Professional Documents
Culture Documents
Part 3 - The Designers Role
Part 3 - The Designers Role
Part 3 - The Designers Role
"Leaders take teams on a journey of continuous
improvement, but leaders are also on a journey of
ongoing personal and professional development. No one
is simply born knowing how to lead."
Dean Tjosvold
This chapter helps clearly define what a game designer is
and does. It also helps you define what it means to be a
designer for your specific project.
So what, really, does a game designer do? Well, obviously, a
game designer designs games. You might laugh at how simple
and obvious this sounds, but it's the only description
you'll probably get everyone to agree on. The truth is, the
actual role of a game designer is a mystery to most people
and varies from company to company. This often poses a
problem for designers because it's hard to work with other
professionals who don't understand what you're supposed to
be doing and how they're supposed to support youand also how
you're supposed to support them.
On every project you work on and in every company you work
for, it's very important to get your entire team to agree on
your project role and responsibilities. Doing so is a
challenge at a lot of companies because it isn't always
clear who is responsible for each aspect of the product
design. Design hasn't been clearly defined at a lot of
companies, so you will find that different companies have
different ideas of how it should be done, who should be
doing it, and what each person's responsibilities should be.
This book generally assumes that a game designer has
responsibility for the entire game design of the project.
This might not be the case, though. You might inherit a
design and must try to make the best of someone else's
notions, or you might simply be in a subordinate design
role.
In any case, the design tasks outlined in this book need to
be accomplished during the project. If your role does not
allow you to perform these tasks yourself, you should do
your best to make sure that someone on your team is doing
them.
The best way to clarify roles and responsibilities is to
write a concise but detailed project role description.
You'll look at an example after first exploring what's
generally involved in game design and design in general.
What Is a Designer?
"The union of the mathematician with the poet, fervor
and measure, passion with correctness, this surely is
the ideal."
William James
What do you think of when you think of design? The more you
can understand about other fields of design, the more you
can understand game design. In its simplest form, designers
are people who use their imagination to create a new product
that someone will use. Many fields of design exist:
industrial, architectural, graphic, environmental, software,
and many more. Each of these fields has a lot of
similarities to game design.
Design is a communicative art directed toward planning and
shaping human experiences. The task of the designer is to
conceive, plan, and construct artifacts that are appropriate
to human situations, drawing knowledge and ideas from all
the arts and sciences.
"Design is the conscious effort to impose meaningful
order."
Victor Papanek
Game design is still an art form that is coming into its
own. Even though games have been made for many years, the
game industry and gamedesign process are just starting to
mature. Believe it or not, the idea of having a game
designer on a project is fairly new for many game companies.
Producers, artists, and programmers still today often play
dual roles as designers. To date, very little study of game
design exists. Only recently have a few schools begun to
teach video game design. Although the field is new, it's
clear that certain skills are consistently required to be a
great game designer.
Game design is a lot like building architecture. An
architect needs technical skills to create a building. He
knows that each building needs a foundation and must adhere
to a certain set of rules, or the building will collapse.
However, the technical elements must be balanced by an
aesthetic and artful design that makes the building
interesting and beautiful. This need to make the building
look good is also in constant conflict with its need to be
efficient, well laid out, and properly constructed. Video
game design contains this same conflict. Artistic design
must balance with technical needs and usability. The job of
the game designer is to find and keep this balance;
otherwise, the game will likely "collapse."
Game design requires a wide variety of skills that are often
in conflict. Most people tend to be good at one thing, such
as art, programming, or writing. A game designer must
synthesize many different skills and abilities. First and
foremost, a game designer must be a good communicator. A
designer must be able to communicate ideas effectively with
others and constantly be proactive about making sure that
everyone on the team understands the game design. A designer
must be a good technical writer, able to create structured
documents that speak to programmers and other technical
personnel. A designer must also be a creative writer, able
to "pitch" concepts and create entertaining documents that
describe the world, characters, and storyline of the game.
A game designer must also be part artist and must understand
how game play and aesthetics affect each other. Designers
must make sure that the artistic vision of the game is in
alignment with their overall vision for the game. A basic
artistic ability is helpful in creating diagrams,
flowcharts, presentations, concept drawings, and other
artistic material.
It's also helpful for a designer to have technical
knowledge. The more technical the designer is, the better he
can do his job. Even with a team of programmers on the
project, the lead designer must understand which features
are feasible and which are notin other words, he must
understand technical limitations. This helps keep the design
in technical alignment and avoids forcing programmers to
continually make changes because the game design was not
technically feasible in the first place. It's also good to
understand technology enough so that if someone says
something is impossible but is really misunderstanding you,
you can recognize this and offer a solution or a better
explanation.
