This PPT is a class presentation file to teach the learning aspect and its measurement of the depth of knowledge and Creativity management

1. GAME FUNDAMENTAL DESIGN
(AFT 713)

2. Course Description:
 “AFT 713- GAME FUNDAMENTAL DESIGN.” is a basic foundation for
writing course in clubbed form may be in the form of game design
means script writing ,game documentation or software design in
the the form of SRS document.
 These fundamental concepts provide a basis for all the design/art
disciplines as they are applied by the students regardless of their
major area of interest.
 This course is base of preparatory documentation course of this
discipline.

3. Course Outcome:
 develop the vocabulary and critical understanding to describe
and analyze the components of games and game play
experiences
 develop a game idea from concept to playable, analogue
prototype, use common methods for documenting game designs
such as game design documents and play testing reports
 represent their game ideas through pitch, prototype and
presentation

4. Four Cs of 21st
Century Skills:
 1.COLLABORATOR- Working with others
 2.COMMUNICATOR- Understanding and communicating Ideas
 3.CRITICAL THINKER- Solving Problems
 4.CREATOR- Producing High Quality work
IN BLOOM TAXANOMY :These are higher order of thinking in order of thinking
DEPTH OF LEVEL
DOK- leve1=Recall and Reproduction
DOK-level2= Skills and Concept
DOK-level3 =Strategic Thinking
DOK-level4= Extended Thinking

5. What is DOK level
CREATING
EVALUATING
ANALYZING
APPLYING
UNDERSTANDING
REMEMBERING
HIGHER ORDER OF THINKING LEVEL

6. TECHNOLOGY DEVELOPMENT PATTERN
TIME
TECHNOLOGY
ART
CRAFT
ENGENEERING/DESIGING
Esoteric
Past
Experien
ce
Unorganized Use of
Past Experience
Systematic Use of Past
Experience and Scientific basis

7. TECHNOLOGY DEVELOPMENT PATTERN
Working Experience
GameMakingKnowledge&
Experience
GAME STER
MECHANICS
GAME
LAB/JAM
STAGE CAST
SCRATCH
GAME
MAKER
UNITYUNREAL
FLASH
ACTION
JAVA
C++/C#
Development Environment
ProgrammingGame Design

8. FOUNDATION
COURSE
EVOLUTION OF
GAME SKILL COURSE
GAME MAKER
/STYNCL
Programming 1
GAME MAKER
/STYNCL
Programming 2
UNITY 3D
Programming
STUDIO Course
GAME
PRODUCTION
AND MARKETING
GAM E PROGRAMMER :
GAM E DESIGNER :
FOUNDATION
COURSE
EVOLUTION OF
GAME SKILL COURSE SCREEN WRITING
UNITY 3D FOR
ARTISTSTUDIO Course
GAME
PRODUCTION
AND MARKETING

9. FOUNDATION
COURSE
EVOLUTION OF
GAME SKILL COURSE
2D CONCEPT
ART
USER INTERFACE
DESIGN /UX
DESIGN
3D MODELINGSTUDIO Course
REAL WORLD
PROJECT
GAM E ARTIST :

10. ROLES AND RESPONSIBILITY
CREATIVE DIRECTOR
 The Creative Director is the key person during the game development process, overseeing any high-level decisions
that affect how the game plays, looks or sounds.
 Not all game companies employ Creative Directors. Some companies prefer to continue to split the duties between a
game's Lead Artist ,Lead Programmer, Game Designer and Producers
 Where the position is used, each game development team has its own Creative Director. Some highly experienced
and talented Creative Directors oversee multiple projects.
 They are responsible for the overall look and feel of a computer game. The position is a relatively new one within the
games industry. It has evolved out of the producer's role, which has shifted towards managing the process of
completing a game on time and on budget.
 In contrast, the Creative Director's focus is on ensuring the quality and style of the game play, artwork, music and
audio assets that make up the final product. In many cases, the Creative Director is also the creator of the original
game concept and characters, and so makes sure that the finished game fulfils the initial goals
 At the start of a project, they work with a small core team defining the framework of the game, with special attention
paid to the artistic styling and any technical obstacles that will need to be overcome.
 As the game's development continues and more staff are added, the Creative Director works closely with the Lead
Programmers, Artists and Designers to ensure all the code and art assets produced, as well as playable versions of the
game, are of a sufficiently high quality. They deal with issues arising such as new features and any major redesigning of
characters and scenarios.

