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      Download the Game Design and Indie Game Marketing Freebook   07/19/17

      GameDev.net and CRC Press have teamed up to bring a free ebook of content curated from top titles published by CRC Press. The freebook, Practices of Game Design & Indie Game Marketing, includes chapters from The Art of Game Design: A Book of Lenses, A Practical Guide to Indie Game Marketing, and An Architectural Approach to Level Design. The GameDev.net FreeBook is relevant to game designers, developers, and those interested in learning more about the challenges in game development. We know game development can be a tough discipline and business, so we picked several chapters from CRC Press titles that we thought would be of interest to you, the GameDev.net audience, in your journey to design, develop, and market your next game. The free ebook is available through CRC Press by clicking here. The Curated Books The Art of Game Design: A Book of Lenses, Second Edition, by Jesse Schell Presents 100+ sets of questions, or different lenses, for viewing a game’s design, encompassing diverse fields such as psychology, architecture, music, film, software engineering, theme park design, mathematics, anthropology, and more. Written by one of the world's top game designers, this book describes the deepest and most fundamental principles of game design, demonstrating how tactics used in board, card, and athletic games also work in video games. It provides practical instruction on creating world-class games that will be played again and again. View it here. A Practical Guide to Indie Game Marketing, by Joel Dreskin Marketing is an essential but too frequently overlooked or minimized component of the release plan for indie games. A Practical Guide to Indie Game Marketing provides you with the tools needed to build visibility and sell your indie games. With special focus on those developers with small budgets and limited staff and resources, this book is packed with tangible recommendations and techniques that you can put to use immediately. As a seasoned professional of the indie game arena, author Joel Dreskin gives you insight into practical, real-world experiences of marketing numerous successful games and also provides stories of the failures. View it here. An Architectural Approach to Level Design This is one of the first books to integrate architectural and spatial design theory with the field of level design. The book presents architectural techniques and theories for level designers to use in their own work. It connects architecture and level design in different ways that address the practical elements of how designers construct space and the experiential elements of how and why humans interact with this space. Throughout the text, readers learn skills for spatial layout, evoking emotion through gamespaces, and creating better levels through architectural theory. View it here. Learn more and download the ebook by clicking here. Did you know? GameDev.net and CRC Press also recently teamed up to bring GDNet+ Members up to a 20% discount on all CRC Press books. Learn more about this and other benefits here.


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  1. [quote name='MidniteDesign' timestamp='1335999976' post='4936913'] [color=#282828][font=helvetica, arial, verdana, tahoma, sans-serif][size=3][left][background=rgb(250, 251, 252)]I'm not sure i completely understand this part. So designers are valued less because it's more difficult to be a good designer? Wouldn't it make more sense to say that something that's more difficult to excell at be valued more?[/background][/left][/size][/font][/color] [/quote] Sorry I should elaborate. I think that designers are valued very highly when they excel at their work and have the varied skill set. The current reason, in my opinion, that designers are less valued is because most beginning designers believe that their sole purpose on a project is to provide 'ideas' and tell people what to do. For that reason the best designers usually come from different backgrounds, such as programming and art. So I guess it's best to say that ONLY being a designer is less valued, because there is only so much you can contribute to a team. A game designer has always been a vague and hard to define profession. [quote name='MidniteDesign' timestamp='1335999976' post='4936913'] [left][color=#282828][font=helvetica, arial, verdana, tahoma, sans-serif][size=3][background=rgb(250, 251, 252)]I don't understand this part, what kind of documentation?[/background][/size][/font][/color][/left] [/quote] I think this is a pretty good example of a game design document: [url="http://www.runawaystudios.com/articles/chris_taylor_gdd.asp"]http://www.runawaystudios.com/articles/chris_taylor_gdd.asp[/url] A game design document should be the 'go to' place for any development questions, as well as game concept questions. Theoretically, a programmer or artist should be able to build the game completely based on this document alone. Obviously this isn't necessarily possible as the documentation for a game is constantly evolving and changing. But you get the idea. 'extremely good' was a very vague metric, sorry about that. Basically my advice would be to build up your experience, because that will be your saving grace. If you have skills as a concept artist, then by all means use that skill to help convey ideas and to refine them as well. The most important thing, in my opinion, is to make sure that during a game's development you ALWAYS have something to do and contribute. Let me know if anything I said didn't make sense and I'll try to clarify.
  2. People have this unfortunate concept that designers are 'ideas guys' when in fact, to be a good designer you need a very robust skill set. The reasons that designers may seem valued less or cut first is because it is much more difficult to be a good designer than it is to be a good programmer or good artist. (This is entirely opinion based but that is my thoughts.) The entire team can contribute to the 'ideas' part of the project, however what makes a good designer are:[list] [*]Excellent communication skills, with the ability to receive and relay information. Designers need to be able to talk with both programmers and artists, and be able to both understand what is being said, as well as have the ability to relay that information in a way that makes sense. [*]Extensive knowledge of game systems with the ability to identify the advantages and disadvantages of each. [*]The ability to refine game concepts based on this knowledge. [*]The ability to take constructive criticism, and to apply it to their work. [*]Excellent documentation capabilities. [*]And finally, a designer needs to be more than just a designer. You will be much more valued as a designer if you are also a proficient programmer and/or artists. Designers that are simply just 'designers' don't tend to get very far unless they are extremely good at what they do. [/list] I hope that helps!
  3. The way time is obtained and spent in a game like this might be heavily defined by the setting of the game. For example, if you wanted to make it similar to a Deux Ex style and similar to the setting of the movie, then it may be appropriate to gather time off of defeated enemies (assuming enemies are defeated in the typical sense of the word) because you could pick up their 'watches' from their bodies. You would then spend this time on in game resources. Gear? Buffs? However, if you go the route of a traditional shooter, or any other genre where you are defeating enemies in the traditional sense, you may find the content to be a bit sadistic. It is a pretty horrible message you are sending if the point of the game is to kill others for the sole purpose of living longer. I'm not exactly sure how you should approach this idea, just adding my thoughts to the pot.