Digital Game Design (English) | |||||
Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 |
Course Code: | DGD304 | ||||
Course Name: | Game Engines 3 | ||||
Semester: | Spring | ||||
Course Credits: |
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Language of instruction: | English | ||||
Course Condition: |
DGD303 - Game Engines 2 |
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Does the Course Require Work Experience?: | No | ||||
Type of course: | Compulsory Courses | ||||
Course Level: |
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Mode of Delivery: | Face to face | ||||
Course Coordinator: | Dr. Öğr. Üy. İSMAİL ERGEN | ||||
Course Lecturer(s): | Lect. Zeynep Burcu Kaya Alpan | ||||
Course Assistants: |
Course Objectives: | The objective of this course is for students to gain game engine experience with exercises and give them the opportunity to further their knowledge with different tools of the engine. |
Course Content: | Course Content. This course will provide essential theory and practice to game development technology. Students will be able to develop a project using different tools and acquaint themselves with different use cases of the engine. |
The students who have succeeded in this course;
1) ● Organize different classes and their communication to create interactive systems. 2) ● Familiarize with visual scripting 3) ● Become confident with Unreal Engine to develop different outcomes such as games, playful experiences, animations, visual effects |
Week | Subject | Related Preparation |
1) | Being an Indie Game Developer • Introduction to indie game development • Challenges and opportunities • The role of Unreal Engine for indie developers | Hazırlık yok. |
2) | Introduction to Unreal Engine • Overview of Unreal Engine • Installing and setting up Unreal Engine • User interface and project creation | No preparation |
3) | Basic Level Design • Building levels and environments • Working with brushes and geometry • Creating basic gameplay spaces | No preparation |
4) | Blueprint Concepts: Basics • Introduction to Blueprints • Nodes and scripting basics • Creating simple gameplay mechanics | No preparation. |
5) | Blueprint Concepts: Intermediate • Blueprint variables and functions • Custom Blueprint events • Kompleks gameplay elementleri oluşturma | No preparation |
Course Notes / Textbooks: | Dersin belirli notları veya bir kitabı yoktur. The course has no specific notes or a book. |
References: | Epic Games Launcher, Unreal Engine 5, Unreal Engine Documentation. Unreal Engine Forums |
Course Learning Outcomes | 1 |
2 |
3 |
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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) 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) 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. | ||||||||
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. | ||||||||
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. | ||||||||
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. | ||||||||
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. |
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) | 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) | 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. | |
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. | |
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. | |
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. | |
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. |
Semester Requirements | Number of Activities | Level of Contribution |
Attendance | 1 | % 10 |
Midterms | 1 | % 40 |
Final | 1 | % 50 |
total | % 100 | |
PERCENTAGE OF SEMESTER WORK | % 50 | |
PERCENTAGE OF FINAL WORK | % 50 | |
total | % 100 |
Activities | Number of Activities | Preparation for the Activity | Spent for the Activity Itself | Completing the Activity Requirements | Workload | ||
Course Hours | 5 | 0 | 0 | ||||
Application | 3 | 0 | 0 | ||||
Midterms | 1 | 0 | 0 | ||||
Final | 1 | 0 | 0 | ||||
Total Workload | 0 |