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Tag: professional

In love with SSSnaker

Published by Paolo on 11/04/2023

This game is trending in recent weeks.

As a game designer, I always prefer to start with the basics.

The real strength of the core of this game in my opinion is that narratively it is very weird.

I know that everything comes from Archero and games of this style. But, gamers very often do not know the history of video games.

Many people who will engage with this game, in short, will not know other previous successes of the same kind.

What the heck is a constantly firing mechanical snake doing in a maze? At first glance, it doesn’t make sense.

However, the numbers speak for themselves, which is why I wonder what fantasy it awakens in the players.

The MDA framework comes to help:
– Sensation: the game as sense-pleasure
– Challenge: game as an obstacle course
– Submission: game as a pastime

Those are the three essential keys to the beauty of this game for me. Everything else, therefore, may not even make sense! Plus, it may become a strength. Because it leaves the Players with the fantastic autonomy of imagination.

Think of the first Super Mario: it didn’t make any sense at all, because the goal at the time was not that. Nintendo was building on the pleasure of handling a gamepad and owning a console set for your home TV.

The rest was left to the player’s imagination. To some of us that shaped us, forever.

I like Sssnaker too much! The metagame is average and mediocre, though. Always the same. I know that works but how long will it last?

Looking for the smallest viable audience

Published by Paolo on 11/04/2023

The content of this article is also completely valid for video games.

It all starts with a market vision. We run audience research and it turns out that players want something familiar. Thus begins the data-driven development.

But, people cannot want what they don’t imagine. Some braver developers choose to experiment with daring creativity. These creatives are used to feed algorithms that try to optimize the cost of acquiring a player. We look for mass, awareness.

The necessary tension for cultural changes is not created.

What if instead, we look for the smallest viable audience? The smallest possible group capable of supporting the business. Understanding their dreams, their worldviews, and their energy.

We could discover a much larger group than we expect.

Perhaps these people would tell others.

Our game wouldn’t be so average.

Generative AI and game design

Published by Paolo on 11/04/2023

Generative AIs seem to be a great help for:

Deal with repetitive and mechanical tasks.
– Find bugs
– balance numbers
– create variations of a graphic asset, etc.

Speed up the process of understanding.
– Explain to me what this code does
– Read this long article and give me the best practices
-Explain the style of this image.

Getting past the blank page fast.
– I need to prototype this mechanic in Unity. Where do I start?
– I need to create a power-up system based on natural elements for the next RPG. How would that work?
– I need to make 3D models of a robot cricket, what could it look like?

On these three points, we are definitely facing an epochal change. There is no going back, rather it will move forward. We will lose specific jobs, but many others will arise. We can hardly imagine at this moment, but it will happen.

One thing I want to say: generative AIs have no taste and no opinions. We must have tastes and opinions. The idea of entrusting artificial intelligence with the responsibility of choosing and evaluating is fundamentally wrong. We can use artificial intelligence to understand more. But we have to develop our taste and our knowledge.

If I’m not a programmer, the AI could pass me code with serious errors and I wouldn’t notice.

If I’m not an artist, AI-generated images may be acceptable to my speed-hungry eyes. But I’ll have a hard time guessing what I’m really conveying to people.

If I’m not a designer, the solutions generated will be a repetition of things people have already seen in games that are certainly better than what I can do.

Looking for a better design test

Published by Paolo on 21/02/2023

A test is very often included in the selection processes for game designers. For junior profiles, without many portfolios, I find this an interesting thing. For the more senior, it is a difficult filter to check. I don’t know if I’m against or for it, honestly.

There are things good and bad in tests

In my opinion, a plus point is that they can reveal the writing skills of a game designer. It’s a key point, especially in these times when work is at least partly remote. It’s important to know how designers express themselves and how much they can be engaging with their writing.

