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Tag: insight

Strategic resolutions

I’m warning you: this is a boring New Year’s message.

It has no cinematic trailers, no dramatic feature reveals, and no hype. It’s about strategy. And in game design, true strategy is the stuff that looks tedious on a whiteboard.

We live in the attention economy, where every scroll, every platform, and every trend tells us that if your idea doesn’t entertain immediately—if it isn’t viral motion—it’s worthless. We see fellow developers chasing the latest “Friend-slop” or Idle-Horror micro-genre without asking the fundamental why.

But while everyone is busy publishing, recording, and moving, those who create lasting value are thinking.

The Game Designer’s Quiet Revolution

What changes the market is the silent architecture beneath the surface. We, as designers, are designing complex systems that capture and retain attention against impossible odds.

The most successful studios are those focused on the “boring stuff”: designing robust systems, defining clear processes, and understanding player psychology at its most fundamental level.

2026 Strategy: The Three Pillars of Quiet Design

As you close out a noisy year, take this challenge: stop chasing the manifestation (the trends) and start analyzing the instinctual core (the “why”).

The real strategy for your next project, the one that guarantees more than a flash of viral luck, comes down to three acts of “boring” reflection:

  1. Map the Instinct (The Core Loop): Define the 1-3 primal instincts your game satisfies. Is it pure Acquisition (the loot)? Is it Escape (the tension)? Is it Gregariousness (the social bond)? If you can’t name the instinct, you can’t design the loop.
  2. Deconstruct the System: Your game is a service, not a product. What is the core system that keeps the player coming back? For every flashy feature, define its input and its output. Can you describe your core loop in three elegant sentences that include all monetization and retention mechanics?
  3. Validate the Silence: Before you code, publish, or hype, engage in the ultimate boring task: data validation. Analyze your competition by tracking their update patterns and reading player comments. Your solitude ensures you reduce the risk of building something nobody wants.

Your biggest asset is your talent to see a successful idle RPG system and apply its flow to a new PS5 platformer. But that talent must be cultivated in silence.

So, for 2026, make this your rule: Pass more time alone. Isolate. Turn off the noise. Think.

What seems like time wasted in deep thought is what makes your game resilient. The boring stuff is what makes you free.

Show your impact

The interviewer just asked you: “Tell me about a game project you’re proud of, and why.

You may hear a casual request for a portfolio highlight, but what the hiring manager, especially a leader, is listening for is impact. They want to know what behavior you changed, and what value that behavior drove.

As game designers, we often fall into the trap of talking purely about mechanics or systems: “I designed a beautiful, highly iterative combat loop” or “We built a seamless crafting system.”

But that misses the crucial connection. The best answers connect various layers of validation, proving that your design decisions were not just creative, but strategically effective.

Three Layers of Impact

To succeed as a senior designer, your answer must connect the micro (player behavior/action) to the macro (company value).

Layer 1: The Behavioral Change (The Micro)Layer 2: The Game Metric (The System Validation)Layer 3: The Instinct & Business Goal (The Value)
How did the player react? (e.g., Rage quitting on a particular level, persistent use of an unintended social tool, high frequency of “Skip” button presses on a narrative sequence, time spent in the new social hub.)How did this affect the game’s core health? (e.g., D1/D7/D30 Retention, Feature Usage Rate, Churn Rate on a specific difficulty level, Average Session Length, Conversion Rate from free-to-play to paid content.)What was the ultimate “why”? (e.g., Instinct Fulfillment like Gregariousness or Acquisition) and How did it drive Lifetime Value (LTV)?

You don’t need perfect attribution to demonstrate value. But you must be able to frame your work like this:

“We noticed [Behavioral Change], players were consistently rage-quitting Level 4 because the difficulty curve was too steep, violating their [Instinct] for Assertiveness. We responded by [Design Change Y], adding a mid-level checkpoint and a combat hint system. This immediately decreased our [Metric] Level 4 Churn Rate—by Z%. This mattered because a lower early churn rate directly feeds into higher [Business Goal] Player LTV.”

Even if your design is one small piece of a giant system, you must show you understand the full context it belongs to.

The Game Designer’s Advocate

In games, data is often incomplete. Hiring managers know this. What they want to know is: Do you understand what you should have measured?

