Distribution of a multimedia project should have been one of the very first matters considered during the initial concept stages. The matters of distribution can have some very simple as well as complicated reasons for choosing one method over another. There are many contributing factors to determine the right delivery method:

• Target user group
• Client’s wishes and expectations
• Product’s limits and limitations
• Interactivity
• Expertise

So far, common forms of distribution are:

Optical discs

CD-ROMs, DVDs, etcetera…

Intranet

a high speed internal network

Internet

a mass distribution medium

Hardware or embedded application

embedded devices that are not normally associated with computer interfaces, i.e. organisers, kiosks, mobile phones, and etcetera.

Intranet versus Internet delivery

Content management

Content management is a system of organizing the delivery, storage and access rights of all the media components of an internet or intranet delivery system.

By the system administrator or broadcast administrator, content management is used to set-up and manage scheduled content or on-demand programs, channels, recordings, and file transfers among various media servers. This can include the setting up of group profiles or individual profiles, in other words allowing only certain groups or individuals to view certain media.

Embedded devices

Typically these devices have no keyboard or limited input capabilities, and somewhat limited display capabilities and data storage. They are usually dedicated to performing certain functions or tasks only, and include mobile devices (personal organisers and mobile phones), home devices (appliances, home automation systems, home theatre systems, home security), automotive (GPS, in-car entertainment systems), and industry systems (information kiosks, ATMs, and cash registers).

Due to advancements in computer memory and CPU miniaturization, devices now have the capabilities to provide levels of interactivity and intelligence previously unheard of. We are also seeing not only the breakdown of input and output limitations, but also a merge of delivery methods, in devices such as the iPhone.

Embedded devices traditionally perform dedicated functions, and are designed with a specific embedded software application. The end user cannot modify such closed systems. We see embedded systems everywhere – at the cash registers, in industrial controllers, at home in our digital set top box. They are usually simple to use, sturdy, fast and reliable. Unfortunately updates or upgrades contribute to the problems of a throw-away society and are costly in both time and money. Hence the reason developers attempt to future-proof systems as much as possible.

The choices of delivery methods to best deliver products are constantly increasing. Choosing the right method is not always your choice. The best safe guard is to know right from the conceptual stage, what delivery method(s) you and your team will be designing for.

Selling the product you have made, whether that be to a client, to a customer, or to an audience, is crucial. A fantastic product marketed terribly is worthless. First impressions do count. Often the quality of your product will be judged by the quality of its presentation, so put your heart into it!

Making a fantastic product is great. Making packaging and promotional material is the next step.

Target the audience

As you start to decide the packaging, stay focused on these things:

• If you keep focused on who you are designing for, then it is a lot easier to come to a concept without forcing it.
• Do some research. Look specifically at the packaging and the promotional material for products targeted at the same audience bracket. http://creativedepart.com/category/packaging/ is just one place to start that research. Try to appreciate what elements others have used to good effect. Be critical of stupid design moves. Put yourself into the demographic of the product’s target group and assess it how they would.
• Ask around. Basically, get a feel for the current market.
• Use graphics, fonts, and language that are relevant for the demographic the product is aiming at… Compare the different demographics being aimed at on the packaging of these 2 racing games:
  
  
  

Ratings

Just like movies, video games are governed by a ratings system.

The Entertainment Software Rating Board (ESRB) ratings are designed to provide concise and impartial information about the content in computer and video games so consumers, especially parents, can make an informed purchase decision.

The process

Make quite a few possible package designs, and then cull them. If the design is incongruous with the rest of the project, file it with all the others sacrificed. Choose the 1 design that best fits the criteria – classy, attention-grabbing, effective, and informative. Remember, the purpose is to sell this product.

Layout

This final design stage is so important, regardless of how mundane the project may seem after your months of hard yakka. Package layout is comprised of fonts, copy, and graphics.
Text layout is vital – this is the text that is going to convince a client/customer that the cool box they just picked up is actually worth buying/trying.

