Any game that has been developed with sufficient budget and emphasis on quality to be considered to be of the highest quality in comparison to other games developed at the same time.

One of the four Bartle types (q.v.), representing players focused upon acquiring concrete measures of success in the game world, such as experience points or money.

Games of competition. The class of games identified by Roger Caillois that are focused around competition and the desire to prove oneself in direct contest with others [Caillois58].

Games of chance. The class of games identified by Roger Caillois which, in their purest form, are focused around surrendering to chance or destiny such that one’s own abilities are irrelevant to the outcome [Caillois58].

Games in which the players are delivered or discover content in the real world, through websites, text messages, and other multimedia methods. The content may also develop dynamically, according to the actions of the players.

The emotion associated with laughter.

A part of the limbic system (q.v.) associated with emotional memory, and in particular with fear.

An emotion that provokes action; the fight of the fight or flight response (q.v.).

One of the four patterns of behavior in temperament theory. The Artisan temperament is associated with a desire for freedom to act, and the ability to make an impact.

An area in the brain involved in forming memory, a process apparently coordinated by the hippocampus (q.v.).

An informal name for the temporal lobe (q.v.), focusing on its main sensory function.

A sound intended to signal information to the player, such as a noise that tells the players their avatars have been spotted, or that they have leveled up.

Hearing problems of any kind, from mild hearing difficulty to total deafness.

Another name for the player’s character or game world representative.

An audience model developed by Richard Bartle for describing players in virtual worlds such as MMORPGs (q.v.) [Bartle96].

Examining how players who have never encountered a game before cope with the rules, the interface, and the nature of the play of such a game, in order to improve the game’s accessibility and perhaps also to reduce the learning curve (q.v.).

A game targeting casual gamers (q.v.), characterized by being based on few rules, and thus easy to learn, and having a more forgiving attitude towards play [Elrod08]. The three common genres are match 3, time management, and hidden objects (q.q.v.) [Irwin08].

An audience segment that spends less money and time playing videogames than the hardcore gamer (q.v.) audience. However, many casual gamers still play games every day.

A region of the brain, at the back and underneath, associated with motor control and the learning of motor skills.

See cortex (q.v.).

Text that delivers both subtitles for speech, and also text versions of relevant sound effects and other non-speech elements.

A wide range of disabilities including (but not restricted to) memory loss, attention deficit disorder, learning disabilities, and dyslexia.

A game in which the player adopts the role of one or more characters, and which traditionally involves a number of progress mechanics through which the character or characters are developed. Compare with tabletop role-playing game (q.v.), from which the videogame form evolved. In this book, computer role-playing game is abbreviated cRPG.

The archetype of the Type 1 play style in DGD1 (q.v.), focused on challenge and fiero.

Synonym for hardcore gamer (q.v.).

The outer layer of the brain, often divided into the frontal, parietal, temporal, and occipital lobes (q.q.v.).

Acronym for computer role-playing game (q.v.).

A short movie presented to the player at specific points in a game.

An informal name for the orbito-frontal cortex (q.v.).

An audience model developed by Chris Bateman and Richard Boon that examines relationships between certain psychological models and play.

The skills associated with the Idealist temperament (q.v.), focused around empathy, the resolution of differences, and abstract thinking.

A form of mimicry (q.v.) in which one acts out stories with dolls or similar simulacrums.

A neurotransmitter, primarily produced by the nucleus accumbens (q.v.), that is involved in the formation of habits and the process of addiction.

One of Nicole Lazzaro’s Four Fun Keys (q.v.) concerned with games of curiosity, and associated especially with the emotion of wonder (q.v.).

The tendency to express and feel emotional states that are similar to those people nearby. This is especially true of laughter, but can be observed with almost all emotions.

A state of focus upon an activity, such as a videogame.

Technical name of the neurotransmitter adrenalin, associated with excitement and fear (q.q.v.).

An emotional response to novelty, challenge, or pressure.

A learning style (q.v.) in which a person prefers to experiment, and is willing to take risks to do so, rather than being explicitly taught. Compare with modeling learning style (q.v.).