If the data is missing, here is a simple framework to demonstrate your value:

  1. Qualitative Signals: Don’t dismiss soft feedback. What did you hear repeatedly in user testing? Did you receive unsolicited positive feedback about a new Flow state or a new feeling of Acquisition (the primal instinct) in a specific community channel? Did internal teams start referencing your work as a new standard?
  2. Advocate for Tracking: Proactively explain what success would have looked like and what specific metric you would have put in place (e.g., “We were aiming to increase the Gregariousness instinct, so I would have implemented a metric to track spontaneous friend requests after a shared victory.”). This shows you think like a business owner and are an advocate for measurement.
  3. Connect to the Missing Instinct: The ultimate question is always “What human problem did this solve?” If you can’t prove the financial success, prove the Instinctual Success. Show that your design fulfilled a deep human need, which, given proper resources, would eventually translate to business success.

Stop describing your design. Start describing its effect on the player and its impact on the business.

Christmas Morning Lesson

Happy Holidays! As you’re likely watching kids tear into giant boxes this Christmas morning, let’s talk about the biggest mistake in game development. A mistake even massive, experienced AAA studios repeat every single year.

They are falling into the rookie trap of mixing beauty corners with gameplay prototypes. I’m talking about that moment when you force a prototype, meant for raw mechanic testing, into a beautiful, highly polished “vertical slice.”

Prototypes with Fancy Bows

Why do studios do this? Because they chase ambition over clarity. They want the investors, the publisher, or even their own team to feel the final game instantly. But when you try to turn a gameplay test into a forced fake vertical slice, you are wasting massive time and money. You are making iteration slow, silly expensive, and often impossible.

You are creating a heavy dependency where there should be two separate, lightweight streams of work.

Keep the Gifts Separate

This Christmas, remember the golden rule of efficient development—and assembly:

  1. Gameplay Prototypes are the Instructions (The WHY): These are built for mechanics, feel, and flow. The art should be block-out geometry and colored cubes. They answer: Is the core system fun? Meaning, is there something interesting for the Players to discover? If the answer is no, you throw it away.
  2. Art Prototypes are the Decorations (The HOW): These are built for style, pipeline, and tech validation. They answer: Can we achieve this visual fidelity at this frame rate? If the answer is no, you pivot the tech without breaking the core fun.

Mixing them only adds a heavy dependency. Imagine getting a toy for Xmas, and the functional components are glued to the decorative exterior. If the gears break, you have to destroy the entire fancy shell to fix them. That is your silly expensive iteration.

You only merge them in the final vertical slice, once both sides stand on solid ground.

So, as you enjoy the day, remember this lesson from the trenches: Stop making your prototyping process a messy, expensive Christmas morning. Keep the gifts separated.

A tale of hope

The story of Clair Obscur: Expedition 33 is my favorite tale of 2025. Every successful game is a little miracle, but this one has been very well documented also by the mainstream journalism. As they say, the luck arrives while you’re working hard and that’s the case for this game.

The initial spark comes from a single guy working afterwork on Unreal Engine just because the program was fun to use. Then he contacted with a colleague to get extra guidance, he looks for connection and thanks to that he manages to stay 1-2 years working extra hours to find a possible formula for his game. Effort and connection, these things are both very important to me. In fact, it’s extremely hard to work solo on a project over a long period of time after your normal day job.

The third person is a business guy, ex university colleague, to focus on investments. Again, the founder of Sandfall Interactive looks to make business from the start, and that’s something very few people do.

And then there is the luck: they post on Reddit and other platforms to manage to find artists and voice over actors to sell better the idea (again, sell sell sell). And they have the luck to find the right people at the right time. After many pitches that went wrong, they found their way. And then everybody knows how the story ended, big success.

To conclude today’s post, let’s talk about hope, which is the true fun part of making games (or better, making everything in general). Everybody dreams of getting prizes, but the real fun is in MAKING games, especially for us designers and developers. It’s a struggle, includes lots of highs and lows, and also financial difficulties often. But we still do it because of our passion and talent. That’s exactly the important part, not the outcome. The fact of being together with other people and creating something we believe will be awesome, that’s what we truly strive for. The outcome is a little miracle, and great to have it, but it’s not the important part.

Fake ads consequences

I read the post from performance marketing expert Matej Lancaric on “fake ads”. With data, he demonstrated that big spenders do not care about fake ads, and they help to lower CPI (cost per install) for mobile games. Fake ads are regulated in other industries, not in mobile games.

From 200 real payers (including whales):

75% uninstall instantly when the game doesn’t match the ad

40% leave negative reviews

27% ask for refunds

But 17% of paying users STILL stay… and STILL spend

And here’s the uncomfortable part nobody wants to admit:

Those 17% often represent 60–80% of total revenue in 4X, SLG, and Casino.

Whales don’t care about fake ads.
Whales care about depth, progression, and competition.
And if fake ads drop your CPI from $60 → $15, the math wins. Every time.

