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How to use KPIs

Published by Paolo on 21/11/2025

I insist a lot on the importance of entertainment when we design new games. I spoke on this blog regarding the satisfaction of core instincts, and I am aware that someone would need something more actionable and practical. The easy resource is KPIs, which often are seeing like targets to hit. They aren’t in my opinion: they are diagnostic tools for spotting flaws in your gameplay, indicators.

For every feature, we first define the specific utility it provides, and then we measure its impact on player behavior.

Player InstinctThe Utility ProvidedImpact (examples)
Acquisition (Urge to collect)Giving the player interesting things to collect that drive progression.Completion Rate (Quests, levels, and the final game).
Social Connection (Gregariousness)Maintaining engagement and fostering community.Stickiness and high D7 Retention. Track the specific flows to connect with others and also the number of social interactions.
Assertiveness & MasteryThe feeling of power and competence within a core system.Win Rate and Feature Usage.
CuriositySatisfying the urge to discover new things.High Session Length. Qualitatively, the best sign is playtesters who genuinely want more at the end of a prototype. Check also heuristics after a playtest

Prototypes are essential, especially when playtested and attached to heuristics. By leading with the projected impact on player behavior, we demonstrate business value. This is how we continue the pursuit of l’avenir, the radical, unexpected break from the past.

Why a 3-Week Prototype Can Beat a 5-Year AAA Project

Published by Paolo on 19/11/2025

Seth Godin delivered an interesting message this week: there is often no correlation between effort and value.

We, in the games industry, romanticize the “crunch” and value the difficulty of creation: “This game took us five years eating pizza; therefore, it is valuable.”. This happens especially in the indie space, I have to say.

But as Godin argues, software isn’t worth more just because it was hand-coded. The player doesn’t pay for the eight years of blood, sweat, and tears; they pay for something entertaining.

Selling Effort, Not Entertainment

Game developers often sell their effort (months spent developing, solving a massive technical debt, or writing a thousand pages of lore) rather than their utility (the value the player extracts).

A game’s success is not determined by its complexity or its budget. It is determined by how efficiently and deeply it connects with people making them let discover new things. You are selling flow, mastery, social connection (Gregariousness), or the thrill of acquisition. More in general, instincts fulfillment.

That’s why a three-week prototype that perfectly fulfills the instinct of Acquisition with a simple, addictive loop will generate more value than a five-year AAA project with complex mechanics that confuse or exhaust the player. The player will pay more for the thing that is useful (solves their boredom, satisfies their urge to collect) than the thing that was difficult to make.

The Value Equation: Effort vs. Impact

The moment you shift your focus from effort to impact, your design choices become ruthlessly efficient.

The Wrong Metric (Effort)The Right Metric (Value/Utility)
“We spent 3 months developing this tool.”“This tool reduced iteration time by 50%.”
“This feature required 10 artists and a custom rendering pipeline.”“This feature drove 30% higher D7 Retention because it amplified the core [Instinct].”
“The lore is 500 pages thick and highly integrated.”“The player’s curiosity is satisfied in the first 5 minutes of play, leading to high Session Length.”

Stop selling the struggle. Start focusing on what matters.

Focus on Utility

To apply the Godin Principle to your work, make this shift today:

  1. Define the Utility: For every feature you build, ask, “What is the specific utility this gives the player?” (e.g., “The utility of this new combat loop is the feeling of Assertiveness and mastery, which we will measure via win rate and feature usage.”)
  2. Scope, scope, scope: Ruthlessly eliminate any work that increases effort but does not commensurately increase utility.
  3. Charge for the Use, Not the Cost: When presenting your work to publishers or stakeholders, never lead with the cost of creation. Lead with the projected impact on player behavior (according to the cultural moments and trends, connecting with the instincts) and business health (Metric Improvement).