On the front, on the back

See Packaging and the Premiere for the list of vital elements to include on the front and on the back of the packaging.

Fonts

Be consistent and use the same highlight fonts on the packaging as those in the actual product. Check back in Multimedia Fundamentals for the typography links. Legible and scannable are rather crucial qualities, and a secondary font should be used for body text.

Colours

Again, consistency is the name of the game. Besides, if using modern design software, you can save quite some effort and literally just re-hash existing artwork and palettes. However, other packages of the same genre will all be sitting on the market shelves alongside each other. So it may pay to add a classy, contrasting colour. Check Multimedia Fundamentals for the colour links.

Writing copy language and aesthetics

The language you use will either sell your product, or lose a user’s interest. Marketing departments should determine and prioritise the most important parts of the product, and the copy should reflect these important features. Sometimes it might help to use short words, but it is always best to avoid industry jargon and genre specific language. Use exciting language that briefly explains the purpose, features, and highlights.

Text should be large and clear, and restricted to designated areas on the box. Keep the blurb brief and in a compact space. Use bullets to visually distinguish between points.

Graphics

Primarily derived from sketches and the product, artwork must be consistently themed. Only a few screen shots are needed on the back. What actually makes a good graphic depends on the genre and target user group. A children’s game cover graphic would misrepresent an adult game, and vice versa. A good graphic also encapsulates the themes and characters of the product without necessarily reflecting the actual content. Cover designs of a variety of games all show a number of similarities and common concepts: a prominent title, and one central graphic feature.

Cross-marketing mediums

The important thing with cross-marketing is identifying the most effective mediums to use for promotion. Cross advertising a product for middle-aged business men in a drum’n'bass zine may not be the most effective method of advertising. Again, it comes back to being able to assess your audience – to know what other information mediums they access, and utilize those. Other potential information mediums are the web, radio, print, and any genre specific mediums.

Web marketing

Creating a parallel website is a great way of cross-promotion. Keep it consistent. Use the same fonts/colors/graphics as the actual product and the box. Include lots more information – reviews, in-depth discussion of plot, and etcetera.

The website for Grand Theft Auto IV (http://www.rockstargames.com/IV) mirrors the colours and artwork from the actual game itself. The website also features news (pictured right), radio stations, merchandise, updates, subscription, game information and other features.

Print marketing

Get reviewed. Advertise in relevant magazines (gaming, etcetera). Remember to use big headings and graphics in advertising material, and only provide basic information (website/distributor and genre).

Most nations follow the Berne copyright convention, i.e. the author / designer doesn’t have to state that the material is protected. Thus, absolutely nothing is public domain unless the owner explicitly states it.

Copyright and how to breach it!

It is simple: ask the author / owner and get their permission before you publish their material. Failure to do so is a breach of copyright, unless allowed under the fair use doctrine.

Fair use is a doctrine in United States copyright law that allows limited use of copyrighted material without requiring permission from the rights holders, such as use for scholarship or review. It provides for the legal, non-licensed citation or incorporation of copyrighted material in another author’s work under a four-factor balancing test.

To determine whether your intended use meets the criteria of the four-factor balancing test, purpose of use (1), nature of work (2), relative amount (3), and market effect (4), refer to my post from August last year, © copyright versus fair use.

Educational fair use

• motion media – up to 10% or 3 minutes, whichever is less.
• text – up to 10% or 1,000 words, whichever is less.
• music – up to 10% or 30 seconds.
• illustrations, cartoons and photographs – no more than 5 images from a single artist.

Commercial fair use

Copyright permission must be obtained from the owner for all commercial purposes.

Terms in copyright

Intellectual Property (IP)

Intellectual property (IP) refers to creations of the mind: inventions, literary and artistic works, and symbols, names, images, and designs used in commerce.

Trademark

A trade mark can be a word, phrase, letter, number, sound, smell, shape, logo, picture, aspect of packaging or a combination of these. It is used to distinguish the goods and services of one trader from those of another.