11. ROLES AND RESPONSIBILITY
GAME PROGRAMMER
 Game Programmers work at the heart of the game development process.
 They design and write the computer code that runs and controls the game, incorporating and adapting any ready-
made code libraries and writing custom code as required.
 They test the code and fix bugs, and also develop customised tools for use by other members of the development
team.
 Different platforms (games consoles, PCs, handhelds, mobiles, etc.) have particular programming requirements and
there are also various specialisms within programming, such as physics programming, AI (artificial intelligence), 3D
engine development, interface and control systems.
 Programmers are employed by development studios – publisher-owned and independent.
 They also work for middleware producers, an increasingly important sector providing cross-platform graphics
rendering, game physics, sound management, AI, and other specialist tools.
 Programmers might also work for localisation companies which translate and re-version games for different territories.
 Qualification
 Generally need to have a degree to be a Game Programmer. This could be in physics, maths or computer science.
Many new entrants also have a postgraduate qualification as well.
 Need to be able to programme in C++ and C# and potential employers will usually ask for some kind of demo or ask
you to work through a test. You would also do well to have sound knowledge of contemporary game hardware
platforms and the latest software development techniques.
Sub Job titles include:
Games play programmer;
Tools programmer or Interface
Programmer;
AI programmer;
Middleware programmer.

12. ROLES AND RESPONSIBILITY
QA TESTER
 Quality Assurance Technicians, or Testers, perform a vital role. They test, tune, debug and suggest the detailed
refinements that ensure the quality and playability of the finished game. They play-test the game in a systematic way,
analysing the game’s performance against the designer’s intentions, identifying problems and suggesting
improvements.
 They test for bugs in the software, from complete crashes to minor glitches in the programme. They also act as the
game’s first audience, reporting on its playability and identifying any aspects which could be improved.
 Playing games all day for a living might sound like an ideal job, but this is in fact a highly disciplined role.
 They are responsible for assuring quality in the final product and for finding all the flaws in a game before it goes
public.
 They look for programme bugs - spelling mistakes, localisation problems (variations of the game are required for
different territories), graphical or audio glitches, and also any copyright issues.
 QA Testers must know which issues are the most important and be able to prioritise them for fixing. They work to
deadlines and must understand production and marketing schedules.
 They normally use a software quality management system to document findings.
 They work in teams, sometimes playing together on a multi-player game or a team might ‘own’ part of a game.
 Testing involves playing a game over and over again, testing different levels and builds (incomplete ‘development
versions’ of a game, sometimes with various features missing). The work can be repetitive and tedious, but Testers have
to test long after the novelty and fun factor may have worn off.

13. ROLES AND RESPONSIBILITY
GAME ARTIST
 Artists create the visual elements of a game, such as characters, scenery, objects, vehicles, surface textures, clothing,
props, and even user interface components. They also create concept art and storyboards which help communicate
the proposed visual elements during the pre-production phase.
 Some games try to look as realistic as possible while others aim for a more stylised look. It is the Artist's job to model and
texture characters and objects to achieve the desired result.
 The look of a game is often a significant factor in its success, second only to its playability
 Various specialism within the art department, including
 Concept Artist - usually using traditional materials (e.g. pen and paper) rather than computer software, the Concept
Artist sketches ideas for the game worlds, characters, objects, vehicles, furniture, clothing, etc. They also suggest level
designs, colour schemes, and the mood and feel of the game. Although not involved in creating the actual game art,
their concept will shape the look of the game
 3D Artist - builds the characters, objects and environments of the game, including life forms, scenery, vegetation,
furniture, and vehicles, etc. They need to balance visual richness and detail with the limitations of the game's
technology
 2D/Texture Artist - creates and applies textures to characters, environments and game items, such as the surfaces of
walls and floors of buildings. This is also a highly skilled area, which requires considerable knowledge of lighting,
perspective, materials and visual effects
 Environment Artist: create environment or BG according to desired style and need of the game.
 Each Artist has responsibility for the creation of particular art assets with a game, but there is also a lot of movement
between roles. They might also create artwork for packages, promotional materials and websites.

