| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code: | DGD067 | ||||
| Course Name: | World Mythology and Music | ||||
| Semester: | Spring | ||||
| Course Credits: |
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| Language of instruction: | English | ||||
| Course Condition: | |||||
| Does the Course Require Work Experience?: | No | ||||
| Type of course: | Departmental Elective | ||||
| Course Level: |
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| Mode of Delivery: | Face to face | ||||
| Course Coordinator: | Dr. Öğr. Üy. İSMAİL ERGEN | ||||
| Course Lecturer(s): | Dr. Öğr. Üyesi İsmail Ergen | ||||
| Course Assistants: |
| Course Objectives: | This course provides students with a deep understanding of the current marketplace for digital entertainment and games in preparation for successful careers in the games and/or digital media industry. We’ll cover marketplace dynamics across a wide variety of platforms including console and PC games, social gaming, smart phone and tablet games, Virtual Reality, Augmented Reality, eSports, MMOs and more. With a focus on entrepreneurialism, we’ll cover a wide range of business, management and legal issues, including an overview of current business models in games and interactive media, methods for pitching and getting products funded, legal issues pertaining to copyright and intellectual property issues, production management techniques, as well as business start-up nuts and bolts for aspiring entrepreneurs. |
| Course Content: | The course will consist of lectures, discussions and hands-on exercises that will prepare students to generate creative, innovative ideas for today’s ever-changing entertainment market. You will be required to come up with an original game, product or service based on current marketplace trends. By the end of the semester, you will create a world-class funding presentation to pitch your original product or service. Guest speakers will illuminate aspects of the industry from a first-hand perspective. |
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The students who have succeeded in this course;
1) define gaming marketing, including its function for key entities in the gaming ecosystem, such as games Developers and Publishers, tech and distribution platforms, gaming-centered brands 2) understand the unique nature of gaming marketing as an equal combination of arts and science: specifically, describe how brand and performance marketing are integrated in today’s gaming marketing. 3) analyze current trends and opportunities in the gaming industry related to the marketing mix (i.e., product, price, place, and promotion): specifically, understand the critical role of Content Creators (Influencers, Streamers…) and Digital Platforms (Discord, Twitch, Apple, Google Play, Facebook Gaming, Xbox, PlayStation…). 4) describe various measures of performance, or metrics of success, relevant to “free-to-play” and “live services” games marketing, with specific focus on marketing drivers for in-game economy. 5) capture how future technology (blockchain, VR/AR…) will impact marketing efforts in the gaming industry. 6) demonstrate an understanding of strategic gaming marketing by developing a marketing plan for a game and a game-centered brand of interest |
| Week | Subject | Related Preparation |
| 1) | Introduction to the Class Lecture/discussion: • Syllabus Overview and intro to course | Ready for class |
| 2) | Week 2: Games Market Overview Part 1 Lecture/discussion: • Overview of the games market across all key platforms: • Social, console, pc/mac, mobile/tablet | Ready for the class. |
| 3) | Week 3: Games Market Overview Part 2 Lecture/discussion: • Overview of the games market across all key platforms: • Social, console, pc/mac, mobile/tablet | Ready for the class. |
| 4) | Week 4: Creative Game Development • Student Game Demos • Overview of what makes for great game design in today’s changing marketplace | Ready for the class |
| 5) | Week 5: Sizing the Market Lecture/discussion: • Student Game Demos • Market Opportunity Analysis • How to size the market opportunity for your product or service | Ready for the class. |
| 6) | Week 6: History of Video Games & Digital Media Trends Lecture/discussion: • Student Game Demos • Overview of the history of games, including Asia gaming market | Ready for the class. |
| 7) | Week 7: Multi-platform Entertainment and Market Sizing Lecture/discussion • Student Game Demos • Students present preliminary market sizing assumptions. | Ready for the class. |
| 8) | Week 8: How to Start and Run a Games Business Lecture/discussion: • Guest Lecture • Overview of running games businesses | Ready for the class. |
