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Video game design is the process of designing the rules and content of video games in the pre-production stage and designing the gameplay, environment, storyline and characters in…
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Video game design is the process of designing the rules and content of video games in the pre-production stage and designing the gameplay, environment, storyline and characters in the production stage. Some common video game design subdisciplines are world design, level design, system design, content design, and user interface design.
Video game design is the process of designing the rules and content of video games in the pre-production stage and designing the gameplay, environment, storyline and characters in the production stage. Some common video game design subdisciplines are world design, level design, system design, content design, and user interface design. Within the video game industry, video game design is usually just referred to as "game design", which is a more general term elsewhere.
The video game designer is like the director of a film; the designer is the visionary of the game and controls the artistic and technical elements of the game in fulfillment of their vision. However, with complex games, such as MMORPGs or a big budget action or sports title, designers may number in the dozens. In these cases, there are generally one or two principal designers and multiple junior designers who specify subsets or subsystems of the game. As the industry has aged and embraced alternative production methodologies such as agile, the role of a principal game designer has begun to separate - some studios emphasizing the auteur model while others emphasizing a more team oriented model. In larger companies like Electronic Arts, each aspect of the game (control, level design) may have a separate producer, lead designer and several general designers.
Video game design requires artistic and technical competence as well as sometimes including writing skills. Historically, video game programmers have sometimes comprised the entire design team. This is the case of such noted designers as Sid Meier, John Romero, Chris Sawyer and Will Wright. A notable exception to this policy was Coleco, which from its very start separated the function of design and programming. As video games became more complex, computers and consoles became more powerful, the job of the game designer became separate from the lead programmer. Soon, game complexity demanded team members focused on game design. A number of early veterans chose the game design path eschewing programming and delegating those tasks to others.
Video game design starts with an idea, often a variation or modification on an existing concept. The game idea will fall within one or several genres and designers will often experiment with mixing genres. The game designer usually produces an initial game proposal document containing the concept, gameplay, feature list, setting and story, target audience, requirements and schedule, staff and budget estimates.
Multiple design decisions are made during the course of a game's development; it is the responsibility of the designer to decide which elements should be implemented. For example, consistency with the game's vision, budget or hardware limitations. Design changes will have a significant impact on required resources.
The designer may use scripting languages to implement and preview design ideas without necessarily modifying the game's codebase. A game designer often plays video games and demos to follow the markets' development.
Over time, it has become common for a game designer's name to misleadingly be given an undue amount of association to the game, neglecting the rest of the development team. This is in stark contrast to the industries' origins, when creators were often given little to no recognition. Coincidentally, this lack of credit lead Warren Robinett to create the first Easter egg in a video game.
Funding, traditionally provided by game publishers, who may have specific expectations from a game, must be taken into account, as most video games are market-driven—developed to sell for profit. However, if financial issues do not influence designer's decisions, the game can become design- or designer-driven; but few games are designed this way, with it becoming more common among indie game developers, alongside alternative sources of funding, like Early Access or Crowdfunding. Alternatively, a game may be technology-driven, such as Quake (1996), to show off a particular hardware achievement or to market the game engine. Finally, a game may be art-driven, such as Myst (1993) and Journey (2012), mainly to show off impressive visuals designed by artists.
In Rules of Play (2004), Katie Salen and Eric Zimmermann write:
A game designer is a particular kind of designer, much like a graphic designer, industrial designer or architect. A game designer is not necessarily a programmer, visual designer or project manager, although sometimes he or she can also play these roles in the creation of a game. A game designer might work alone or as part of a larger team. A game designer might create card games, social games, video games or any other kind of game. The focus of a game designer is designing game play, conceiving and designing rules and structures that result in an experience for players.
A game designer is a person who designs gameplay, conceiving and designing the rules and structure of a game. Multiple designers start their career in testing departments, other roles in game development or in classroom conditions, where mistakes by others can be seen first-hand.
A lead designer coordinates the work of other designers and is the main visionary of the game. The lead designer ensures team communication, makes large design decisions and presents design outside of the team. Often the lead designer is technically and artistically astute. Keeping well-presented documentation also falls
Source: Video game design (CC BY-SA)
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Thus game design, as a discipline, requires a focus on games in and of themselves. Rather than placing games in the service of another field such as sociology, literary criticism, or computer science, our aim is to study games within their own disciplinary space. Because game design is an emerging discipline, we often borrow from other areas of knowledge—from mathematics and cognitive science; from semiotics and cultural studies. We may not borrow in the most orthodox manner, but we do so in the service of helping to establish a field of game design proper.