14. Why Study software and design
engineering ?
 To acquire skill to develop large program and design
 Exponential growth in complexity and difficulty level with size
 Proverb "One thorn of experience is worth wilderness of warning”
 Ability to solve problems
 How to break large project into smaller and manageable parts ?
DESIGN CRISES
 Fail to meet user requirement
 Frequently crash
 Expensive
 Difficult to alter, debug and enhance
 Often delivered late
 Use resources non-optimally

15. PROCESS OF DEVELOPMENT
 Select a tool /tool kit/Engine vs Programming language
 Community /Tutorials
 Age /experience level of You(Student)
 Platform (what you use and what it published to)
 Learning Curve
 Desired Outcome
 Cost
 2D/3D game
 Time

16. PROJECT -MANAGMENT
FEASIBILITY STUDY
REQUIREMENT ANALYSIS AND SPECIFICATION
HARDWARE SOFTWARE PARTITIONING
HARDWARE DEVELOPMENT SOFTWARE DEVELOPMENT
INTEGRATION TESTING

17. DOCUMENTATION OF DESIGN
 SRS (Software Requirement
Specification)-
http://www.jaysonjc.com/progr
amming/how-to-write-a-
software-requirements-
specification-srs-
document.html
 Software Design / Website
Design
 Game Design  GDD(Game Design
Document )-
https://www.gamasutra.com
/view/feature/131632/creatin
g_a_great_design_document
.php
 Animation Film Design  Script Writing for Any Film
/Animation Film
https://www.finaldraft.com/l

18. SRS (Software Requirement
Specification)-
 Software Requirement Specification (SRS) document usually
contains a software vendor’s understanding of a customer’s
software requirements.
 This document ensures that the software vendor and the customer
are in agreement as to the features required in the software system
being built.
 SRS is created after the initial requirement elicitation phase in which
Software vendor interacts with the customer to understand the
software needs.
 Usually SRS documentation is prepared by a business analyst who
has some technical background

19. SRS (Software Requirement
Specification)-
 Usually SRS documentation is prepared by a business analyst who
has some technical background
 An SRS is written in precise, clear and plain language so that it can
be reviewed by a business analyst or customer representative with
minimal technical expertise. However it also contains analytical
models (use case diagrams, entity relationship diagrams, data
dictionary etc.) which can be used for the detailed design and the
development of the software system.
 SRS is one of the most critical pieces of software development since
it acts as the bridge betweens the software developers and
business analysts. An incomplete or incorrect SRS can have
disastrous effects on a software project.

20. Game Design Documentation
 A game design document (often abbreviated GDD) is a highly
descriptive living design document of the design for a video game.
A GDD is created and edited by the development team and it is
primarily used in the video game industry to organize efforts within a
development team.
 Will be study in details in further

21. Screen Play Writing/Script Writing
 Screenplays written with a typical word-processing program or a
free web-based screenplay template can’t be used in professional
film productions.
 They often must be retyped or have to go through a complicated
conversion process to get them ready for production.
 Screenplays written in Final Draft and saved in the FDX format are
ready for professional use.