One of the four Bartle types (q.v.), representing players focused upon learning about the game world, and finding hidden places and things.

Excitement (q.v.) under the expectation of negative outcomes.

An informal name for the amygdala.

The emotional feeling of triumph over adversity. It is often expressed in body language by raising one’s arms above one’s head.

A type of reinforcement schedule (q.v.) in which reward comes after a predictable number of actions (fixed ratio schedule) or a predictable time duration (fixed interval schedule). These schedules produce a pause after the reward because from the player’s perspective “you must do it all over again for your next reward”.

The experience of devoting total concentration effortlessly upon a task; also known as “optimal experience” [Csikzentmihalyi90].

The state of optimal experience that occurs in Flow (q.v.) when the degree of challenge is proportionate to the individual’s skills.

A model of play developed by Nicole Lazzaro based on observations of the emotions observed when players engage with their favorite videogames.

Acronym for First Person Shooter.

An area at the front of the human cerebral cortex (q.v.) associated with cognitive function and decision making, especially in the orbito-frontal cortex (q.v.).

A generalized term for anything about an experience that is engaging, entertaining, or amusing to people.

Experience playing games. Players with considerable game literacy can be considered hardcore (q.v.), and those without this experience can be considered casual (q.v.).

The rules of a game that determine how play will be structured.

Players who spend a lot of their time and money on playing games (including videogames); effectively a synonym for hardcore gamers (q.v.).

A frowned-upon approach to PvP in MMO games (q.q.v.) involving attacking players when they are compromised in some way.

An approach to play or other activities in which achieving the stated outcome is paramount in the mental model of the person in question. Compare with process-oriented (q.v.).

Repeatedly performing certain actions in an MMO (q.v.) in order to accumulate the ingame resource (often gold, hence the name).

One of the four patterns of behavior in temperament theory. The Guardian temperament is associated with the need to belong, and a sense of duty.

One of Nicole Lazzaro’s Four Fun Keys (q.v.) concerned with games of challenge, and associated with the emotions of fiero and anger (q.q.v.).

An audience segment associated with buying and playing a considerable volume of games. Also known as core gamers or gamer hobbyists (q.q.v.).

A genre of the casual game (q.v.) based around finding specific objects in a complex scene in a manner similar to the Where’s Wally? books (Where’s Waldo? in North America).

A part of the limbic system (q.v.) that has a major role in coordinating associative memory.

Tabletop board games with relatively complex mechanics, which thus take some time to both learn and play.

A point in the game world where the avatar can interact with the world in a meaningful way.

A type of play activity concerned with repeated actions that are either unconnected, or tangentially connected, to progress, such as collecting items in a platform game, or customizing the player’s avatar.

The exaggeration of certain features that relate to being sexually receptive, such as a flushed face, half-closed eyes, erect nipples, or an arched back.

A part of the limbic system (q.v.) that regulates a number of bodily functions such as appetite, anger, and trust.

One of the four patterns of behavior in temperament theory. The Idealist temperament is associated with a desire for unique identity, and a search for meaning and significance.

Games of vertigo. The class of games identified by Roger Caillois that are focused around temporary annihilation of consciousness by surrendering to acceleration, dizziness, or any other tendency that is contrary to self-awareness [Caillois58].

The illusion of control over a situation that exists when a player uses dice to resolve a random outcome. Although technically they have no control over the dice (barring a validation of certain psi research), they still feel as if they are contributing to the outcome, and thus have a kind of illusion of agency.

The process of experiencing deep engagement with a virtual world (q.q.v.).

A type of reinforcement schedule (q.v.) in which reward comes after a certain amount of time. These produce pacing to the player’s behavior because “your next reward will come later”.

Acronym for intellectual property, which in the context of games usually refers to the characters, setting, and other details associated with a particular brand.

One of the four Bartle types (q.v.), representing players primarily interested in competition with other players.

The use of random chance to create an entirely unique playfield in a game, such that the play of the game can be different every time.

