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Beginning Game Programming(4th) 无水印原版pdf
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Beginning Game
Programming,
Fourth Edition
Jonathan S. Harbour
Cengage Learning PTR
Austr alia • Brazil • Japan • Korea • Mexico • Singapore • Spain • United Kingdom • United States
Beginning Game Programming,
Fourth Edition
Jonathan S. Harbour
Publisher and General Manager,
Cengage Learning PTR: Stacy L. Hiquet
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© 2015 Cengage Learning PTR.
CENGAGE and CENGAGE LEARNING are registered trademarks of Cengage
Learning, Inc., within the United States and certain other jurisdictions.
ALL RIGHTS RESERVED. No part of this work covered by the copyright
herein may be reproduced, transmitted, stored, or used in any form or by any
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All images © Cengage Learning unless otherwise noted.
Library of Congress Control Number: 2014932088
ISBN-13: 978-1-305-25895-2
ISBN-10: 1-305-25895-9
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1234567161514
eISBN-10: 1-305-25910-6
For my mother, Vicki Myrlene Harbour
Foreword
“I want to be a game designer; how do I get a job?” This is a question I field very often
when I do interviews or talk to students. I’ve even been accosted by the parents of an
apparently gifted teenager as I left the stage with my band. My usual answer is, “So, what
have you designed?” The vast majority of the time, I am given a long explanation about
how the person has lots of great ideas but is in need of a team to make them a reality. My
response to this is to try to explain how everyone I work with has great ideas, but only a
small percentage of them are designers.
I don’t mean to be harsh, but the reality is that there are no successful companies out
there that will give someone off the street a development team for 18+ months and a
multimillion-dollar budget without some sort of proof of concept. What sets someone
like Sid Meier (legendary game designer with whom I’m honored to work at Firaxis
Games) apart is his ability to take an idea and make something fun out of it.
Of course, Sid now gets large teams to do his projects, but he always starts the same way—
a team of one cranking out prototypes cobbled together with whatever art and sound he
can either dig up or create himself. It’s these rough proofs of concept that allow people
uninvolved with the creation process to immediately see the fun in a given idea, and
that’s what gets you a budget and a team. Every budding designer should take note and
ask, “What would Sid do?”
iv
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