Finally, a designer must also be a small part marketer and
producer, with the ability to understand what will be needed
in a product to drive its sales.
So, a dedicated game designer needs to be part idea person,
part visionary, part writer, part artist, part programmer,
part audio designer, part team leader, and part politician.
It should be clear that being a designer is at least a full
time job on any sizable game. Those who think that they can
design a game as they also program or manage the team should
think twice about the huge effort involved. A game almost
always benefits when at least one person is solely focused
on designing the game.
It's helpful to remember that project role descriptions are
not exactly the same as job descriptions. Although the two
often overlap, a job description applies to every project at
a company for a person. A role description applies just to
one project and can change from project to project,
depending on the size of the team and other team members
involved. This distinction can help reduce the potential
arguments over project roles. You aren't carving out your
entire future with a role description; you are simply
describing what you will be doing on this project.
The following sample is for a designer who will be working
alone instead of as part of a design team. This designer
therefore is responsible for all aspects of the game design.
You might be responsible for all or just some of the tasks
described in the following list.
Lead Game Designer Project Role Description:
[lb] Create the highlevel game concept and vision in
cooperation with marketing and upper management
[lb] Communicate regularly with the entire team to
ensure a consistent and cohesive vision of the
game is maintained throughout development
[lb] Support the creative director's effort to
establish a consistent look and feel for the game
art and audio that work with the game design
[lb] Design the interaction and user interface for the
game, and work with the art director and user
interface artist to design the visual appearance
of all interface screens
[lb] Describe the features of the game and how they
work in detail
[lb] Develop characters, write the background story and
biographies for every character in the game, and
work with the art director to design the
appearance of each character
[lb] Write all character dialogue and direct all
dialoguerecording sessions
[lb] Design all vehicles, weapons, and units in the
game
[lb] Design each mission and every level for the game
[lb] Describe artificial intelligence of nonplayer
characters in the game
[lb] Write a vision document, design document,
technical specification, and other documents that
the team can use to build and market the game
[lb] Communicate regularly with the producer, lead
engineer, creative director, audio lead, animation
lead, and quality assurance lead to ensure a
design that is feasible given the project schedule
and budget
[lb] Listen to input from the rest of the team and
incorporate suggestions when appropriate
[lb] Conduct focus groups and play testing, and make
design changes based on user feedback
[lb] Balance units and finetune the game play after
the game is playable
In addition to capturing what you will be doing for a
project, project role descriptions can help capture what you
will not be doing on a project. The best way to ensure that
everyone understands that you will not be responsible for a
task is to make sure that another team member's role
description contains that task. For example, if you won't be
writing the user documentation, make sure that someone
else's role description mentions that responsibility.
The previous example is a long role description for a large
role. On a project with a full design team, your role might
include only a few of the items listed. The important part
is not the length of the role description, but its
completeness and accuracy. Each team member should know who
is doing what by referring to the role descriptions. The
producer should ensure that each development responsibility
is assigned to someone on the team.
As you can see, a project role description captures not only
your responsibilities, but also those of your collaborators
on the project.
We Are Outnumbered
Depending on the size of your project, you might have many
collaborators helping you with the game design. On a typical
project in a typical company, a few game designers will be
on a team with many more artists, programmers, and testers.
Depending on the company, people from other disciplines
might contribute to the design.
If ownership of the design is distributed, a successful
designer is one who can elevate and improve the design
sensibility of everyone else. It's very difficult to design
in a vacuum; there is too much work on a typical project for
one designer to do it all. Some projects are so large that
even several designers will have a tough time designing the
entire game. It's very important to draw advice and get the
rest of the team to buy into the vision. To succeed, a
designer must learn to delegate tasks and utilize the entire
resources of the team. Clarifying collaborators up front
with a written role description helps ensure that resources
are available to help you. Successful designers are
successful leaders; they work closely with the entire team
to develop a cohesive vision of the game.
[lb] Who are you designing for?
[lb] What are you designing?
[lb] Why are you making the choices you are making?
Without knowing all this, you have wasted your time. We joke
at work a lot about how anyone can be a designer. We all
have ideas, we can all write, and we all know something
about making games. Therefore, anyone can be a designer. A
veteran game developer will tell you that the complete
opposite is true: Finding a good designer is difficult. The
who, what, and why questions sound easy, but when it comes
down to it, they are very hard to answer accurately.
