What I’ve Learned About Games
This list is dedicated to the things I’ve learned from a life spent playing, and the games that taught me by their examples. These have always been my personal design commandments, and I hope that my work will one day come to embody the principles listed here.
GAMES SHOULD HAVE PERSONALITY
Any character can deliver dialogue, but there are precious few that can earn our admiration. It is not enough to make characters that are believable; they should be charismatic as well. Strong heroes are essential to a game’s appeal.
Examples: Beyond Good & Evil, Rayman 2: The Great Escape
ANYTHING CAN BE A CHARACTER
Relic’s Homeworld stars one of the most memorable characters in PC gaming, but this character is not even a person - it’s a civilization. When conveyed with restraint, the hopes and dreams of an entire culture can be every bit as compelling as those of a traditional hero.
CHARACTERS CAN GROW
Progress is more than just stat-building. When the player’s character grows and matures as a person, the player will experience this growth as a direct result of his own actions. No other medium can make this claim.
Example: Uncharted: Drake’s Fortune
IMMERSION TRUMPS REALISM
As alluring as photorealism may be, it does not necessarily make a game more convincing. A consistent atmosphere that faithfully obeys its own aesthetic rules can create a feeling of familiarity, like a dream.
Examples: Ico, Jet Set Radio Future
CONTROLS CAN BE EMOTIONAL
Emotional content need not be restricted to cutscenes. When vanquishing giants in Shadow of the Colossus, the player must literally cling to one button for dear life, and even riding on horseback requires subtle coaxing. The mechanics evoke the emotion, not the dialogue.
Example: Shadow of the Colossus
WORLDS SHOULD ENCOURAGE EXPLORATION
“Non-linear” is too broad. A game’s core design should encourage the player to go everywhere and try everything, not just provide distractions. The distant horizon is a universe of possibility, and the player should be aware of this at every moment, even if the game itself is fundamentally linear.
Examples: Super Mario 64, Jak and Daxter: The Precursor Legacy
BIGGER IS NOT ALWAYS BETTER
In an environment where many publishers actively draw attention to their enormous budgets, it’s easy to forget what a single person can accomplish - be it a side-scrolling adventure, an experimental MMO, or a five-minute examination of life itself.
Examples: Cave Story, Love, Passage
LET THE PLAYER FIND YOUR STORY
Games require participation; too much exposition is boring at best, and insulting to the player’s intelligence at worst. Understanding the story should be part of the game, not something to sit through when the game stops.
Examples: Metroid Prime, Halo series, Half-Life series
EMPOWER THE PLAYER WITH MOBILITY
Give the player many places to go, and many ways to get there. Think of the freedom one experiences during a lucid dream; any place that can be seen can be reached. If the act of traversing the environment is exhilarating, there will never be a dull moment.
Examples: Crackdown, Starsiege: Tribes
FLUIDITY IS BLISS
Proper control is like a good dance partner. A game should react with absolute precision to even the most subtle input while striving to anticipate the player’s intent. When controls are effortless, gameplay challenges feel rewarding and never “cheap.”
Examples: Genji: Dawn of the Samurai, Ninja Gaiden
PROMOTE FLOW STATE
Create challenges that require finesse and zen-like focus, not miraculous reflexes. Push the player to perform at his peak, and eliminate all obstacles that cannot be anticipated. A failed challenge should never break the player’s concentration.
Examples: WipEout HD, F-Zero GX
HUMOR IS A DESIGN TOOL
Clever dialogue is not the only way to make the player smile. From character animations to environmental details to harmless practical jokes built into the level design, any part of a game can potentially be built for comedic effect.
Examples: Oddworld series, Katamari Damacy, Giants: Citizen Kabuto
ANYTHING CAN TELL A STORY
Meaningful storytelling need not be confined to RPGs and character-driven adventures. A properly justified story can breathe life into any game, even if it belongs to a traditionally “shallow” genre.
Examples: Rez, Gitaroo Man
ART BEFORE TECH
Game art often benefits from technology, but should never rely on it. Beautiful images can be created under surprisingly rigid constraints, and these same constraints can even be a source of inspiration in themselves.
Examples: Odin Sphere, Ōkami
BREVITY IS POWERFUL
“Total hours of gameplay” is not a measurement of quality. A game should only be as long as it needs to be, and padding your story with irrelevant subplots and grinding will only dilute the experience.
CULTIVATE NEW REALITIES
Most games take place in fictional worlds, but when all the imaginary details are placed in a coherent context, an entire universe is born.
Examples: Omikron: The Nomad Soul, Outcast
