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Tag: howto

Resist and persist

Perseverance is critical to staying competent in game design and in the business in general. Making the choice to enter the industry might be easy at the start—games are cool, and we all love them. But you’ll face resistance sooner or later: turning points and real obstacles to your choices.

That’s when you have to show up, put your soul into it, and demonstrate perseverance. Somehow, I consider resistance a kind of grace. Because without it, one would never prove their real commitment to something.

Things get harder when you’re working on a personal project. Aside from all the actual questions about the game you’re making, there are external pressures and survival doubts: Will I make it? Then you connect with people and discover easier opportunities to pick up. Working for others releases a lot of the stress you have when working alone.

That’s why it’s important to set concrete goals, every 6–10 weeks. These are checkpoints to reach, helping you ignore the sirens’ calling and trying to resist. I have seen people make incredible things in 10 weeks if they have a clear purpose. And if you persist and resist, the reward is something that will be with you forever: competence.

Think multiplayer

Games as a concept were born multiplayer. Single-player video games are a relatively new concept, and now we’re even seeing the rise of single-player board games.

When you’re sketching out ideas for a new game, you might think single-player first. That’s because it’s hard to deliver a high-quality multiplayer game with a low budget. So, you naturally focus on stories, builds, gameplay beats, and so on. And that is great; my favorite games are like that. I’m used to playing my games alone, in my studio.

But games as a concept are multiplayer per se, so it’s not a bad idea to also think about an online version of your beats and narrative. The best common denominator, if you want to avoid too much struggle, is “to be goofy together.”

I leave you with this video on the Evolution of Online Worlds by Raph Koster. What? You don’t know who he is? Do your work, buddy.

I believe in bootstrapping

Investors will look for 2x, 5x, 10x, 50x, or maybe 100x returns on their investments. So, if you want to secure funding for your game, you should aim for big revenue numbers, or at least make investors believe that your game can make $500M to $1B or more.

On the other hand, when you build a team, it’s better to start step-by-step, gradually building up your skills by releasing small games and then becoming big. But this sustainable model is hard to sell to investors.

So, we have a paradox: you need money to pay your people and make games, but by promising a billion dollars, you put yourself in a position that’s hard to sustain. Furthermore, if you pitch a billion-dollar game, you need to convince your team to make the best possible game, but with an unimaginable objective.

I personally prefer bootstrapping, but the struggle there is finding the right believers. Because, in any case, you need them.

Before Gameplay

Before players decide to step into your magic circle and start having a good time, they have feelings. They might watch a video on YouTube, read an article about your game, or simply land on your store page and look at the trailers, screenshots, and descriptions.

All of this evokes emotions and feelings. Emotions are the first step of perception. That’s why when you start designing levels for a narrative-driven game (RPG, adventure, platformer, and so on), you need to think first about the emotional intensity curve over time. This way, you can properly estimate the moment-to-moment experience.

I recently used this approach for a personal exercise: creating a hypothetical level for The Last of Us.

You can see each step is associated with a specific dynamic I want the Player to experience during the level. This curve was the final one, but I worked on many iterations. You plan a curve, and then you iterate over time.

Bring the Plug

When we’re working on a new game, it’s very common to spot a lot of problems and point them out when we’re talking with our team. Having an analytical mindset is normal, especially if you’re in a role like a game designer or gameplay developer. You are, by default, forced to analyze everything very specifically, and this can lead to your analysis being extremely detailed.

The impulse can be to immediately flag these issues, especially nowadays on a Slack channel for instance. They are designed to make you talk. You see that a feature doesn’t work and you mention it because you want to make it known. The issue with this is that, especially when you are in a more senior position, it can lead to confusion.

Imagine you are on a boat with others, and you are all rowing towards a specific direction. Suddenly you notice a leak in the boat, and you stop rowing and shout, “Hey guys! The boat is leaking!” Everybody will stop, right? And someone will fix the leak before continuing.

What if, instead, you continue to work and offer a solution? For example, “Joe, you can fix the leak while we all continue to work,” or “Guys, continue to row! I need to fix this using this plug!”

This shows a different problem-solving skill, one that I had to learn the hard way. Don’t just point at a problem without proposing some solution. Be a problem solver, and your team will appreciate that.

The ABC of personal branding

Days ago, on a private conversation, a LinkedIn friend of mine told me “you are the best game design influencer that I know”. I am thankful for that comment, also if I don’t consider myself an influencer. I prefer to use the term communicator.

I hold another interesting discussion on “personal branding” which together with that happening made me think… I don’t really believe in “personal branding”, and being an influencer, and stuff like that.

Branding is something manufactured, the risk with thinking in myself as a brand is to start perceive myself as a commodity, somehow.

I believe in ABC: acknowledgement, body of work, and character. I think I work a lot on that, more than branding.