Writing down answers to those important questions will help
you develop answers over time and remember the answers in
the heat of a pressured design situation. For example,
consider who you are designing for. In reality, you are
almost always designing for multiple audiences: players,
reviewers, retailers, marketers, management, and yourself.
Hopefully, you can focus on designing for the player. A
great tool to help you understand and focus on your target
audience is a player persona. A player persona is a short
description of an archetypal user. Although this person is
fictional, he or she should be based on research and should
match the typical person who might buy and play your game. A
persona includes a name, age, and personal details, such as
the games and hobbies this person enjoys. You might have
several player personas, including primary and secondary
personas, if your game appeals to a wide audience. Alan
Cooper explains user personas well in his book The Inmates
Are Running the Asylum: Why HighTech Products Drive Us
Crazy and How to Restore the Sanity. I'll also discuss
player personas in more detail in Chapter 10, "Creating the
Vision."
Writing down the answer to the second questionwhat you're
designingamounts to writing the various design documents
used during production. Capturing all your ideas in formal
documents helps you maintain a consistent and cohesive
design. Writing down the logic behind your ideas answers the
third question: why you decided on this design. If you don't
want to crowd your design documents with lots of details,
put the reasons behind your design in footnotes or in a
separate document. Recording the motivation and rationale
for various decisions will help you prepare to explain the
design in detail to others on the team. Recording your
rationale also helps you evaluate alternatives as they come
up during development. If you keep in mind that your
different audiences (designers, programmers, marketers,
management, and others) have different goals and agendas,
you can more easily prepare for what lies ahead.
Keep in mind those reading your design documents. Often a
design document that is great for designers is too long,
complicated, and extraneous for someone in marketing who
just wants a quick summary of the game. So, the "others" you
are designing for can vary but are typically other
designers, other team members, marketing, and management.
Each one of these groups is interested in different things
and needs a different amount of detail and information. Keep
this in mind before you show everyone your designin many
cases, less information is better, particularly when you're
trying to get nondesigners to support your vision.
If you don't know how a part of the game will work, tell
your audience that. Until the game is finished you might not
know every detail you need to know. There are often
technical and other issues that will keep you from
finalizing the design. It's important to be honest with the
people you work with and tell them if you're not sure about
something. Being honest about unknowns allows others to help
you answer questions. If nobody knows the answer, maybe a
study or test can be performed to find out. Never pretend to
know something you don't. Eventually you will only undermine
your own expertise and authority as your colleagues learn
that you didn't know what you claimed to know.
Howard Roark, The Fountainhead
Designers must balance designing for themselves with
designing for others. You need to be passionate about a game
that you are going to design. If you don't design something
you love, it's probably not worth designing at all. However,
you also need to be aware of who you're designing for and
constantly asking yourself if you're designing a particular
feature because it is something your customers would like or
merely something you would like. If you're a game designer
or are even thinking of becoming a game designer, you are
probably a hardcore gamer. But rarely do you ever get the
opportunity to design a game for only a hardcore market.
This means that you are no longer your own target audience
for many games. Lots of game features might appeal to you,
but you always have to take a step back and ask whether a
given feature makes the game easier or more fun. Be careful
of falling into the trap of designing a game that appeals
only to you. This is another reason to avoid designing in a
vacuum.
Every project has a completely different mix of team
members. Depending on the skills of your team members, you
might complete portions of the design to different levels of
detail. For instance, if you have a great AI programmer, you
might only spec out the fact that the game has combat AI,
movement AI, and computer opponent AI. You can then leave
all the details of how the AI is going to work to the AI
programmer. However, it's important that you coordinate with
others involved in the design to ensure that their efforts
match the overall vision of the game. Ideally, the entire
design should be documented in detail, regardless of how
many people are involved with the design effort.
Small companies tend to rely more heavily on individual team
members. In this case, it is perfectly fine for people to
help you design the game; in fact, it is often preferable.
It is almost always a bad thing to design in a vacuum. Seek
outside input as often as possible. It can be particularly
valuable to get fresh insight from people outside the team
who know nothing about the project. The most important thing
to do as a designer, however, is to maintain a consistent
design vision. You don't need to control the design for the
sake of being a control freak, but you should do so because
it needs to be done. When lots of people are working out
different parts of the game, you must work in conjunction
with them and make sure that their part of the design fits
into the grand scheme of things. As a designer, you must be
a strong leader and often a politician as well. As people
begin to give you feedback or help you spec out different
parts of the game, you must keep a strong vision for the
game in your own head and in your documents so that the game
stays on track.