22. CREATIVE INTELLIGENCE
a.Radiant thinking
b.Creative-workouts (Brain storming)
c.Improvisation
CREATING A STORY
a.Understand the visual media
b.Analyzing audience
c.Character
d.Mono myth/hero's journey
e.Story
CREATE YOUR OWN STORY
a.Generate an IDEA!
b.Developing a premise
c.Title
d.Theme
e.Logline
f.Treatment

23. CINEMATOGRAPHY FOR GAME
a.Shot Types
b.Camera Angles
c.Camera Movements
d.Camera Bolt
TRANSACTION
a.Cut to:
b.Dissolve to:
c.Smash cut:
d.Quick cut:
e.Fade to:
DIRECTION FOR GAME
a.Game Flow Chart
b.Editing of Story

24. YOU AND THE CREATIVE PROCESS
 How to develop New Version of Self
 Count your Age : So, Don’t be dead -wood (Judd –Chetan)
 Visualization of your self : Each one of you is ca[able of multiplying
your self results in 10x,100x or even 1000x
 Make your luck
 L-Labour
 U-Under
 C-Correct
 K-Knowledge

25. YOU AND THE CREATIVE PROCESS
 According to me and our scripture ,Human is the organism which is
centre of all universe, where it can go any where ,whatever he
wants, can create a new universe
 You will have
 Earning is proportional to learning
 When learning is converted into performance
 So learning is always a good orientation
COLLABORATE
CREATE
EXPRESS
LEARN
CHOOSE
P
O
W
E
R

26. YOU AND THE CREATIVE PROCESS
 My responsibility as teacher is
 To INSPIRE
 To MOTIVATE
 To GUIDE
 To GROOM
 To HELP TO ARCHIEVE THEIR GOAL
NO GOAL –NO MOTIVATION
MOTIVATION IS GOAL ORIENTATION
ROOTS-
CHARACTER
TREE-
COMPETENCE
FRUITS-
CONTRIBUTION

27. 21st
Centaury Learner
COLLABORATION
ENTREPRENEURSHIP
DIGITAL LITERACY
CRITICAL THINKING
CRITIVITY
COMMUNICATION
SELF DIRECTION
ENGAGEMENT
LEADERSHIP
CULTURE &
GLOBAL
AWARNESS
INNOVATION
SOCIAL RESPONSIBILITY

28. LETS SEE SOME PSHYCOLOGICAL
FACTOR OF LEARNING
APPROPRIATE LEARNING MINDSET
 GROWTH MINDSET
 HIGH SELF EFFICIENCY
 SENSE OF BELONGINGNESS
 SENSE THAT CLASS GOAL ARE VLUABLE
 AWARE NESS OF MISCONCEPTION OR SHORTCOMING IN KNOWLEDGE
 REALISATION OF LIMITATION OF NEW KNOWLEDGE

29. LETS SEE SOME PSHYCOLOGICAL
FACTOR OF LEARNING
YOURS FEAR AND MISTRUST
 GRADING CRITERIA ARE ARBITRARY AND BIASED
 TEACHER IS JUDGING ME AS A PERSON
 READING AND ASSIGMENTS ARE POINTLESS
 THERE IS NO RELATIONSHIP BETWEEN MY GRADE AND MY EFFORTS
DEVELOPING A MIND SET FOR LEARNING
 HAVE A GOOD IDEA OF EXISTING LEVEL OF SKILL AND KNOWLEDGE
 YOU SHOULD HAVE PRIOR KNOWLEDGE ( MIX OF ACCURATE INFORMATION
,SIMPLIFIED INFORMATION,MISCONCEPTION AND GAPS IN UNDERSTANDING)

30. LETS SEE SOME PSHYCOLOGICAL
FACTOR OF LEARNING
MISCONCEPTION
 WE USE ONLY 10% OF OUR BRAIN CAPACITY
 PEOPLE BECOME BLIND, THEIR HEARING BECOMES MORE SENSITIVE TO
COMPENSATE
 MISSCONCEPTION IS VERY HARD TO ERASE IF EXISTS IN CONCIOUS MIND
WHICH MAKES BELIEVE AND VALUE
 THERE IS NO RELATIONSHIP BETWEEN MY GRADE AND MY EFFORTS
BASIC LEARNING MODEL
 OBSERVE-IMITATE- REPEAT or Read –Write -Remember
LIFE SKILL:( 85%) 1. Expression 2. Emotional maturity 3.Personal productivity
TECHNICAL SKILL (15%): Create new and better, cheaper faster easier, user and
environment friendly