A test also shows the reasoning ability of the designer. The problem is that it is difficult to read the reasons behind certain thoughts with the written medium. Without offering the designers the opportunity to defend their work, we will probably tend to prefer someone who thinks like us.

One thing that has always annoyed me is that there is a lot of work before the test which very often is not considered. You send me a competitor’s game and tell me that I can propose a feature and that I have a week to do it. If I’ve never played this game, studying it well will take me about a week off if I have to work simultaneously. All unpaid work, will not be used by the company. Wasted time for everyone.

But then how to do it?

Avoiding the test completely seems to be a dream. Some companies are gradually replacing it with other practices, though. If it were up to me, I would do the following:

  • Congratulations, you working with us on this project! It’s been 3 years, write a letter to your manager explaining everything you have achieved. You need to imagine yourself in this position 3 years from now. Explain in detail the steps that led you to your dream result.
  • Play game X, try to break it down, and think about what could be improved and for which KPI. Tell us when you’re ready and come to the office to discuss it with your future manager.

Maybe I’m a dreamer and this is not a process for all types of companies. But I am convinced that:

  1. You can get higher-quality information this way
  2. The traditional way is really difficult to evaluate because it depends a lot on who reads the test.

Thank you, bad managers

Published by Paolo on 20/02/2023

This weekend I was sorting out some old notes and papers. I’m one of those game designers who print documents and read them aloud. I don’t know the science behind it, but it’s a method that works for me to find redaction issues in design documents.

Like many, I have participated in countless projects that have failed. There is one common problem in my case: bad leaders. However, I feel like I’ve learned a lot. Working on a game that is later canceled or unreleased is an experience that contains a little death. Especially for creative people, those who would have done it another way. People who are constantly learning about best practices. Who would actually like to put those practices into action. People who have to adapt to a direction that too often has nothing creative about it.

You enter a vicious circle, where you get stressed. Putting the documents in order, I realize that the journey counts for a lot anyway. I hope to get better final results in the next 10 years, but I believe that even working on a hopeless project is a great opportunity. I feel I have to thank all those who have granted it to me and believed in me.

Curiosity and power

Published by Paolo on 17/02/2023

I bounced on this post by a famous French publisher. It is focused on curiosity which is a strong motivational driver:

The point of this post is that Players will be more willing to watch an ad for the reasons at the bottom than for those at the top. Adding a different visual look for the reward after the video ad is enough to give the Players curiosity. Improving the stats (top line), instead, has probably fewer chances to convert a Player because it is giving power. I have two questions here:

  1. What happens when the Players understand that all vehicles are skins (and they will)?
  2. What happens when the Players understand that more speed means higher challenge?

Intuitively, it depends a lot on the gameplay you have and your economy base. For a single player endless runner having a new vehicle can be cool, while improving your speed can cause some extra challenge you maybe don’t want. But in a multiplayer RPG game having 50% more speed of course is a huge improvement.

Trying to evaluate a game in terms of skill, luck and stats is the first step to design a good economy (thanks D. for reminding me that, the other day).

  • A game offers a fantasy to the Players
  • On top of that fantasy, Players may perform a set of actions
  • Those actions should be oriented toward goals
  • In order to reach the goals, the Players have to engage with mechanics
  • Mechanics are based on those three elements: skill, luck and stats
  • Based on that, you can design the game’s economy properly
  • On top of that, rewarded videos can offer meaningful value to the economy
  • On the short term, playing with curiosity is a great idea
  • For the long term, instead, Players that stay more will need more prestige inside of the game!

On experience

Published by Paolo on 15/02/2023

A few days ago I posted an ode to determination and willpower that triggered a number of interesting reactions. Best of all, I had interesting discussions around the topic of professional experience. Two things happened:

  • A claim made by me that says “Willpower eats experience for breakfast” gave rise to bad interpretations.
  • A reading from a skeptical perspective by some dear friends in the industry distorted a bit the message.