Royalties

The owner of the rights will usually get payments (in the form of royalties) in return for use of the property.

Public Domain

The public domain is a range of abstract materials—commonly referred to as intellectual property—which are not owned or controlled by anyone. The term indicates that these materials are therefore “public property”, and available for anyone to use for any purpose.

Fair Use

Certain allowances of limited use of copyright material, without permission from the rights holder.

Derivative work

A derivative work pertaining to copyright law, is an expressive creation that includes major, copyright-protected elements of an original, previously created first work.

Right to Publicity

The Right of Publicity can be defined simply as the right of an individual to control the commercial use of his or her name, image, likeness or other unequivocal aspects of one’s identity.

IP law for multimedia

There are four major intellectual property laws that are important for multimedia developers.

1. Copyright law, which protects original “works of authorship.”
2. Patent law, which protects new, useful, and “non-obvious” inventions and processes.
3. Trademark law, which protects words, names, and symbols used by manufacturers and businesses to identify their goods and services.
4. Trade secret law, which protects valuable information not generally known, that has been kept secret by its owner.

Copyright protects written material, artistic works, musical works, dramatic works, computer programs, and compilations. Due to the fact that most commercial websites are created by multiple authors, copyright on websites is unclear. Materials and media used on a website may belong to other authors.

The World Intellectual Property Organization (WIPO) is an international organization dedicated to helping to ensure that the rights of creators and owners of intellectual property are protected worldwide and that inventors and authors are, thus, recognized and rewarded for their ingenuity.

For guiding information on copyright issues relating to multimedia, check White SW Computer Law’s article http://www.computerlaw.com.au/doku.php?id=mm&s[]=multimedia#multimedia_issues and visit http://www.ipaustralia.gov.au for IP in Australia.

References

Derivative work – Wikipedia, the free encyclopedia. (n.d.).

Retrieved June 8, 2009, from http://en.wikipedia.org/w/index.php?title=Derivative_work&oldid=291297720

Fair use. (2009, June 7). In Wikipedia, The Free Encyclopedia.

Retrieved 01:33, June 7, 2009, from http://en.wikipedia.org/w/index.php?title=Fair_use&oldid=294890938

c=AU; co=Commonwealth of Australia; ou=Department of Innovation, I. (n.d.). IP Australia : Trade Marks > What is a trade mark?

Retrieved June 8, 2009, from http://www.ipaustralia.gov.au/trademarks/what_index.shtml

Personality rights – Wikipedia, the free encyclopedia. (n.d.).

Retrieved June 8, 2009, from http://en.wikipedia.org/w/index.php?title=Personality_rights&oldid=294882627

Public domain – Wikipedia, the free encyclopedia. (n.d.).

Retrieved June 8, 2009, from http://en.wikipedia.org/w/index.php?title=Public_domain&oldid=294991227

What is Intellectual Property? (n.d.).

Retrieved June 8, 2009, from http://www.wipo.int/about-ip/en/

All phases have pre-determined deliverables, milestones,and timelines. The approval of deliverables by the client signals the end of the phase. A signed contract specifying the product design, cost, schedule, copyright, etcetera, are what make up a development agreement. After the discovery phase, the prize is the contract. The Functional Specification is the deliverable at completion of the design phase.

Functional Specifications

The audience for the functional specification is the team of professionals who will make the product: producer, director, researchers, artists, engineers, sound designers, quality assurance testers, marketing and sales staff. It is the job of the functional specification to break the client’s broad ideas into detailed descriptions of what it does, how it is used, and what it looks like. The specification doesn’t say anything about how it is implemented, but it does include all the interactions from a user’s perspective. Creating this blueprint saves time and money as it is easier and cheaper to change a Word document or PowerPoint presentation than to re-program an entire application if the client suddenly recalls another feature the product simply must have. The spec also operates as an agreement between the client and developer – after approval from both parties, additional changes have to be negotiated. This saves the developer a lot of work, and creates a more trustworthy deadline.

