A misconception of design I see pretty often is that it’s this ultra-creative field where ideas, inspirations, or taste are what makes a designer create great things.
This is in there, but it’s nothing without goals.
Goals are the primary North Star of a design. Whether it’s as something as big as the entire game or something as focused as a balance item on a patch, goals help us determine if our design is on the right track.
It helps us use something other than taste and preference.
I think one of the most important steps to do is set good goals. Good goals can look like the ones you might set in life! But to be specific;
* An outcome you want to see
* Some thing you could measure it against
* Criteria for it being complete
These goals though can be quite broad. They can be about a player’s self reported experience, or some quantifiable measure in the game. It could be about the game product being more cohesive.
It could be a lot of things! But it’s critical to define it and share it.
Let’s take a couple examples.
You want to nerf a character with a high win rate. That might seem like a goal in and of itself, but it’s not - a high win rate character is a potential problem statement.
Without a goal, how you want to do it and what you aim to achieve are lost.
Some things might seem like obvious goals, but are not;
“Get this characters win rate to 50%”
“Make the game less frustrating to play”
“Ensure the game is balanced.”
These aren’t goals, but they might be components in them. Good goals talk about the impact of the effort.
Some better potential goals are;
“More competitive team comp variety”
“Players feel their character choices matter more”
“Reduce oppressive play that the enemy has to face.”
There’s a trick here, though; all these things assume these are things you care to achieve.
Much of the goal setting around individual design elements have to inherit from goals about the wider game.
If we don’t care about comp play variety, improving it is not useful.
Let’s take that problem and apply it to a gatcha RPG with PvP;
Competitive variety is likely a less important goal in a game like that than “protect players’ investment” is. That goal could indeed undermine the one for this game.
This is why design is rarely a simple fix even here; each goal deprioritizes others!
So when setting good goals, one of the lost important bits is to understand the overall goals and priorities, and hook into them.
Great goals for an individual piece that don’t fit well into the overall product are actually dangerous. IMO much of early lol suffered from this
Let’s take a look at our example, again. We can use a competitive pvp game here.
We see our character with a high win rate. The first question should be “Do we want to nerf them?” not how will we.
50% win rate is not a goal in and of itself. What outcomes do we want?
Why is the most important part of design. Assuming things unstated as a given, or making assumptions that a thing is good or bad without a rich understanding of why is almost always a mistake.
It’s one of the biggest errors amateur and news designers make.
Asking why is not an internal process, either. You share those goals, socialize them and get feedback. By doing so, you get new perspectives and explore “why” more fully.
Strong opinions are fine here, but willful ignorance is not.
That’s a later thread, though...
Goals get you started, and help you be focused on making sure you k ow why you even want to do what you’re doing.
Understanding why is a lot of work, and you always are learning more about why. Never feel you understand it all the way, or truth is likely that you don’t.
Tomorrow we’ll discuss the loop of design, and now that we have goals, we can move into the next step; form a solution.
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Today, let's talk about design "subclasses" - that is, what sort of type of skills outside of game design responsibilities do you want to pursue?
A lot of designers have a subclass or two, making the shape of an individual designer sort of unique!
It's another reason design is harder to "grok" what it exactly is - there's so much variance. That's not a bad thing, though!
It speaks to what roles are more or less attractive, and what unique skills you can offer your team.
These should be defined by interest and background, I think. As a new designer, these can be nice to leverage for being more qualified or useful, but you'll still be very focused on getting the designer part right.
Let's talk about being "well-played" in design. That is, having a rich background of gameplay experiences.
This is a critical qualification of all Game Designers, in my mind, but there are(as usual!) a lot of misconceptions around what it is, what it means, and why it matters.
First, let's define what it is (to me):
Being well-played is about having not just a lot of experience in playing games, but looking at those games analytically, too.
Now, a lot of people meet this qualification, which leads me to the first misconception.
* Well-played is required, but it is not sufficient.
This misconception comes from a lot of armchair designers, and usually ones who are, uhm, let's say not always generously-minded.
It's important to have a wealth of experience, but it doesn't make you a designer.
Let's do something more upbeat tonight; I want to talk about passion in game design a bit.
I tend to spend a lot of time with more buzzkill-style topics (in a bit of an effort to take the glamor out of design), but passion does matter and play a role!
I've mentioned before that your engagement in a title doesn't equate to skill and ability, and that a healthy distance from that can help you have a clearer head. This is true, but (as most things) it's nuanced.
Just as job functions have different roles, so do types of passion.
When building a design team, I think about these aspects - in how they offer different, important perspectives. While my experience is primarily in "enthusiast" type games, I think it's abstract enough to apply anywhere.
Here are 3 buckets of passion (..?) with "stat-sheets!"
Let's talk about a subject near and dear to my heart; the *emotional skills* of game design.
We talk a lot about psychology, and the nuts and bolts of "engagement" - but we don't often talk about how emotional awareness and skills are critical to being a great designer.
(Also tbh the design process from execution forward is interesting in practice, but I kept writing boring things that didn't feel super useful beyond what we've discussed already.
If there's a huge demand, I'll come back to breaking those down.)
OK, on to it.
I've seen a lot of designers, usually implicitly, think that being the biggest brain or the "most right" are what we really need in design.
You do want to hone your analytical skills, sure, but without the emotional ones, you'll find yourself having a really tough time.
Today’s post is a break from the individual steps, and defining the process I see in design.
1. Set goals 2. Form solutions 3. Execute 4. Evaluate outcome 5. Iterate
We’ve covered steps 1 and 2 in our earlier posts. Let’s talk about the overall process a bit more.
The process is there is similar to a lot of creative efforts, like writing, performance or art.
My goal with these posts is to demystify design. All creative efforts seem like dark magic externally, but design is a learnable, teachable craft all its own.
With so much potential fuzziness and subjectivity involved, even the most hardened professionals need some structure and order to their efforts to keep on track.
I’d say not using a structured process as a designer is irresponsible in a professional setting.
Following up from yesterday’s goal post, let’s discuss the next step - forming a solution.
Problem solving is the root of design craft. While our goals guide us, how we achieve those goals often determines success or failure.
This has a few steps you’ll want to cover;
* Brainstorm possibilities
* Narrow options
* Select one
How you do this is not rigid, but that you do it is critical.
Brainstorming is where you can go sort of big. Your job is to generate as many ideas for the approach as you can.
Be imaginative! This is a great place to be a bit wilder, or more outside-the box thinking. The earlier in a process, the less risk-adverse you should be.