31. LETS SEE SOME PSHYCOLOGICAL
FACTOR OF LEARNING
ADVANCE LEARNING MODEL
THINK- IMAGINE- EXPERIMENT- IMPROVE
PICKING POINT
Inner question(why ,what, how)
Left brain to right brain
Learn and unlearn
Think- imagine and improve
BASIC THINKS 1.Passion 2.Research 3. Capability 4.Jack of All 5.Mastry of One

32. For creativity you should have understanding
of law of nature and understanding of who are
you, where you have to go, where you have to
stop, ability to take decision ,hidden power
within you or awakens.
 All these question I have tried to give from scripture and stories
 Law of reaping and sowing : Planting and growing plant
 Earth=Mind
 Seed=Thought
 Sunlight= Feeling
 Right and wrong : flow of energy
 Wrong is created by power not weakness
 Wrong ; give greed of happiness, says that you have tried but
fail due to others fault, does not take responsibility of fault

33. For creativity you should have understanding
of law of nature and understanding of who are
you, where you have to go, where you have to
stop, ability to take decision ,hidden power
within you or awakens.
 So rules to do:
 First to right
 If you get fail to choose right without doing delay ,it becomes
wrong
 Don’t wait to do right
 Try to fill with knowledge and then make it empty
 Don’t loose opportunity
 Most of right things are done by power people, not by weak
people because of wrong decision

34. For creativity you should have understanding
of law of nature and understanding of who are
you, where you have to go, where you have to
stop, ability to take decision ,hidden power
within you or awakens.
 So law of energy (Newton law) is life
 If not make flower then it comes in the form of throne
 If not make kind then it comes in the form of Anger
 If not make ideal then it comes in the form of lust
 If not make prayer then it comes in the form of Envy
 So How you will decide ,what you do , what not , how will you
get idea
 Answer is DO UNSELFISH = SATISFACTION,SAY UNSELFISH =
SATISFACTION -GO FOR DEFAULT SETTING
 JAGAT HITAYAM ATMAN MOKSHATAM

35. POWER WITHIN US
 POWER OF CONCENTRATION
 POWER OF DECISION
 POWER OF CONCEOUS(AWEKEN) means power of unselfishness
 Which are in our mind (Power of Mind)
 Mind(I) is flow of thought which is made of settled matter( white matter+ gray matter)
 So it exist within us in the form of MANN, BUDDHI,CHITTA,AHAMKAR
 BUDDHI ( imagination, observation, organization, capacity, creativity, sensitivity)
 CHITTA (memory)
 MANN( sankalp, emotion,love,faith,pain)
 AHAMKAR( kam, krodh,moh) means desire or MY

36. POWER WITHIN US
 POWER OF I (MANN+BUDDHI+CHITTA)--PURUSH
 POWER OF MY (KAM +KRODHA +MOH)—PRAKRITI
 Journey is the time spending with (I +MY)
 Purification of I and MY
 BY KAND OR YOGA( connection of YOU and HE )
 KARM KAND (purification of body) – mudd clean
 UPASANA KAND (Purification by leaving )- cloud clean
 GYAN KAND (Purification by knowing)-unknowness
 SO infinity is Brahman (SATYAM JNANAM ANANTAM),NO ANTAM = NO LIMIT=Infinity
 Limits are DISA (SPACE),KALA(TIME), VASTU(OBJECT)- BRAHMSUTRA stanga 1
 L=DESA PARICCHEDA SUNYAM
 T=KALA PARICCHEDA SUNYAM
 M=VASTU PARICHHEDA SUNYAM