Affording High Performance

Published by Tj'ièn Twijnstra on 18/11/2025

I’ve been working in a high performance environment for many years now. I’m amazed about the output of our small team (6 FTE+1 Free Lancer). To give you an example, we’re currently working on a casual puzzle game with a huge focus on narrative and world building. We’re approaching our 2 week release cadence which includes six to seven new fully animated story chapters and 90+ new levels, while releasing big new features every 4 weeks, with small and big tweaks, SDK updates, data gathering and general improvements, bug fixes and localization in many languages, while making sure we keep analyzing incoming data.

The casual puzzle space in which we’re operating is very competitive with thousands of entries a year with only a handful being able to succeed and enter the top 100. To get there, large teams (50-500 members) and large investments (1M-5M) are our competitors. And even in those teams, pressure to succeed is high and nothing but top performance is expected.

I’ve been thinking how we as a team make sure we are coping with this pressure. I believe we each individually have found a way to cope and collectively as a team found a way to facilitate and support each other. A large contributing factor for our small team is working from home. Not only does it cut out commute every day, saving a lot of time for each member. Working from home also afforded the environment where flexibility can occur. This flexibility in terms of working hours for instance is where some of our team members thrive.

We roughly work between 9-5 with strict attention rules around meetings. At least half of our team enjoys the ability to work during the quiet evenings, or pursuit a particular thought in the night. Others are able to schedule kids pick-up or going to the gym. And all of us enjoy the ability to let life happen and attend any important activity during working hours. Our team treats work as the second most important thing, next to our life outside of work. We cover for each other when someone is ill or experiences life changing events, we plan our schedules and priorities around vacations and time off, we accommodate members traveling the world and working from different time zone and generally we all help each other make it work.

But I think all of this would not be possible without a shared goal, without a shared ambition, without our internal drive to want to succeed. This focus enables us to do all of the above and I’m sure will drive us towards success.

The Strategy Fork

Published by Paolo on 17/11/2025

Performance Marketing expert Matej Lancaric issued a strong “WAKE UP call” to Supercell, critiquing their slow pace, their seemingly “random” new projects (like the “BOAT game”), and their failure to launch a hit in years.

Matej’s point: Why isn’t Supercell making a strategy game? Look at Century Games and Rivergame—they are launching hits, leveraging years of development and templatization.

Matej and his colleague Jakub Remiar are fundamentally right about the market reality: Supercell is competing in the same giant mass market as these Chinese juggernauts. However, the strategy Supercell needs to adopt is a matter of competitive advantage, not market segment.

Competing on the Wrong Metric

Jakub points out that the Chinese giants are masters of scaling and aggressive UA. They specialize in perfecting proven formulas, backed by efficient labor and rapid execution.

The mistake for Supercell would be to adopt this same strategy. Why? Because on the field of quantity, templatization, and low-cost labor, it is a lost battle; a race to the bottom that Supercell cannot win without sacrificing its corporate culture and cost structure.

Quality as Novelty

The argument that “quality will save them” is often seen as a defense mechanism, but quality here does not mean polish on a clone. Quality, in the Supercell context, may mean novelty and emergent gameplay.

Supercell’s strength has always been finding new formulas within a strong social/multiplayer framework. If they discover the right key, a system that generates unpredictable, repeatable fun, they create a lasting intellectual property that is inherently difficult to copy. This is true innovation, and it’s their only path to sustainable, high-margin success.

They must either focus on their core IPs (more Clash Royale and Clash of Clans) or they must find a way to put out content faster while still prioritizing the discovery and novelty that defines their brand.

Choose Your Competitive Strategy

The great divide in mass-market mobile design is no longer just between Indie and AAA; it’s between The Template Master and The Emergence Hunter.

  1. If You Choose Templatization (The Century Games Path): Your primary focus must be UA efficiency and Monetization Optimization. Rigorously deconstruct the core loop of existing hits (Last War) and focus your design energy on maximizing retention and revenue curves within that proven framework.
  2. If You Choose Emergence: Focus 90% of your time on building a ruleset that generates an unexpected and delightful player experience. If you can’t discover the fun cheaply, put the project on pause.
  3. Know Your Runway: Innovation is expensive; execution is faster. Your choice of strategy must align with your budget reality.