Contents of the spec

The writer needs to be a person whose discipline is design and user-interface, and is a skilled and detailed writer. Familiarity with user experience issues is a definite plus. The writer has to visualize how the different features work, how a user might use each feature, and how navigation through the information will be done. This has to be written down in the greatest detail, and be in balance with current technological limitations and business demands. The contents of the spec include:

• Executive summary
• Global conventions
• Node map
• Node-by-node descriptions
• Screen layouts
• Action/Animation descriptions

Things still to do:
# Create a graphic design specification based on your first assignment
# Create a storyboard based on your first assignment

Packaging

Poor packaging can lead to poor sales and interest from intended users. Generally most multimedia products are packaged as CD-ROMs inside a shrink-wrapped box approximately 9 inches wide by 10.5 inches tall and 1.5 inches deep.

Your product is only as saleable as its wrapper. Packaging needs to entice as well as inform, while remaining true to the essence of your product or service.

http://www.media-schmedia.com/print_zman_games.asp

Premiere

The premiere of your product is as much a marketing event as a release from all the hard work done on the project. Some things to consider for a successful product launch are:

• Draft a premiere plan, at least a month prior the big event. Studio 1151 has a premiere plan form.
• Organize invitations and remember to invite:
  • Key stakeholders
  • Project investors
  • Media representatives (for publicity)
• Organize marketing materials, including handouts, banners, balloons, etcetera.
• Organize refreshments, entertainment, waiters, etcerea, and have speeches written and rehearsed before the event.

Despite the development phase being complete, the project isn’t quite finished. Does the product really work? Does the intended user group like it? Carrying out a tryout of the product with a test user group should be done, before making changes based upon their feedback. Post-production includes conducting surveys, focus groups, and archiving.

Again, Studio 1151 has another great guide, this time on how to do an audience test run. The purpose of running a survey or a focus group is to facilitate testing on the product from people external to the studio. A survey is better if you are pushed for time to gather and analyze feedback, while a focus group will provide a much higher level of detail.

Archiving

Archiving of all materials used in the development of the product, is vitally important for several reasons:

• The product may require modification after release.
• Sequels may require some of the same assets as the previous.
• Many products need localized versions to be built.
• Business or legal disagreements may arise, demanding a review of letters, memos and other documentation.
• People’s memories are fallible to age, forgetfulness, alcohol, and team members may leave the company taking their part of the project with them.

So, a list of what needs to be archived includes:

• All concept documents, including drawings, sketches, node maps and meeting notes.
• All meeting agendas and follow-up memos.
• All correspondence to the client.
• The proposal and bid.
• Letter of intent and development agreement.
• Initial and final version of the functional specification.
• Copies of all expenditures, including receipts, invoices etc…
• Subcontracting agreements.
• Copyright, licenses and permissions.
• Copies of weekly status reports.
• Video tapes, photo’s, audio tapes, etc…
• All versions, Alpha, Beta etc…
• Source codes and other computer related media.

How important is the data? Possible risks to the data consist of hardware failure, software failure, file system corruption, accidental deletion, virus infection, theft, sabotage, and natural disaster. Disaster recovery refers to the process of restoring a system after a disaster, such as a hardware failure. A disaster recovery plan would entail not only securing completed products and assets, but also ensuring systems and business processes have contingencies in case of an emergency. See a list of sample plans, outlines and other plan writing resources on the website of the Disaster Recovery Journal.

Is it really possible to create interactive Flash applications without programming any code? Perhaps this may soon become reality, as just last Monday, Adobe launched the beta releases of Flash Catalyst™ and Adobe ® Flash ® Builder™ 4.

Adobe ® Flash ® Catalyst™ is a new professional interaction design tool for rapidly creating user interfaces without coding.

If you’re keen, go download the pre-release beta and learn to use it through some video tutorials. Otherwise, stay tuned for further updates on Flash Catalyst at Adobe Labs.