37. YOU AND THE CREATIVE PROCESS

38. How to Structure A Story: The Eight-
Point Arc
You’re a short story writer or flash fiction writer rather than a novelist,
this structure still applies, so don’t be put off by the title of Watts’
book.
The eight points which Watts lists are, in order:
1.Stasis
2.Trigger
3.The quest
4.Surprise
5.Critical choice
6.Climax
7.Reversal
8.Resolution

39.  1. Stasis
This is the “every day life” in which the story is set. Think of Cinderella
sweeping the ashes, Jack (of Beanstalk fame) living in poverty with
his mum and a cow, or Harry Potter living with the Dursley’s.
 2.Trigger
Something beyond the control of the protagonist (hero/heroine) is
the trigger which sparks off the story. A fairy godmother appears,
someone pays in magic beans not gold, a mysterious letter arrives
… you get the picture.
 3.The quest
The trigger results in a quest – an unpleasant trigger (e.g. a
protagonist losing his job) might involve a quest to return to the
status quo; a pleasant trigger (e.g. finding a treasure map) means a
quest to maintain or increase the new pleasant state.
Structure of A STORY

40.  4. Surprise
This stage involves not one but several elements, and takes up most of
the middle part of the story. “Surprise” includes pleasant events, but
more often means obstacles, complications, conflict and trouble for the
protagonist.
Watts emphasises that surprises shouldn’t be too random or too
predictable – they need to be unexpected, but plausible/apealable.
The reader has to think “I should have seen that coming!”
Structure of A STORY

41.  5. Critical choice
At some stage, your protagonist needs to make a crucial decision; a
critical choice. This is often when we find out exactly who a character is,
as real personalities are revealed at moments of high stress. Watts stresses
that this has to be a decision by the character to take a particular path –
not just something that happens by chance.
In many classic stories, the “critical choice” involves choosing between a
good, but hard, path and a bad, but easy, one.
In tragedies, the unhappy ending often stems from a character making
the wrong choice at this point – Romeo poisoning himself on seeing Juliet
supposedly dead, for example.
Structure of A STORY

42.  6.Climax
The critical choice(s) made by your protagonist need to result in the
climax, the highest peak of tension, in your story.
For some stories, this could be the firing squad levelling their guns to
shoot, a battle commencing, a high-speed chase or something equally
dramatic. In other stories, the climax could be a huge argument
between a husband and wife, or a playground fight between children,
or Cinderella and the Ugly Sisters trying on the glass slipper.
 7.Reversal
The reversal should be the consequence of the critical choice and the
climax, and it should change the status of the characters – especially
your protagonist. For example, a downtrodden wife might leave her
husband after a row; a bullied child might stand up for a fellow victim
and realise that the bully no longer has any power over him; Cinderella
might be recognised by the prince.
Structure of A STORY

43. Your story reversals should be inevitable and probable. Nothing should
happen for no reason, changes in status should not fall out of the sky. The
story should unfold as life unfolds: relentlessly, implacably, and plausibly.
 Resolution
 The resolution is a return to a fresh stasis – one where the characters
should be changed, wiser and enlightened, but where the story being
told is complete.
 (You can always start off a new story, a sequel, with another trigger…)
 I’ve only covered Watts’ eight-point arc in brief here. In the book, he
gives several examples of how the eight-point arc applies to various
stories. He also explains how a longer story (such as a novel) should
include arcs-within-arcs – subplots and scenes where the same eight-
point structure is followed, but at a more minor level than for the arc of
the entire story.
Structure of A STORY

44. The Creative Inspiration
Poetry, Write, Draw, paint, collage. “If you want something in your life, make it
physical”. “When artists or architects get an idea, they manifest it by making a sketch,
storyboard, blueprint, diagram or 3-D model.” A collage is effective because it’s a visual
representation of your heart’s desire — and doesn’t require drawing skills.

46. Keep your vision alive.
Check in during the weeks and months that follow, either with yourself or your friend.
Being accountable increases the chances of follow-through. On a group retreat, each person
write a letter recapping what the other envisioned. Seal and address the letter immediately,
then mail it a month later to remind the recipient about his vision.