Le futur et l’avenir

Published by Paolo on 16/11/2025

Tatu Pohjavirta, an experienced CEO and futurist, recently posted a brilliant take on why Venture Capitalists, and so developers, get stuck. They ask, “Are you the next Supercell?” or “What’s the next Netflix?”

As Tatu points out, they are looking for le futur, the foreseeable sequel to the present, when what truly changes the world is l’avenir, the radical, unexpected break from the past.

“The true future doesn’t really inherit the present—it breaks from it.”

This is an inability to step outside the invisible grasp of the present. We assume that our current systems are permanent. But they are just historical accidents waiting for the next great interruption.

Building the Unforeseen

Our job as game designers is to increase the risk of predictability by building something genuinely “other.”. Our work is not to design the next of something; it is to design the first of something else.

But how do you design l’avenir when you don’t even have the language for it? This is where your methodical approach, the discipline you apply to strategy and prototyping, becomes the most powerful creative tool.

Design a game where the question becomes, “What is that?”

  1. Deconstruct Your Genre’s Assumptions (The Historical Accident): Take the genre you know best and list all its “permanent” features (e.g., Shooter: First-Person Camera, Health Bars, Headshots). Identify the Historical Accident, the feature that isn’t essential to the instinct (Combat, Acquisition, Escape) but exists purely because of platform or technology limitations 15 years ago.
  2. Prototype the Vocabulary: Tatu asks, “What’s the wildest thing you can imagine into existence that you don’t yet have language to describe to others?” Your job is to prototype the vocabulary. Build a prototype that demonstrates this “wildest thing” using only simple geometric shapes and text. Playtest it with people and watch their reactions.

Your job is to stop being trapped by le futur and start building the unexpected arrival of l’avenir.

The studio lie

Published by Paolo on 11/11/2025

Tim Plöger on LinkedIn shared a critique of the glib advice given to laid-off developers: “You got fired? Then start your own studio!”. This message often gets mixed up, confusing the business problem with the craft problem.

Tim, coming from a focus on the structural and financial side of the industry, correctly points out that starting a studio is not the answer. A studio isn’t just about making games; it’s about allocating people and financials, legal structuring, and sales. That’s a different type of work, and often, a recipe for quick failure for someone whose expertise is in pure creation.

The advice tells you to become an Executive/CEO when all you need to do is remain a Designer/Developer. My counterpoint to Tim was simple: “You don’t have money to buy bread? Well, maybe you have it to buy flour and cook your own bread.”

If your job is to design games, your energy should go into designing games. Spending six months, a year, or even two years sending out résumés without a response drains your energies. It is better to do your job every single day than to beg others while your energy wanes.

When you are laid off, you are given a clean slate, a golden opportunity to build the things you need.

Cook Your Own Bread

You have the chance to prove your adaptive insight (your ability to transfer design knowledge across genres). Here are three immediate actions for any designer, artist, or programmer who is waiting for “the next job”:

  1. Stop Applying, Start Prototyping: Turn your application time into creation time. Build simple, fast, collaborative projects. Don’t worry about polish; worry about fun and flow.
  2. Master the Instincts of the Market: Use this time to apply System Thinking. Pick a successful micro-genre (like the recent Friend-slop games) and try to replicate its core loop. Don’t copy the art; map the instincts (Acquisition, Gregariousness, Escape) that make it tick. This process demonstrates analytical skill far better than any résumé.
  3. Join the Flour-Buyers: Seek out other developers who are also “baking their own bread.” Join forces for a focused, two-week game jam or prototype challenge. The goal is not profit; the goal is to keep your creative engine running and generate concrete work that proves you’re a builder, not a waiter.

The best way to get hired is to be actively doing the job, with or without a corporate logo on your title.