And I worked it CBA:

1. Character building: this is something personal, everyone tackles this in a different ways and I cannot teach anyone how to do that. I can share one of my character built feature: I deliver, no matter what. I don’t say “I cannot do that in such a small time”. Of course, according to the time I can deliver something more or less detailed. But that’s on you that gave me that time, everything is pretty transparent. I wasn’t like that before had to build that. And that is just one thing among multiples.

2. Body of work: you will become better at the things you practice more often, simple as that. Many years ago, I decided to stop focusing on look for a job in games and started just practicing game design, every single day. Also small things, like listening to a podcast and taking notes, sketching my ways of working. Consistently I developed my body of work. Today I see something from my past and it’s so bad that I notice my progress and I am happy. Plus, thanks to these scrappy spreadsheets, today I have my personal way that brings me income.

3. Acknowledgement: this comes only as a consequence of C and B, you need to find your people. Campfires are better than social networks. A campfire is a group of few people, it can be a reddit group or a slack channel. Interact with like minded people, find people to admire and listen listen listen. And send DMs to listen more. On the other end, you need to work on something. And on that point especially nowadays I cannot teach anything, it’s so hard. But I can say that if you have a job and tomorrow lose it, consider the juggler metaphor, from Seth Godin.

Juggler metaphor: manies believe that the secret of a juggler is the catch. Truth is, the secret is the throw!

Consider each job you had and lost not like you failed a catch. You were learning how to throw better, like a juggler! By flipping your point of view on this (very hard, I still hold consequences of that process), you will get more authority over time.

What I learned in the Playable Stories Workshop

Yesterday, I participated in a workshop on how to write for playable stories. It was a workshop oriented to professional game writers, and I am not. Still, I found it very useful in improving my skills in narrative design.

It was divided into 3 sessions, with pauses in the middle. Session one was about how games change stories. Session two was about how to make stories playable. The last one was about how to use the storytelling toolbox. The tools all writers have and also the tools that belong only to game writers.

The workshop was packed with practical insight and exercises to train for the next days. In Fall 2022, a company I worked for paid for my fee at the narrative department workshop. This gave me access to a series of interesting workshops at a special price. I am thankful for that.

On technical skills

Let’s talk about technical skills. I read a question around often and sometimes some students ask me: what skills should I have?

The question comes most of the time from our innate desire to fit (gregariousness, submission). There is a job market and we want to get in. This is fair.

As far as I’m concerned, the answer is like learning a new language. If there is no valid reason behind it, we will make a lot of effort to learn it. I learned English to better understand songs and video game stories. I learned Spanish to be able to live where I live. I learned Portuguese because of the culture and history behind Capoeira. I did learn because I felt would improve me as a person.

Likewise, the technical skills I decided to cultivate for game design come from there. Spreadsheets because I have always liked math and put things in order. The most common engines, especially for level design, because it puts me in a state of flow like when I play a video game. Game writing because, as you can see, I love writing. UX/UI because I don’t know how to draw, but I still like to arrange things visually as a form to clarify my ideas.

The question for me is not “which skills should I learn?”, but “which are the technical skills that can help me find my voice and let it come out?”

The main challenge of a professional game designer

It’s one thing to design a game (or a feature of a game) and another to sell it. This is perhaps the hardest lesson to learn during the career of a game designer.

It’s not just about thinking about systems, mechanics, development context. It’s also about convincing someone to go ahead.

  • If you have the funds, this someone can be a potential player. You have to convince them to play.
  • If you don’t have the funds, but you have a great idea, this someone can be a publisher or an investor.
  • If you work for someone, you have to convince them!

The key point is always in the expectations that one has about something.

  • “I will buy this game for 30 euros because I think I will have a fun time”
  • “I have to invest in this project because I see great possibilities of return”
  • “I approve this design because I think it is the right one for our game”

The biggest challenge is that creatives think on a different level than others.

I’ll give a concrete example with my game Pawtners Case. Lately I’ve been proposing it to try to finance it. It is perceived as a game that is too cheap, and so with little potential. It doesn’t matter that I propose something workable and scalable. Publishers prefer to focus more on something unachievable rather than go step-by-step.

A good use case for Claude.ai

I just paid for the premium subscription to Claude AI. Writing certain design documents took me 3-4 days. With Claude, 1-2.

Like every AI, it freaks out a lot. But this help me get started on tasks. I tell it to write me certain spec, it writes me something full of errors and that helps me think. It’s like teaching to a dumb student.

Then, when I have my document with wireframes, I pass it to it and first I tell it to act as a programmer. Again, it hallucinates but it helps me understand the “edge cases” the empty cases that I hadn’t thought of.

Finally, after a second iteration on the document, I send it again and ask to act as a quality assurance professional, to generate a test plan for me. This helps me think carefully about closing all the loose ends.

This is valuable. Indeed.