A conceptual measure of how hard it is to learn to control or use a game.

The manner in which a person prefers to learn new information, principally discussed in this volume as either an explorative or modeling learning style (q.q.v.).

A structure deep in the center of the human brain that is associated with basic emotional behavior, and consisting of several key structures, notably the nucleus accumbens, the amygdala, the hippocampus, and the hypothalamus (q.q.v.).

The skills associated with the Logistical temperament, focused around optimization and standardization.

Tending towards play regulated by rules. Roger Caillois considered games to vary between ludus at the most regulated extreme, and paidia (q.v.).

The archetype of the Type 2 play style in DGD1 (q.v.), focused on mastery and problem solving.

A class of games that have as the center of their play the interaction of many players in a common virtual world (q.v.).

A synonym for casual gamer (q.v.), stressing the greater numbers of such players relative to the gamer hobbyist or hardcore gamer (q.q.v.)

A genre of casual game (q.v.) involving switching the positions of elements in a grid to make patterns, exemplified by Bejewelled (PopCap, 2001).

A psychological phenomenon whereby what is familiar is preferred to what is unfamiliar.

Small facial movements that reveal the emotions being experienced.

Games of simulation. The class of games identified by Roger Caillois that are focused around emulation—a make-believe experience in which the participant steps outside of conventional reality in order to pretend to be something else [Caillois58].

Elements in the brain that respond whether one is carrying out an action, or watching someone carry out an action.

Acronym for massively multiplayer online (q.v.).

Acronym that combines MMO and RPG (q.q.v.), that is, a massively multiplayer online role-playing game.

A wide range of disabilities including (but not restricted to) paralysis (via accident, disease, or a birth defect), neurological disorders, repetitive stress injury, and age-related issues.

A learning style (q.v.) in which a person prefers to have skills demonstrated, and observe the consequences of actions, before attempting to do the same. Compare with modeling learning style (q.v.).

Acronym for multi-user dungeon, a form of text-based MMO (q.v.) that represents the original instances of these kinds of games.

The emotion of taking pleasure in the achievements of someone you have helped, such as a tutor feeling pride in the achievements of her student.

A change to the parametric values or design of a game to reduce a perceived imbalance, usually by reducing the effectiveness of a particular option.

The use of random chance to create a degree of uncertainty in the play of a game, for instance via random driving forces in artificial intelligence.

A neurotransmitter associated with anger (q.v.).

A part of the limbic system (q.v.) associated with the formation of habits.

An area at the middle of the human cerebral cortex, below the parietal lobe (q.q.v.) associated with the processing of visual information.

A part of the frontal lobe of the human cortex (q.q.v.) associated with cognitive processes and decision-making.

Tending towards spontaneously creative play, unfettered by rules (as termed by Roger Caillois). Its polar opposite is ludus (q.v.). It is similar in some respects to toyplay (q.v.).

An area at the back of the human cerebral cortex (q.v.) associated with spatial sense, navigation, and the sense of touch.

The archetype of the Type 4 play style in DGD1 (q.v.), focused on enjoyment in a social or emotional context.

A type of goal-oriented (q.v.) play activity concerned with direct progress, especially finding the route to advance within the game.

One of Nicole Lazzaro’s Four Fun Keys (q.v.) concerned with games that derive their fun from people playing together, and associated especially with the emotion of amusement (q.v.).

A synonym for time-management games (q.v.).

The manner in which a particular player approaches play. There are many models for play styles, including DGD1 and Temperament Theory (q.q.v.).

Internal sensations produced by the interplay between player actions, choices, and feedback when someone is playing a video-game; abbreviated PX.

Play where the challenge is provided by the game itself, and not by other players; abbreviated PvE.

Competition between players within a video-game; abbreviated PvP.

A game world in which players are given immediate access to a large environment containing many different elements which they can experiment with at their leisure.

An informal name for the nucleus accumbens (q.v.).

An approach to play or other activities in which focusing on the quality of the activity itself takes precedence over achieving the stated outcome in the mental model of the person in question. Compare with goal-oriented (q.v.).