At production stage, you should already have addressed issues of what media and software the project will be using. Now attention needs to be paid the areas of deliverables, managing changes and alterations, alpha and beta releases.

When the production phase begins. It consists of a methodical attack on a mountain of work. Artists create graphics and animations. Photographers shoot pictures and the director shoots video. Sound designers record audio, select or create sound effects and music, and then mix them. Programmer write software or use existing engines or authoring tools and combine the assets with the software in a process called integration. Then quality assurance testers step in at appropriate times to uncover and log bugs. Through it all, the producers, directors and writers continue to manage the process, supervise the creative efforts, and document the modifications, respectively.

Deliverables

In order to make a master copy, the team must create deliverables, which can be categorized as assets, programming, and pre-release versions.

Changes and alterations

During production, many elements of the project will require alterations from the original spec. As a result, these changes must be tracked and documented in some way. Paper forms are limited to the amount of information provided by the user and their honesty, whereas software solutions require both the hardware investment and training for the users.

Alpha and Beta releases

Usually when a project is 80% complete, an Alpha version is done to underscore what needs fixing, tweaking and finishing. After each Alpha release, testing and logging bugs, then fixing bugs and any assets takes place, maintaining the quality assurance cycle. A Beta version is released for testing and debugging at 100% completion.

Master Copy

Mastering is the beginning of the replication process. The glass master is produced directly from the customer’s data files, which can be in the form of a CD-R, Exabyte Tape or ZIP file. A disk of polished glass coated with a photosensitive emulsion is burnt with a laser beam. After exposure, the master is developed and the data is saved as “pits” on the master.

The next step in CD replication is where the master disc is electroplated with nickel which, when separated from the master, forms a negative known as the ‘Father’. The father can be used to replicate CDs for very small production runs, but for larger runs the father is plated to produce a ‘Mother’. A stamper is created to actually mould the pit structure onto each CD.

Production is complete. Move on to post-production.

Brainstorming

A brainstorming session is one of the best ways to answer the “what”, “why”, and “how” questions from the early stages of a project. To facilitate a successful brainstorming, we need:

• At this point we don’t know what will work, so the more ideas generated, the better. Without criticism or judgement of any kind, pool together all ideas and welcome more until the allocated time is exhausted.
• Write all ideas onto a whiteboard, so all in the group can see. Number them, so that afterwards the ideas can be discussed, and not the contributors. Numbering also serves as a score for your group’s creativity.
• When selecting ideas, first combine them as much as possible. Then each group member votes by making a list of the numbers of the ideas s/he thinks are important or should be discussed further, up to 1/3 of the pool total. Count the votes and eliminate ideas with 2 or less votes. Then vote again, until only a few ideas remain. Discuss any that require further elaboration.

Drafting a proposal

After the storm, drafting a proposal is the next step. As a document derived from the brainstorming session, the proposal should include details of the date, project title, names of the members involved, and a brief description, and also ask and answer several questions:

• What do you want to accomplish by doing this project?
• What should your audience be able to do, or what benefit is there for your audience?
• Who is your audience?
• What is the topic area you will be presenting/discussing?
• What approach will you use?

Not to be forgotten, the proposal should also suggest a premiere date. Each team member must be formally assigned to their role(s) so that everyone knows their responsibilities, accountability, and authority. Producer, director, writer, art director, and technical director, are just a few examples of roles required on a multimedia project.

Journaling and project documentation

Along the way, this process is vital to several areas of the project. They are:

• For keeping track of activities and accomplishments
• Faults and encountered problems
• Technical writing (future instruction manual, etcetera…)
• Expenditure
• For press releases

Pre-Production

On paper, the flow of the production, and sketches for how the production will look, need to be drawn up. Through this process we begin to identify the required resources. The process includes drafting flowcharts, storyboards, production schedules and production expenses.