Just because you work at a small company and have a tight
team of highly skilled people helping you doesn't mean that
you can avoid properly documenting the game. The biggest
mistake I see most new gamedevelopment companies and most
small gamedevelopment companies making is the lack of
proper planning and design. A lot of wellknown designers
who have worked on maybe one hit suddenly think that they
know how to design games. Don't make the mistake of thinking
that you know what kind of game your audience wants and that
you can easily create a game by the seat of your pants.
Although this might be possible, you're risking a lot of
money, time, jobs, and possibly even the fate of the company
on the fact that you and you alone know what you're doing.
Don't make this assumption: Plan your game, take input from
your team, and continue to test your ideas on people outside
your inner circle. The small amount of overhead that you
trade in being thorough will result in a huge reduction in
risk for the project.
Every discussion is an opportunity to give perspective to
those who need it and gain perspective from those who have
it. You must become good at convincing others that your
ideas are good without becoming frustrated. It's easy for a
designer to seemingly get stopped at every turn and become
so frustrated that he loses all productivity and basically
gives up. Diplomacy is often required to get others to buy
into your design vision. You need as many allies as
possible. You can make allies by doing the following:
Spend time in people's offices talking to them.
Show your passiongo out of your way to inform
colleagues and include them in the design process.
Follow up conversations with email spelling out what
was discussed and what conclusions were derived.
Communicate consistently and stay "on point."
Being an effective communicator is key to being a good
designer. Devoting time and effort to improving
communications with colleagues and developing your own
communication skills is time well spent.
Most people don't see game design like designers do.
Most team members are focused on building the game, not
designing the game.
Including others and educating people about how design
is done and why it's important empowers them and makes
them feel a part of the design process.
Implementation power is distributeddesign knowledge
needs to be distributed, too.
People on the team often speak slightly different
languages. For example, artists speak in art terms and
programmers in technical terms. Design can bridge the
gap and help everyone understand each other.
The various disciplines can relate to one another if
you find the commonalities and focus on how the player
will experience the game.
The distance between a great specification and a great
product is huge.
Constantly working to communicate effectively with others
helps ensure that the game being built matches the game that
you designed.
Napoleon I
You need excellent communication with your producer and
other team leads to tackle one of your most difficult tasks:
balancing innovation with feasibility. One of the hardest
questions that designers face is how to balance their time,
ideas, creativity, and need for innovation with the reality
of the project scale, budget, and time. Every project has a
different balance of these, as does every designer. Just
being aware of the problem, however, is half the battle, and
constantly keeping it in mind often wins the battle in
trying to create something new, unique, and special.
Work with your project leaders to gauge the level of
innovation needed and the risk that is acceptable. Make sure
that you understand the priorities for your product. People
tend to want it all, so it might take persistent and subtle
questioning to learn what project leaders consider the most
important aspects for your product. Is it more important to
have an innovative game or one that doesn't have any design
mistakes? Is it more important to include unique and unusual
characters or to ship the game on time? Great game designers
find the right balances. They innovate while reusing proven
interfaces. They explore the boundaries of creativity and
take risks while ensuring that the design is feasible. On
your project, learn the priorities and balance your efforts
accordingly. Keep in mind that a common beginner's mistake
is to overdesign a game until it is too large and complex.
If finishing on time and budget is a priorityas it almost
always is in the industrywork toward a feasible and lower
risk design. You can always perfect the design and balance
of your game later in the development cycle.
Designing games is hard work. Most designers are so busy
just trying to create the darn game that they usually don't
have time to do anything else. It's hard to read a book on
game design, write an article about it, or do anything else
related to it when you're in production. I find that it's
doubly difficult to come home at night after working a 12
hour day and want anything more to do with game design. I
also usually don't have time to play many games at work,
even though it's a necessary part of the job. So, I have to
play games at home, on my own time. However, even though I
might be tired and burned out, I still find time to not only
think about game design but also study up on it and do
research on it.
Research in game design, you say? I find it very important
to always be thinking about what is next. How can I do
something new, different, cool, revolutionary, or just plain
amazing? Designers very rarely given the time at work to
just sit down and think about new ideas for a long period of
time, so they need to spend their own time and thought
process as much as possible thinking about what they can do
next.
Development as a game designer requires a passionate
mentality focused on constant improvement. Great game
designers are happy spending many hours each week designing
games, testing games, playing games, studying games,
researching games, and searching for inspiration.