Someone interpreted that I underestimate experience. Someone read that I said that willpower is everything and that you don’t need the experience to make great games. That is not the case. What I wanted to say was that we should never underestimate willpower, because willpower is a strong force that often led to creating great franchises. Of course, professional experience is key. But if you have the experience and no willpower, you will probably create a clone, a repetition of something you don’t like. I made a concrete example from the city where I live, Barcelona. A lot of big companies landed here and I know they tried to create new games. And nothing happened. They have the best talent in the World, but probably not enough willpower to make great things. That was my point.

Experience is the real quality needed for a better industry. Our industry will be better if we’ll include more people in it and make more games out of the true experience.

Professional experience is something that:

  • You wish you had when you look for your first job.
  • You are building, when you practice your job
  • You possess, when you have invested a lot of time doing your work.

The discussion will be geared toward game designers, but perhaps some concepts can be extended to other profiles.

When you want to have experience

A lot of people get to finish their studies and find themselves faced with a mountain to climb. We wish we had a job, but we find ourselves rejected for lack of experience. We seem to be in a vicious circle: I don’t have a job because I don’t have experience because I don’t have a job because…

How to get out of the circle? Well for me there are a few points to consider:

Do you have enough willpower to want to be a game designer?

In this case, you simply have to be a game designer. Sleep at least 8 hours a day, wake up rested, and think about what to do. Every single day work on a project, it can also be a personal project. When you have something finished, you have to make ordinary people try it. You will never learn real game design from game jams. Because in game jams there is the most important part missing: the player. You must be present at the session and record everything. Jot down what you have learned and iterate at least once. After iterating, publish everything on itch.io, for example. Put your work out!

Do you need a job for economic reasons?

Look for a job even if it is not in game design. The richest people I know started out doing jobs they didn’t like! Maybe you discover something else, what do you know?

When you’re getting experience

When you are getting the experience you will be junior, mid, or senior. Depending on your level of experience, you will have different challenges ahead of you.

When you are a junior your goal is to bring out that special something that made the miracle of getting a job to happen. Remember that you are not there solely because of your talent. You are there because of a number of issues that you do not control. The best way to repay this grace is to truly express yourself.

Recognize that you have been fortunate and start giving support to more experienced people. Learn from them by helping them. If you have an opinion, express it. If you have a contradiction, keep it to yourself. If your superior seems to know less than you do, that’s okay-it’s normal. It may depend on your inexperience or it may be true. Sacrifice yourself and do your job.

When you are mid, your challenge is to learn to be disciplined. In fact, very often being a mid means feeling like a senior who hasn’t made it yet. You are not a senior, you are mid! Fall in line, young man! Do your homework, participate in interesting discussions respectfully, and above all: study!

When you get home, don’t stand in front of the PlayStation streaming with friends who want followers. You are not a gamer, you are a game designer. You need to devour any book, podcast or YouTube video you can find. You need to start structuring your own method, your own special sauce! Don’t worry about Internet coaches talking about “work-life balance.” Your work is part of your life, and in your life there is work. Become the best you can be, instead. The balance will come later, after the right effort. You are here to build something great.

When you are a senior, you don’t need to be told what to do. If you have done well on your path, you will have your own more or less formalized method. You need to understand the business behind the project and give up your prejudices in the name of growth. Your manager will help you grow. You have to learn from this person. If you feel you have nothing to learn, dedicate yourself to the project. And if the project is going nowhere, move on: you are not a tree!

Don’t forget to expand your network of people a lot. I know you work long hours, so use your free time to get out and meet as many people as possible. If you can join a local community all the better. If you can teach somewhere I assure you it is a wonderful experience.

When you have experience

When you have a lot of experience you might even find yourself unemployed. We’re seeing that these days across the whole technology sector.

Many people will be looking for work, and your time will come to find it. Don’t lose sight of your mental and physical health and keep pressing on. You have always made it, and you will make it!

