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!"
Also these are broad generalizations; I've seen a lot of mixes, but generally you want all these perspectives on a team.

It's pretty cool how the backgrounds of people might mismatch their phenotype here - it creates some interesting team dynamics!
* The Enthusiast.

This person is all in. They love the game, its potential, and what it stands for.

These are your die-hard players who have clocked 100s or 1000s of hours into the game or genre, or have read all the wiki lore, or put some of their identity in the game.
The enthusiast is essential for representing this same group of players, and understanding the minute nuances at work. They know what's special, and will work to foster and protect that.

Often, these devs come from player-based backgrounds, like modding, fan-fic or comp play.
ENTHUSAIST PROS:

* Excellent hardcore-player conduit
* Has unique insight into the game's trends (meta, fan favs, etc.)
* Great grasp of player expectations
* Can test the limits of design in internal tests
ENTHUSAIST CONS:

* Weaker at seeing new possibilities beyond how the game is played right this second
* Risk-adverse and incremental
* Can miss opportunities that serves non-hardcore audiences
* More susceptible to hardcore player demands - even if they're not the right thing.
I don't think you want a team without enthusiasts on it, but I think a common misconception is the *whole* team should be. I think that's wrong.

Enthusiasts are your stabilizing force. They help the rest of the team not get too damn crazy or lose the good things in the game.
* The Idealist

Idealists are a weird mix of skeptic and optimist. They see problems rife with the design space, but *if we could only solve those* - this would be awesome!

Like enthusiasts, they are well-versed in the space, but think it could be *so much better* than it is.
Idealists love the potential of it, but tend to be frustrated or tired of current offerings.

Their experience in the space is primarily a laundry list of improvements that all have some degree of risk. After all, if something could be better, we can't be too precious...
IDEALIST PROS:

* Suspicious of genre conventions that could hold things back
* Sees exciting possibilities everywhere
* Can push the space beyond where it's been before
* Good at ignoring "whats" and focusing on the whys behind them
IDEALIST CONS:

* Risks shocking player expectations too much
* Fiddling too much with too many things; sometimes "it's actually fine"
* Jackhammers when you should chisel
* Possibility focus can be exhausting for others
Idealists are critical to make sure your game isn't a rehash; it's true that sometimes what people want isn't defined yet because it's never been done.

They also have the familiarity to see the beauty in the mess - they just don't always realize the mess is part of the beauty.
* The Exhibitor

The exhibitor is fired up about *how cool things are*. They can't wait to see the player interact with something and have a reaction to them. They live for the triumph of the pentakill or the shriek of a perfectly-timed jump scare.

Their passion is in the work
Anyone can be an exhibitor, but often this type is about the interactive moments in games that create powerful reactions.

I've found often this type is less engaged with the core genre, but are master craftspeople. They excel at "feel" - shooting for high quality experiences.
EXHIBITOR PROS:

* See things through the players eye's in the here-and-now
* Advocates for the creative and "cool" stuff that can get washed away in rigor
* Focuses on the smallest details and gets them right
* Deep creative imagination
EXHIBITOR CONS:

* Tends to buck constraints and rules on the player
* Scope nightmares
* Hyper focus on individual moments
* Poorer "squint" - it's harder to see it until it is cool.
Exhibitors are more common in studios that work in console, AAA or action titles - which makes sense as more of the experience is on that there - but they are crucial to any team.

All games need to be "cool" to some degree. Exhibitors won't let you forget that!
Who you are can change by game, too. You might be an exhibitor on one game and an enthusiast on another! Context matters, as does the team you're on.
There are many more types than this, but I thought it'd be fun to share some of the types of passion I've seen in design (and in dev!).

I'd be interested to hear about types you see not shared here, and what type you might be!

I'm an Idealist when I was on LoL and VALORANT.

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More from @MorelloNMST

10 Jul
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.

This is more a long term thing to think about.

Let's go;
Read 24 tweets
9 Jul
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.
Read 22 tweets
7 Jul
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.
Read 17 tweets
5 Jul
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.
Read 14 tweets
4 Jul
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.
Read 18 tweets
3 Jul
Tonight, let’s discuss goal-oriented design.

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
Read 15 tweets

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