Believe, don’t expect

Published by Paolo on 10/11/2025

I spoke with a former client this week about an experiment we ran. The results are good. The concrete indicators, the raw KPIs, show definite potential.

Yet, the project is under fire. Why? Because the team leader, who has to defend the project to business stakeholders every week, told me: “The expectations were higher.”

This is how good games die unfairly.

You execute a clear vision, the indicators are positive, but because they are “not great” or don’t match someone’s projection, the people who only chase numbers pull the plug.

The Fatal Confusion: KPI vs. Goal

This happens because many business owners—many, many of them—confuse indicators (KPIs) with goals.

  • A KPI is a health report. It tells you where you are bleeding or thriving right now. A good CPI or a solid retention rate is a sign that the game’s core has validity.
  • A Goal is the destination. It’s the vision, the human spark that creates something great.

The biggest mistake is treating the KPI as the Goal.

When you confuse the current retention rate with the final vision, you kill the process. You are demanding a marathon runner win the race on the first lap.

Think of every successful game out there: most of them started small. They grew with patience, dedication, and the belief that the spark was there. They iterated, they built, and they compounded their small, good indicators into great results.

ROI Without Understanding is Ruin

People in charge look for their own immediate ROI without being willing to truly understand how creative work, especially game design I have to say, actually works.

Creativity is not a linear spreadsheet. It’s a system of feedback and refinement. It requires room to breathe. When you cancel a project with good, but not great, indicators, you are sacrificing future compounding success for the shallow comfort of hitting an immediate number.

Let’s start the week with a clear intention: Stop letting fear-driven number-chasers kill projects that deserve to grow. Believe in the spark.

Strategy as a creative act

Published by Paolo on 09/11/2025

Martin Walfisz, founder of Massive Entertainment and writer of the Connecting Pixels newsletter, recently hit a crucial nerve: Most game companies have ambition, but no clear strategy.

He talks about how, when he started out, his ambition was just “Explosions must look amazing!“. I see this same pattern everywhere. Most teams are building a feature-collage that relies on luck rather than design. The core problem is exactly what Walfisz identifies: we confuse motion with direction.

Ambition is Easy; Strategy is Courage

Ambition is a resume: “This game will be the best in the world, it will hit X million MAU, and it will have blockchain integration.” Ambition is free. Everyone has it.

Strategy, by contrast, is courage. Strategy is saying NO to the 99 good ideas so you can focus on the one great thing that your game, and only your game, is built to master.

Walfisz nails the essence: “Strategy is about deciding where to become great.”

  • Ambition asks: “What else can we add to appeal to everyone so we can make lots of money?”
  • Strategy asks: “What will we say no to, so we can double down on this one, unique feeling that respects the player’s time?”

Companies fear that choosing a lane will limit their creative freedom. But as Walfisz notes, it’s the opposite: boundaries don’t stifle creativity, they sharpen it.

Success Should Compound, Not Reset

When you build a game purely on ambition, its success is a lottery win. Walfisz points out the high cost of this: “Without a clear strategy, success doesn’t compound. It resets.”

If your strategy changes with every new project you are throwing away the expertise, the audience loyalty, and the pattern recognition you earned on the last project.

Success must become a pyramid built on the cumulative expertise of your team, not a single, isolated pillar of luck.

Look at the example of Landfall, which Walfisz cites: they were self-aware enough to realize their strength was “creating inventive, funny, highly shareable multiplayer experiences.” They focused on that one thing and restructured their studio around it. That is the definition of turning your culture into your strategy.

Designing for the Great Conjunction

Published by Paolo on 06/11/2025

Chris Zukowski, the industry analyst behind How To Market A Game, recently published an optimistic take: indie development is in a “Great Conjunction.”

He argues that a perfect storm is brewing: genres that are “easier to make” are also the genres that Steam players are desperately hungry for. This creates a low-risk, high-upside scenario for small teams to release rapid, viral hits like Friend-slop co-op games or Horror-Casino hybrids.