Flowcharts

A completed flowchart organizes the topics, strategies, treatments, and options into a plan from which we can work out the details of what each screen, page, frame, or shot will look like. It is a working map of the final product, i.e. it will probably change many times as the team works through all the details of the product. Good flowcharts begin and end with an oval, they show what comes next in the sequence, what your user will do (if anything) and what will happen when they’ve done that. Circle place markers can also be used to indicate the page you need to follow the path. From Studio 1151, we have the 5-point production flowchart checklist:

__ All major elements of the project are indicated.
__ The elements are clearly labeled.
__ Sequence of elements is clear and there are no gaps or dead ends.
__ Sequence of elements is logical from user’s point of view.
__ Flowchart symbols are used correctly.

Storyboards

The purpose of storyboards is threefold. First, so that the development studio has a clear picture of what will be happening throughout the program and what it will look like. Second, as the storyboards detail everything from graphics, video, sound, text, user interaction, color, font faces, sizes, and etcetera, crew members involved in production need them to do their jobs. Third, they are useful for presenting the project to the client and getting feedback.

As for flowcharts above, Studio 1151 has a storyboard template and a checklist for storyboards:

__ There is a storyboard for each page, screen, or frame. 
__ Each storyboard is numbered.  
__ All relevant details (color, graphics 2D & 3D, video, sound, font, interactivity, visuals, etc. are indicated).  
__ All text or narration is included and cross referenced with its corresponding storyboard number. 
__ Each production team member has a copy or easy access to a copy of the storyboards.

The job of creating storyboards is usually done by the project manager in co-operation with the designer and an information architect. To create each page of the storyboard, these people need to know what elements are included (from the functional specification), and how the page fits into that architecture and navigation. It’s a good idea to number the screens and group related screens together, corresponding with the node map / flowchart.

Later this year Adobe are planning to release (on Adobe Labs at least) a product called Story, a collaborative scriptwriting tool for film, broadcast, and rich media. Definitely worth a look into as a part of the pre-production workflow.

Schedules

In order to meet the deadline and stay within budget, every project needs a schedule. The production schedule helps keep the project on track, no matter what happens. The PERT and the Gantt charts are both used in many cases.

PERTA sort of flowchart of all activities or tasks in the production phase of the project. Completion times and names of people assigned are attached to each task.

GanttA timeline chart clearly showing when each task begins, the time to complete them, and simultaneous tasks. Multiple levels of Gantt charts are used to show the whole production phase, two or three weeks worth of activities, and current week’s tasks.

Expenses

In the pre-production phase of the project, the client requires a budget estimate, in terms of hours and dollars, to be submitted. To create a budget, a list of costs for the various production functions is needed. Some obsolescent figures of hourly rates for roles are: accountant $20, actor $15, artist $30, cameraperson $30, computer expert $30, director $65, historian $30, musician $15, narrator $10, planner $30, producer $65, product editor $100, recording expert $30, site coordinator $20, text editor $20, and writer $30.

Apart from personnel costs, financial considerations and research will need to be made into other costs involved, as they may exceed expectations. Some other costs involved in production of multimedia projects include copyright fees, studio facilities, equipment rental, and other consultants.

From being developed by nerds in their bedrooms, to major commercial productions worked on by teams of people for years, computer games continue to grow in complexity. Meanwhile, development roles have become more defined, and clearly marked areas of specialist knowledge and skills have evolved.

Key components of games are goals, rules, challenge, and interaction. Games generally involve mental or physical stimulation, and often both. Many games help develop practical skills, serve as a form of exercise, or otherwise perform an educational, simulational or psychological role.

Wikipedia, The Free Encyclopedia.

Whilst games come in many shapes and forms, they generally fall into a few categories.

Educational

Games designed to encourage learning, disseminate information, and be entertaining and enjoyable to the user.

Entertainment

Games are to quench our thirst for fun. They also can serve our sub/conscious needs for : dominance, superiority, competition, challenge, learning, applying knowledge, skill development, self esteem, collaboration, teamwork, destruction, and building; all in a benign, risk-free environment.