The point here is that we, game creators, rely on algorithms to distribute our games nowadays. Speaking simply, a computer program decides on the visibility of our creations. We need to make good games but also think about how to trick the machine in order to make our craft arrive to the people. In the case of free-to-play the thing is worse because we need huge volume of people to find our real clients who are big spenders (described as “whales”, a term that comes from casinos).

The post doesn’t clarify WHY big spenders don’t care and fake ads spread rapidly. Also, it doesn’t explain what happens when people are exposed over a long period of time to fake ads. But we can make hypotheses:

  1. Whales are often addicted to gaming, so anything that stimulates their dopamine system is OK.
  2. Algorithms prefer easy to get, average, exciting moments.
  3. On the long term, brands corrode because of continuous exposition to fake ads.

I am still worried about those 75% of people who uninstall instantly. I mean, we are still paying for those people to install in first place. What if, instead of making fake stuff we make simple onboardings and put those into our fake ads? Maybe the conversion would be better and we could find more players.

Pragmata first impressions

While I am preparing my classes for this week, I have played the demo of Pragmata the new game by Capcom presented at The Game Awards. In Pragmata, you control a gunner with a little girl on his shoulder and you need to arrive from point A to point B solving spatial puzzles and destroying robots. To do that, you control the man to shoot at enemies and the little girl is a cyborg, capable of hacking the robots’ systems.

While you aim and shoot, then, you also have to move a cursor on a grid and solve simple puzzles. During the exploration you can find extra tiles for the grid that give you benefits (on damage, basically) and extra weapons for the man.

Pragmata is a game designed for people like me, 35+ year old, mostly male, who may or may not have children. The movement speed, the weapons feeling and the general pace reminds a lot of classic 2000s games, like Gears of War. The use of robots is savvy, because they are pretty slow compared with aliens for instance, so you have time to think in both the shooting and the puzzle. Capcom promises to publish a cool game, I am sold.

Feelings for 2026

My feeling is that 2026 will be the year of people with the courage of creating new worlds and putting them out. We have not only tutorials, but plenty or resources to visualize and realize our dreams. To make them playable from people from all over the world. My feeling is that independent creators will benefit the most from recent technological advancements.

Of course, there are many factors that can influence the course of events so don’t take it as a prediction. I loved The Game Awards, I watched it with emotion, including some tears of joy and nostalgia. And the desire of helping build something memorable.

My takes on The Game Awards

Today my post came later because I wanted to watch the whole show of The Game Awards, so I took my time. I loved the show, in my opinion it is getting better and better. I liked it better than last year, because I found the new teasers less like a Tool video and with more hope.

The first take is that it is a great time for independent developers. The creative director of Sandfall told that he is thankful for youtubers for putting out tutorials because he had no idea on how to make a game. And the game he made with the team was the most appreciated in the history of TGA, so yeah… I guess it’s easier to make games nowadays. The important part is the creativity, now more than ever. And I believe that now it’s a moment where we can, and should, risk a little bit more in that sense. Avoid repeating formulas, find new recipes. Now the tech permit beat everybody else with less than $10M.

Another trend I am noticing is that horror and monsters is casualizing. Monsters are getting cool, I saw zombies dressed like rappers and cool things like that. Sci-fi, instead, is animalizing always more, with bears and dogs in tech armor. These are two new trends that have been started years ago (in my opinion, from Twilight and Guardians of the Galaxy, respectively) but that now are exploding.

During my view of the show there were tears in my eye. First reason is because the show is fantastic if you love videogames. There is music and stunning visuals, incredible people coming on the show. There is everything I love. But I cried also for a little bit of nostalgia/sadness: it’s because it’s very hard to participate into something like the games presented there. Most of the work in games is on very poor experiences, so I feel that maybe I am losing my time. Maybe I do need to really care about my own world, things I want to put out there, and leave the chase of the next client. I have to think about that.

Steam Sale Games in Italy

The fifth edition of the Steam Sale Games in Italy is underway, the initiative dedicated to Made in Italy video games powered by IIDEA!


From today until Tuesday, December 9th at 7:00 PM, discover over 400 Italian titles, including video games, DLC, and additional content: a vast selection that celebrates the creativity of our studios and offers numerous special offers on productions of all genres.

Common ground beliefs

Marketing works better if the marketer believes in the product. Game design can help with this, if the company allows the communication between designers and marketers.

Sometimes, though, we are working on a game we don’t really believe in. We are there just for the job, someone above makes all the calls and we do not see any value behind the strategy. It happens, more than it should actually.

Everything gets more complicated from there, so one of our duties in this case is to find common ground and push to focus the efforts on that. Because only that may become unique, in the end.