| 9) | Week 9: Marketing and Business Plan Essentials Lecture/discussion: • Student Game Demos • Business Plan Essentials • Sources of Funding • Development Planning • Marketing/PR • Opportunity/Mission/Vision | Ready for the class |
| 10) | Week 10: P&Ls, Making your Business Case, Legalities Lecture/discussion: • Student Game Demos • How to Create P&Ls for your business • Licensing, Contracts, and IP ownership | Implement the lecture to the final project. |
| 11) | Week 11: Virtual Reality Deep Dive Lecture/discussion: • Student Game Demos • Pitch Presentation | Ready for the class. |
| 12) | Week 12: Pitch Presentations Present Pitches • Present project pitches | Complete the final project and prepare for submission. |
| 13) | Week 13: Pitch Presentations Present Pitches • Present project pitches | Complete the final project and prepare for submission. |
| 14) | Week 14: Pitch Presentations Present project pitches • Present project pitches | Complete the final project and prepare for submission. Project submissions. |
| Course Notes / Textbooks: | Suggested Readings: The Art of Interactive Design Chris Crawford The Playful World: How Technology is Transforming Our Imagination Mark Pesce Playing For Profit: How Digital Entertainment Is Making Big Business Out of Child’s Play Alice LaPlante/Rich Seidner Trigger Happy: Games and the Entertainment Revolution Steven Poole Interactive Design for New Media and the Web Nicholas V. Iuppa Writing for Interactive Media: The Complete Guide Jon Samsel/Darryl Wimberley Digital Storytelling: A Creator’s Guide to Interactive Entertainment Carolyn Handler Miller Game Architecture and Design: A New Edition Andrew Rollings Ultimate Game Design: Building Game Worlds Tom Meigs Creation Emotion in Games: The Craft and Art of Emotioneering David Freeman Developing Online Games: An Insider’s Guide Jessica Mulligan/Bridgette Patrovsky Andrew Rollings and Ernest Adams on Game Design Andew Rollings/Ernest Adams Masters of Doom: How Two Guys Created An Empire and Transformed Pop Culture David Kushner Break Into the Game Industry: How to Get a Job Making Video Games Ernest Adams Game Over: Press Start to Continue David Sheff The Ultimate History of Video Games: From Pong to Pokemon – The Story Behind the Craze that Touched Our Lives and Changed the World Steven L. Kent High Score: The Illustrated History of Electronic Games Rusel DeMaria/Johnny L. Wilson Got Game: How a New Generation of Gamers Is Reshaping Business Forever John Beck The Visual Story: Seeing the Structure in Film, TV, and New Media Bruce A. Block |
| References: | Digital Storytelling: A Creator’s Guide to Interactive Entertainment Carolyn Handler Miller Pause and Effect: The Art of Interactive Narrative Mark Stephen Meadows Rules of Play: Game Design Fundamentals Katie Salen/Eric Zimmerman Interactive Television Demystified Jerry C. Whitaker Bamboozled at the Revolution: How Big Media Lost Billions in the Battle for the Internet John Motavalli The Medium of the Video Game Mark J.P. Wolf/Ralph H. Baer The First Quarter: A 25-year History of Video Games Steven L. Kent Game Development and Production Erik Bethke Game Design Workshop Tracy Fullerton/Christopher Swain/Steven Hoffman |
| Course Learning Outcomes | 1 |
2 |
3 |
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6 |
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| Program Outcomes | ||||||||
| 1) Being able to write creatively, imagine, and produce original and inspired fictional scenarios, places, and universes. Being able to produce 2D and 3D visual designs and impressive auditory compositions. Being able to plan all these artistic practices around certain goals and with a focus on design. Being able to design the videogame design process itself. | 2 | 1 | ||||||
| 2) Being able to think and produce creative content based on mathematical data. Being able to parametrically design. Being able to quantify art and design practices, such as creative writing, graphical, illustrative, spatial, and character design. Being able to ideate qualitatively and subjectively through quantitative and objective approaches. | 3 | |||||||
| 3) Being able to work on projects by incorporating various fields of expertise and the content that originates from these fields. Being able to work as part of a team while embracing different ideas and skills. Being able to produce comprehensive and total videogame concepts. Being able to edit, exhibit, present, and defend works in portfolio and presentation formats. | 1 | 2 | 2 | |||||
| 4) Achieving critical thinking literacy on videogame history and theory. Being able to think through and produce academic texts about the philosophical, anthropological, political, and social manifestations of games. Being vigilant about the contemporary problematics of videogame epistemology. Displaying professionalism in accepting criticism. | 3 | 2 | 1 | 3 | ||||
