 Tomb Raider, 88, 96 vocal cords, 184 tools, 212–214 Toro, 96 touch, 162–165, 175 Toy Story (movie), 66 W traders, 247–249 Walter, Sarah, 121–125 Train Man, 95 Warcraft III: Reign of Chaos, 326–327 transcultural media forms, 59 dominance cues, 189 transmedia, borrowing from, 61 interaction moments, 230–231 trash talk, 194 tools in, 212–213 Treasure Planet, 80 voices, 141, 189 Tsukasa, Hojo, 71 Warning Forever , 129–130 Tsurumi, Roppyaku, 62–100 Web cameras, 158 Twisted Metal: Black, 2, 10, 16, 325 weight, and movement, 171 women, see females Wright, Will, 212 U Unreal Engine, 102 upgrades, 257 X urgency, 193 XEODesign, 279–283 usability, see evaluation Y V Yamada, 56–57 valence, 193, 194 Yong-sama (Yong Joon Bae), 76 Vice City, 95 You Don’t Know Jack, 249 Viewtiful Joe, 91–92 Yuji, Aoki, 71 violence, 20, 308–309 male tendency toward, 110 in Mortal Kombat, 308 Virtual Fighter, 98 Z visceral feedback, 113, 204–205, 217 Zone of the Enders, 129 336