But simply chasing the “Friend-slop” or “Idle Game” trend is the lazy route. A true designer knows that success is not just about the genre, but the transferability of insight, meaning the system behind the mechanics.

If you are going to take advantage of this “Great Conjunction,” you need to know why these genres are working. You need to identify the core human instincts they are satisfying.

The Designer’s Roadmap: Mapping the Great Conjunction

In my experience, the foundation of every successful game is not the graphic style or the business model, but its ability to satisfy a primal human need.

Here is a practical framework, using Instinct Mapping (the concept of identifying the core Survival and Social instincts a game satisfies) to deconstruct the “Great Conjunction” genres. I am writing a book on this topic, so stay tuned:

Great Conjunction Genre (Zukowski)My Instinct Mapping ProxyPrimary Instincts (The “Why”)The Design Hook (The “How”)
Idle / Incremental GamesIdle GameAcquisition, Rest, BuildingThe player gets a continuous drip-feed of Acquisition (loot/progress) with minimal effort, justifying the Rest (downtime) and satisfying the need to passively Build a growing system.
Friend-slop Co-op (e.g., Lethal Company)Party GameGregariousness, Play, LaughterThe core loop is dedicated entirely to Gregariousness (social connection) and unconstrained Play, with the physics or design chaos used to trigger Laughter. Human interaction is the feature, not the polish.
Horror Meta-GenreHorrorEscape, Curiosity, RestThe challenge (Horror) is driven by the thrill of Escape and the pull of Curiosity (what’s around the next corner?). The ‘Rest’ is the temporary moment of safety (e.g., hiding, a brief safe zone). The Horror-Casino genre simply layers this instinct over Acquisition.
Autobattler / StrategyAutobattlerAssertiveness, Combat, PlayThe player’s success relies on Assertiveness (making the strategic decision) and Combat (the resulting conflict), packaged as a simple, repeatable loop of Play that allows for quick experimentation.

The Formula: Market + Instinct

The success of these rapidly developed indie games proves that players will overlook polish and graphics if the core design loop is tight, fun, and deep.

Your task as a designer is two-fold:

  1. Analyze the Market (The ‘What’): Identify the “hot quadrant” in the Game Business Matrix (Session Time $\times$ Player Interaction) where there’s a confluence of hunger and low cost (like those mentioned by Zukowski).
  2. Design the Instinct (The ‘Why’): Deconstruct what primal need that market is tapping into, and use the instincts (like Acquisition or Gregariousness) to structure your Opening (hook), Core loop, and Closing (satisfaction).

Don’t be a martyr for a years-long art project when the market is begging for focused, fun systems built quickly. Use the Great Conjunction, but design with a framework. That’s how you turn a trend into a sustainable victory.

Sound effects are art

Published by Paolo on 31/10/2025

Music and sound effects are responsible for setting the emotions and tone of a game. Specifically, sound effects are a great tool, from a game design perspective, to direct the player’s attention when they are concentrated on other things. Sounds are fundamentally about feelings; they act straight into our limbic system, much like smells, for example.

When I have to think about sounds for a game, I record a whole session (or set of sessions) in video form. Then I grab competitors and study where they put sound FXs, and I try to understand WHY. In general, there are clear patterns:

  • Every time the player interacts with UI and buttons, there is a sound.
  • Every time a player skill is used, there is a sound.
  • Every time an item is used, there is a sound.
  • Every time there are special statuses, there is a sound.

Usually, sounds are implemented through event systems, so I try to predict them or talk with programmers to understand the underlying architecture. Then, I add the event triggers to my sound specifications.

Sounds depend a lot on the art direction too, so I make sure to talk with artists to assure we are aligned on the tone. It’s easy to understand if you should use cartoony or realistic sounds, for instance, but the tone (serious, funny, epic, impactful, etc.) really makes the difference, also in terms of how players will perceive the art per se.

Imagine a rounded and gummy button, and then you add an explosive sound when the player taps on it. The feeling of that material will change completely.