Chapter

Handbook of Multimedia for Digital Entertainment and Arts

pp 497-528

Date:

Believable Characters

  • Magy Seif El-NasrAffiliated withSchool of Interactive Arts and Technology, Simon Fraser University Email author 
  • , Leslie BishkoAffiliated withDepartment of Animation, Emily Carr University of Art and Design
  • , Veronica ZammittoAffiliated withSchool of Interactive Arts and Technology, Simon Fraser University
  • , Michael NixonAffiliated withSchool of Interactive Arts and Technology, Simon Fraser University
  • , Athanasios V. VasiliakosAffiliated withUniversity of Peloponnese
  • , Huaxin WeiAffiliated withSchool of Interactive Arts and Technology, Simon Fraser University

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Abstract

The interactive entertainment industry is one of the fastest growing industries in the world. In 1996, the U.S. entertainment software industry reported $2.6 billion in sales revenue, this figure has more than tripled in 2007 yielding $9.5 billion in revenues [1]. In addition, gamers, the target market for interactive entertainment products, are now reaching beyond the traditional 8–34 year old male to include women, Hispanics, and African Americans [2]. This trend has been observed in several markets, including Japan, China, Korea, and India, who has just published their first international AAA title (defined as high quality games with high budget), a 3D third person action game: GhajiniThe Game [3]. The topic of believable characters is becoming a central issue when designing and developing games for today’s game industry. While narrative and character were considered secondary to game mechanics, games are currently evolving to integrate characters, narrative, and drama as part of their design. One can see this pattern through the emergence of games like Assassin’s Creed (published by Ubisoft 2008), Hotel Dusk (published by Nintendo 2007), and Prince of Persia series (published by Ubisoft), which emphasized character and narrative as part of their design.