ISTINYE UNIVERSITY BİLGİ PAKETİ / DERS KATALOĞU
| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
Course Introduction and Application Information
| Course Code: | DGD020 | ||||
| Course Name: | Game Design Preproduction | ||||
| Semester: | Fall | ||||
| 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: | Öğr. Gör. SAKIP EFE ERDOĞAN | ||||
| Course Lecturer(s): | Lect. S. Efe Erdoğan | ||||
| Course Assistants: |
Course Objective and Content
| Course Objectives: | This course focuses on systematically organizing and structuring elements from the initial idea phase of videogame development, including story, sketches, storyboards, basic mechanics, libraries, and branding, to create a coherent pre-production presentation. By the end of the semester, students will compile diverse pre-production components, such as asset libraries and storyboards, and prepare a versatile presentation encompassing various media for seamless integration into the production phase of game development. |
| Course Content: | This course combines theoretical and practical approaches to explore the fundamental elements of preliminary preparation, employing various techniques, including storyboarding, research, referencing, presentation skills, and library organization. Students will learn to categorize, compartmentalize, and efficiently organize assets and materials essential for videogame design. Additionally, they will master the art of creating engaging, creative, and effective production plans. Students will also delve into the ethics of proper referencing, showcasing a high level of moral responsibility when sourcing references and drawing inspiration, aligning with the expectations of industry professionals. |
Learning Outcomes
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The students who have succeeded in this course;
1) Students will learn categorization, compartmentalization, and asset organization and filing techniques in relation to videogame design practices and procedures. 2) Students will learn to master presentation skills for creating creative, engaging, and effective dossiers of their production plans. 3) Students will gain the ability to create a library structure, using preconstructed components with basic design techniques for practical applications. 4) Students will learn the ethics of proper referencing techniques and display the level of moral maturity in sourcing references and/or drawing inspiration, as is expected from professionals. |
Course Flow Plan
| Week | Subject | Related Preparation |
| 1) | Introduction to class. Discussion, meeting, topics, rules, requirements. | Prepare for the course. |
| 2) | Inspiration and reference techniques. | Find references and sources of inspiration for your videogame production project and prepare a presentation. |
| 3) | Inspiration and reference techniques. Critiques of students' presentations. | Presenting necessary decisions and assets for development. |
| 4) | Storyboards and storyboarding techniques. | Storyboard exercises. |
| 5) | Storyboards and storyboarding techniques. Critiques and comments. | Storyboard revisions. Branding exercises. |
| 6) | Branding and corporate identity techniques. | Prepare a branding presentation. |
| 7) | Branding and corporate identity techniques. Critiques and comments. | Basic mechanics exercises. |
| 8) | Critiques and comments. | Basic mechanics revisions. |
| 9) | Basic sketching techniques. | Prepare a presentation of your project components with basic sketching techniques. |
| 10) | Basic sketching techniques. Critiques and comments. | Sketching revisions. Start creating a library for project assets. |
| 11) | Library construction techniques. Critiques and comments. | Library construction revisions. Start creating a presentation for your entire project. |
| 12) | Combining presentation techniques with all aspects of the pre-production process. | Final presentation revisions. |
| 13) | Critiques and comments. | Final presentation revisions. |
| 14) | Critiques and comments. | Final revisions and corrections for the final submissions. |
| 15) | Finals. | Final submissions. |
Sources
| Course Notes / Textbooks: | Dersin belirli notları veya bir kitabı yoktur. The course has no specific notes or a book. |
| References: | Preproduction Blueprint: How to Plan Game Environments and Level Designs, Galuzin, A., CreateSpace Independent Publishing Platform, 2016. Video Game Design: Principles and Practices from the Ground Up, Salmond, M., Bloomsbury Academic, 2019. Game Production Studies, Sotamaa, O., Svelch, J., Amsterdam University Press, 2021. Games, Design and Play: A Detailed Approach to Iterative Game Design, Macklin, C., Sharp, J., Addison-Wesley Professional, 2016 |
Course - Program Learning Outcome Relationship
| Course Learning Outcomes | 1 |
2 |
3 |
4 |
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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 | 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 | 1 | 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. | 1 | 3 | 2 | 1 | ||||
| 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. | 1 | 1 | 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. | 1 | 1 | 3 | |||||
| 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. | 2 | 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. | 3 | 1 | 2 | 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. | 1 | 1 | ||||||
Course - Learning Outcome Relationship
| 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. | 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. | 2 |
| 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. | 1 |
| 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. | 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. | 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. | 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. | 1 |
Assessment & Grading
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 1 | % 10 |
| Project | 1 | % 40 |
| Final | 1 | % 50 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 50 | |
| PERCENTAGE OF FINAL WORK | % 50 | |
| total | % 100 | |
Workload and ECTS Credit Calculation
| Activities | Number of Activities | Workload |
| Course Hours | 14 | 28 |
| Laboratory | 14 | 28 |
| Presentations / Seminar | 13 | 39 |
| Final | 1 | 8 |
| Total Workload | 103 | |