Abbreviation for player versus environment (q.v.).

Abbreviation for player versus player (q.v.).

Abbreviation for player experience (q.v.).

A type of reinforcement schedule (q.v.) in which reward comes after a certain number of actions. This kind of schedule produces a high rate of activity because “the more you do, the more you get”.

One of the four patterns of behavior in temperament theory. The Rational temperament is associated with a desire for knowledge and competence.

A relaxing emotion that occurs after a strong emotion subsides.

The rules of a game that determine when players earn a reward, and how they progress (which is also an intrinsic reward), and thus the structure of the game.

Acronym for role-playing game. This can mean a tabletop role-playing game, or a computer role-playing game (q.q.v.).

An informal name for games that evoke ilinx (q.v.).

A form of toyplay (q.v.), in which players are encouraged to experiment and try whatever they choose with little or no significant consequences.

The emotion of taking pleasure in another person’s misfortune.

A protocol that determines when a behavior is to be encouraged (reinforced). Common types of schedule include ratio schedules, interval schedules, fixed schedules, and variable schedules (q.q.v.).

One of Nicole Lazzaro’s Four Fun Keys (q.v.) concerned with games of altered states, and associated with the emotions of excitement and relief (q.q.v.).

Videogames used for a training or educational purpose. In general, any game created for a purpose other than entertainment can be considered a serious game.

An informal (and slightly misleading) name for the hypothalamus (q.v.).

One of the four Bartle types (q.v.), representing players more interested in interacting with the other players than with the game world.

A word, phrase, or ingame object that is symbolic in nature, and that increases in value with use. The creation and exchange of social tokens enhances and deepens friendships.

The skills associated with the Rational temperament (q.v.), focused around the capacity to anticipate problems, and to determine how to reach an imagined future state.

A type of play that is regulated by rules, equivalent to Caillois’ term ludus (q.v.).

A brief emotional response, probably related to fear (q.v.).

A type of game played with paper and dice by a group of players, in which dramatic situations are played out by virtue of a set of mechanics that support various interactions, often resolved by dice. The spiritual and mechanical forebear to computer role-playing games (q.v.).

The skills associated with the Artisan temperament (q.v.); principally the ability to swiftly read context and react appropriately.

A psychological model, which can also be adapted into a play style model (q.v.).

Areas at the sides of the human cerebral cortex, below the frontal lobe (q.q.v.), associated with audio senses (speech and hearing). The hippocampus (q.v.) is situated in the temporal lobes.

A genre of casual game (q.v.) involving making quick decisions about which situations to attend to out of a collection of possible options, each of which increases in urgency if it remains unattended. The genre is exemplified by Diner Dash (Gamelab, 2005).

An informal name for the parietal lobe (q.v.), focusing on its main function in processing sensory information.

Unstructured play within a game, that is, play that does not consist of set goals or objectives (except those that the players set for themselves). This book uses toyplay as a synonym for paidia (q.v.).

A type of play that happens without rules, equivalent to Caillois’ term paidia (q.v.).

The ease with which people can deploy a particular tool to achieve goals.

The experience of use, how accessible the interface for a particular piece of software might be, and how easily players can accomplish what they expect.

Abbreviation for user experience (q.v.).

The sum of all benefits that a vendor is offering with its product.

A type of reinforcement schedule (q.v.) in which reward comes after a variable number of actions (variable ratio schedule) or a variable time duration (variable interval schedule). This type of schedule produces constant activity because “everything has a chance of reward”.

A synonym for ilinx (q.v.).

A digital environment that presents itself as a physical space to be explored and interacted with, such as is found in any 3D game (and many 2D and text-based games too).

An informal name for the occipital lobe (q.v.), focusing on its function as the sensory center for vision.

Problems of sight, principally one of three kinds: blindness, low vision, and color blindness.

The archetype of the Type 3 play style in DGD1 (q.v.), focused on seeking a unique experience and having fun without being hindered by difficulty.