| 5) Being informed about the historical accumulation and contemporary productions of the videogame culture and other cultural playgrounds from which videogame culture draws. Being able to tackle, process, and position both aesthetic and technical production and thinking methods as cultural activities. | 3 | 2 | 1 | |||||
| 6) Being knowledgeable about the past, aware of the present, and foresighted about the future potentials of the social and economic realities of videogames. Being able to handle professional relations, create correspondence, and manage production plans. Being a generalist, while also specializing in one or more areas of expertise. | 1 | 1 | 2 | 3 | ||||
| 7) Being able to research, filter data, and synthesize both within and outside videogame epistemology at every stage of production. Being able to conduct interdisciplinary research. Being able to create original ideas by remixing content from various sources. Learning to learn. | 1 | 2 | 3 | |||||
| 8) Understanding, learning, and using professional content authoring tools and technologies. Being able to design workflows in service of various production requirements. Being able to use technologies within the workflow besides the usual and intended purposes, and researching, discovering, and putting to use technologies for new purposes. | 2 | 2 | 1 | |||||
| No Effect | 1 Lowest | 2 Average | 3 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | Being able to write creatively, imagine, and produce original and inspired fictional scenarios, places, and universes. Being able to produce 2D and 3D visual designs and impressive auditory compositions. Being able to plan all these artistic practices around certain goals and with a focus on design. Being able to design the videogame design process itself. | 2 |
| 2) | Being able to think and produce creative content based on mathematical data. Being able to parametrically design. Being able to quantify art and design practices, such as creative writing, graphical, illustrative, spatial, and character design. Being able to ideate qualitatively and subjectively through quantitative and objective approaches. | 1 |
| 3) | Being able to work on projects by incorporating various fields of expertise and the content that originates from these fields. Being able to work as part of a team while embracing different ideas and skills. Being able to produce comprehensive and total videogame concepts. Being able to edit, exhibit, present, and defend works in portfolio and presentation formats. | 3 |
| 4) | Achieving critical thinking literacy on videogame history and theory. Being able to think through and produce academic texts about the philosophical, anthropological, political, and social manifestations of games. Being vigilant about the contemporary problematics of videogame epistemology. Displaying professionalism in accepting criticism. | 2 |
| 5) | Being informed about the historical accumulation and contemporary productions of the videogame culture and other cultural playgrounds from which videogame culture draws. Being able to tackle, process, and position both aesthetic and technical production and thinking methods as cultural activities. | |
| 6) | Being knowledgeable about the past, aware of the present, and foresighted about the future potentials of the social and economic realities of videogames. Being able to handle professional relations, create correspondence, and manage production plans. Being a generalist, while also specializing in one or more areas of expertise. | 1 |
| 7) | Being able to research, filter data, and synthesize both within and outside videogame epistemology at every stage of production. Being able to conduct interdisciplinary research. Being able to create original ideas by remixing content from various sources. Learning to learn. | 2 |
| 8) | Understanding, learning, and using professional content authoring tools and technologies. Being able to design workflows in service of various production requirements. Being able to use technologies within the workflow besides the usual and intended purposes, and researching, discovering, and putting to use technologies for new purposes. | 3 |
| Semester Requirements | Number of Activities | Level of Contribution |
| Presentation | 1 | % 40 |
| Final | 1 | % 60 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 40 | |
| PERCENTAGE OF FINAL WORK | % 60 | |
| total | % 100 | |
| Activities | Number of Activities | Workload |
| Course Hours | 14 | 56 |
| Presentations / Seminar | 2 | 20 |
| Final | 1 | 30 |
| Total Workload | 106 | |