Let's talk today about the word and concept "fun" in terms of development.

I have a pretty sharp opinion on this: It's a word and concept you shouldn't use as a designer.

Of course we want players to *find* a game fun, but as devs, it's too vague and subjective to use
To go further, I don't think it's merely useless, it's *dangerous* as a term in design.

Seems silly, maybe; especially when design does have a measure of subjectivity inherent to the craft. But fun, and arguments around it, at best bury real issues.

More often, it's a weapon
Beware the phrase "well, that's not fun" in terms of a design discussion. This weaponization has caused the biggest fallouts I've seen.

A way of taking one individual's taste and preferences and applying it as a rubric is misguided at best, or toxic at worst.
Even if we have the same personal preference, which is rare, we still can't use it to help literally anyone else build features together, provide feedback, or see how the game gets better.

It gets into some naval-gazing territory quickly "Like, what IS fun, man?!"
This is a lot of why (most) good design is goal-oriented. "Fun" isn't helpful, but we can at least get more specific, layer-by-layer.

So maybe "fun" is "engaging combat". OK, still not good, but closer. Let's keep the drill running.
Engaging combat exists in a lot of games; but even looking at DotA2 and LoL, two games in the same genre, they'd have different definitions of engaging combat.

Reverse engineering that can be a good exercise for you too :)

Remember, no judgments like "good" or "bad". Analyze.
Let's say we want engaging combat to be feel precise, consequential, and strategic.

OK, we're warming up. We have things we want to have the player *feel* and *experience*. But there's further to go down, still.
You need to take the time to define those terms. When you wanted the player to feel those, what does that mean? How far are we going? How does it apply to the overall goals?

This is where we start actually defining what the fun of our work is.
This is where we get specific. Maybe "consequential" means we want death to matter a lot. Maybe it means we want resources to be very scarce. That probably depends on if we're:

VALORANT (the former)

Resident Evil 2 (the latter)

Just two examples ofc
Now these feelings will generate lists of goals. You might have had some of these in your head before you started, but often you'll shed some and pick up some new ones. If not, be suspicious.

It also lets you iterate and get feedback so, so much better.
Let's look at a real feedback loop in VALORANT.

"I died in one hit, that is NOT fun."

True. For that tester, they didn't have a good time. We can't debate how they feel, nor should we.

What we should do is take their feelings, understand them, and translate that towards goals.
We want to know more about that (often the frustration has lessons for us) but we also can look at:

Is this making combat feel consequential?

Did it feel they "earned" it through play?

Did you have an idea of what you could do better next round?
These are a sample of what we chose for VALORANT, a game a lot of folks find fun, but is littered with "unfun moments."

And that's the biggest danger; most good games have a lot of individual parts that aren't "fun." And ones that don't tend to be pretty Blaise.
If you're not careful, senior folks unattached to the audience or product will CLUB you with this. It's why as the designer, you *need* to define fun first - for your own goal setting and work, but also as protection.

If they agreed with the goals, you have backing.
These unfun moments do not make a bad game. I think Dark Souls, cliché as the reference may be, is a really great game that is a mountain of unfun moments.

But the fun is in overcoming the frustration. They could set their sights, and go boldly.
With this in mind, work to remove fun from your professional lexicon. And when you do use it, always elaborate: "Yeah I didn't find that level fun, BECAUSE..." - that's still good stuff.

Good design isn't based on taste and whim. It's both defined and malleable. But always clear

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More from @MorelloNMST

21 Jul
Constraints are a constant in design, and while they can sound like a bad thing, I'd suggest that I think they're not just inevitable, but beneficial to a strong, focused game design.

We don't talk about this a lot, so let's dive in a bit.
To clarify, constraints are factors that put pressure, requirements or challenges on the design that aren't just the design itself.

Each game has its own, unique constraints. While we can't prepare for everything until we hit it, let's categorize a few places they come from:
* Technical.

A few examples would be the memory budget, how many characters can be "active" at once, database space for inventory items, rig bone counts, or AI behaviors.

(AI is generally really expensive on performance).
Read 20 tweets
20 Jul
I wanted to talk about a unique part of game dev: access to developers, and the expectation therein.

Fandoms, and particularly game, have an insane relationship to this - something not really in other industries.

Some tips, also, from someone who's been in the public eye a lot.
This might be a tempting topic to oversimplify, but as with nearly everything in game dev, it's nuanced.

Often I think the problems with this subject come from extreme takes on some very understandable issues, so hopefully this will color a more complete picture.
People who play video games get *very invested* - moreso than most other entertainment forms. There's a deeper passion, connection and meaning for people who play video games.

The experiences matter to us. That's part of the magic after all.
Read 25 tweets
11 Jul
Let's discuss game design education and post-graduate programs. I have a bit of a dour take, but I hope it can be useful - and maybe we can even find the silver linings.

It's something I've spent potentially too much time thinking about.
While I have not experienced these classes first hand, I have been a hiring manager for about 10 years. I've had the opportunity to review a *lot* of candidates, resumes, and conduct a lot of interviews.

My experience is from an "I want to find good junior designers" POV
I'll start with generalizations, then we'll move onto exceptions, and then potential things you can do if you find yourself in a bad spot with this.

I don't think there are any blistering-hot takes in here - this isn't an uncommon convo - but I want to make sure new folks see it
Read 31 tweets
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
8 Jul
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!"
Read 21 tweets

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