Informative

Games mainly used by business to illustrate a product or service, such as those small games used in museums, kiosks and at trade shows.

Instructional

Simulators were originally designed as training aids for astronauts, to keep their reflexes and skills in check. Instructional games generally have a theme related to the main subject matter, and can be as simple as making the right or wrong choices, or include scenarios of What if …?

Elements of game play need to be considered when designing a game. For example, how players will be rewarded and achieve success. Winning over an opponent, meeting a challenge, solving a problem, heightening a fantasy, learning a skill, and forming a social unit, are just some examples of strategies that can be used to enhance game play.

People play games for fun, derived from the rewards of being successful at playing it. Many subliminal reasons also exist, such as proving oneself, fantasy and exploration, social lubrication, and the need for acknowledgement.

Hooking players

Designers need to bear in mind several guidelines when developing the game idea. Keeping a player hooked on the game is common strategy to retain interest.

Rules and play features

Rules depend on the game genre, design considerations, and the target market. Aim to have minimal rules but enough to prevent players overstepping the game boundaries.

Difficulty levels – novice – average – expert

Having varying difficulty levels increases the chances of retaining user interest.

Rewards and goals

Using rewards in the shape of increasing score, added life bonuses and tools, and etcetera, assist in retaining players’ interest.

Continuity of a story or theme

Consistency of theme as well as enhancement from one level to the next is very important.

A story (beginning to end) – see how to have a strong story and writing that fits.

Having a well crafted story gradually unravel as each level is completed, is also a proven incentive.

Kali’s Passage – a song from Colin O’Malley’s soundtrack for the Tomb Raider Underworld game.

Elements of game

Most computer games have 5 basic elements: graphics, sounds, interface, game play, and story. Graphics create first impressions, sound should wow players, but if the game lacks a properly designed interface then the user becomes a passive spectator. Game play forms a bridge between the player(s) and the fun – the interactions. Skills in critical writing as well as knowledge of story boarding help immensely in the development of story writing for games.

Features in a game

Goals, as in soccer, points for figure skating, and other schemes of award exist to achieve success in the games. Predominantly found in fictional games, objectives such as defeating an enemy, discovering a secret, and completing a project, usually mean a challenge to be overcome. Both goals and objectives give purpose to the exercise, a reason to play.

For recognition of a player’s completion of a challenge, a reward is expected. Hearing a musical rift, seeing an improved numerical score, adding a bonus tool/life/weapon, are just a few forms of reward.

Games are normally played either on a stage or in a virtual environment. Designers can create virtual worlds that adhere to many real world principles of nature and laws of physics, or a fictional stage like that used for platform games, space games, role playing games and the like.

Genre

Simulations usually refer to controlling a vehicle with as realistic as possible a match in behaviours and capabilities. Flight simulators, driving games, and militaristic games all fit this genre. Successful simulator titles are often rendered in 3D, played in real-time, and require players to apply new skills to meet increasing difficulty levels.

World of Warcraft is an example of a Role Playing Game (RPG), where the player assumes the role of a character then carries out a mission to be achieved. This genre is usually based in fantasy worlds, but some take the scenario of past events in history, like World War II.

References

Game. (2009, May 20). In Wikipedia, The Free Encyclopedia.

Retrieved 02:52, May 20, 2009, from http://en.wikipedia.org/w/index.php?title=Game&oldid=291094462

World of Warcraft. (2009, May 31). In Wikipedia, The Free Encyclopedia.

Retrieved 09:39, May 31, 2009, from http://en.wikipedia.org/w/index.php?title=World_of_Warcraft&oldid=293485293

Lara Croft. (2009, June 1). In Wikipedia, The Free Encyclopedia.

Retrieved 19:19, June 1, 2009, from http://en.wikipedia.org/w/index.php?title=Lara_Croft&oldid=293776896