If, on the other hand, you are considering going it alone, I am an advisor and I suggest you give it a try. Unless you have a big business vision, don’t become an entrepreneur: become a freelancer. Remember the big difference:

  • Freelancers are like employees: they earn when they work.
  • Entrepreneurs, on the other hand, earn when they sleep! They earn from what they have built. And it’s hard to be on that side if you have never been.

And that’s it! 🙂

Pay-to-win is a necessary evil

Published by Paolo on 14/02/2023

Many developers working in the free-to-play arena declare themselves against pay-to-win. Pay-to-win is a series of flows geared toward getting players to pay for free games by tapping into their competitive motivations.

  • Are you stuck on a level? Buy a set of boosters.
  • Did you almost make it? Pay for extra movement.
  • Want to advance faster? With these gems, you can skip the waiting times.
  • Need to level up your characters? Buy card packs.

If we analyze the top-grossing rankings, we realize that in the top positions, there are only games that have these pay-to-win dynamics. This leads me to think that to create a service that is sustainable, it is inevitable to think in pay-to-win dynamics.

Instead of being against and working against the success of a service, it would be good to understand that many people find a sense of satisfaction in overcoming frustration. And capitalizing on this, in the context of the game, is an almost unbeatable way of generating profits.

Design and marketing chats

Published by Paolo on 10/02/2023

Yesterday I was at a conference dedicated to digital marketing for video games and apps. I met old friends and met new people.

I have noticed a specific trend at these events. When I talk to someone who works in marketing, the conversation usually veers a lot toward game design. Marketers in general want to know more.

When I meet a fellow designer, instead, the conversation turns more to the market and the challenges it faces.

Singular, but that’s how it is. It’s often easier to talk about your profession to someone who does something else.

Review of the book “The Secret Science of Games”

Published by Paolo on 09/02/2023

I finished reading the book “The Secret Science of Games” written by John Hopson. There are very few books written by people with extensive experience and for me, they are a real treasure. The book focuses on Games Research, a discipline that deals with connecting game designers with players.

the book is live here

What I liked

John has worked on hugely successful titles such as Destiny, Halo, Fable, etc. You can feel his experience in his thought which have a clear point of view. Reading the book you understand the importance of seeing real people play your games.

Particularly interesting reflections on the importance of being quick and frugal at times to be effective. It is not always necessary to wait for a complete report. Game research is perceived as something slow and precise, but John points out that it is not science. That game design still has a creative and artistic side that depends on personal sensibilities that go beyond numbers and hypotheses.

The length of the chapters is perfect. With a coffee, you can read yourself a complete chapter. This means that in breaks from work, I read everything. The length of the book, at around 200 pages, also makes it a booklet that you want to have on your desk.

Finally, the final section on case studies is very passionate and candid. We realize the challenges of our profession and how we must never underestimate that silent part of our players. Very often we refer to online reviews and opinions, but those who communicate there are usually a specific type of player who does not represent the entire community. All are very well specified in the book.

What I’ve missed

I am quite a visual person. People in such a demanding profession as John usually don’t have all the time in the world to write a book. The result is that the book is made up of many words and no images. I missed images and diagrams in certain passages, to better understand the decisions made following discoveries in the laboratory. I would have also liked to see organizational charts to understand how to structure a team.

Another thing I would have liked to see is tips on how to do game research when you’re not Bungie or Microsoft. When you’re part of a small, independent team. When you are trying to create something well done to attract investors. I’m sure game research can be done at that stage, and you must. Game research and quality assurance are very often sacrificed, and this affects the final quality of the product.

Three quotes that I loved

“Games research lives somewhere in between scientific rigor and creative disorder”

pag. 37

“If I can’t find a quote or a snippet of video to support a statistic, I’m probably looking at the wrong statistic.”

pag- 104

“A good tutorial or hint system is one that guides the player as completely as they need, while offering them the opportunity to turn away from the path”

pag- 187