5 Principles of Game Design

This is Rand Miller from Cyan.  I'm a co-creator of Myst and Riven   and more recently Obduction  and working on Firmament. If you as a creator can have freedom it  means that the game gets to have an identity. People who, I'll say build worlds, but it can be in a novel or a movie or a   game or anything like that, you want to get better and better at your craft. And part of that is: is there, you know, is there  anything that makes the world a better place in   what I'm doing, or am I just building a chest  of drawers? Am I carving a chest of drawers?   And there's nothing wrong with carving a chest  of drawers. They're beautiful, and the masters   of that craft do exquisite work, but there can  be a little more. And that gets really hard, and it gets tricky because you know then things  have agendas, and and yet people sometimes like   it when they learn a little about themselves in  something, or there's a there's a deeper soul   to it. Hi there, this is Robyn Miller. I co-created  Myst and Riven... many years ago. When I play a game   I am kind of a little obsessed by the environment  and when I leave the game I just can't stop   thinking about the world. The environment  itself of that place, if it's a good game,   becomes the character. And that's what I get to  know. And that's what I think is the power of games.   Hi, I'm Chris Sutherland, and I am a director at  Playtonic Games. In the distant past I worked on   games like Donkey Kong Country, Banjo-Kazooie... more  recently you may know me from working on games   like Yooka-Laylee and Yooka-Laylee and the Impossible Lair. And I work on software and usually player control.  My name is Hamish Lockwood. I'm a  designer at Playtonic. I've worked on   Yooka-Laylee and Yooka-Laylee and the Impossible Lair also... worked on some smaller indie games like   Volume, Stealth Inc, and a couple of others.  It's easy to get lost in lots of little   ideas, whereas if you're having something that  you focus on at the start and you develop   these kind of pillars that underpin it  and say well this is what it's all about. Over just a few years at Playtonic I've noticed  that we're approaching projects in a different way.   Now we're in a position where we can properly  plan. Like, it's taken two games to to be able   to sit down and go okay let's do some proper  planning, be much more thorough. I feel like   I'm learning so much each time that each project  you do seem to approach it in a different way.  Hello, my name is Darren Corb, and I'm the audio  director and composer at Supergiant Games.   It is an effort by several people, but that mainly  comes from our creative director Greg Cassavin who   is the writer on the games and spearheads a  lot of that stuff. I'm making decisions based   on what i think is going to reinforce those  ideas by just experimenting and sort of   theory crafting first and then experimenting  within that space and seeing where that takes me. Hi, I'm Mike Rayhawk. I wrote BrikWars many many  years ago now. It's a tabletop game about wargaming   with construction bricks like LEGO or Mega Bloks  or any other lesser forms of construction brick.  It's a game about subverting the idea of  war gaming with LEGO bricks as much it is   actually wargaming. So it is going out of  its way to teach you to do everything wrong.   The philosophy of BrikWars is to chase those  moments when things are going wrong to kind of   take that power trip that you're chasing in most  tabletop games and make that the thing you want   to avoid or or at least to make a joke out of it  which flies in the face of most war games right   hi uh my name is ken i'm the director and writer  uh composer of freebird games so over the years   i've been mostly working on the um to the  moon series which is to the moon finding   paradise and the upcoming imposter factory and  i also got some uh some secret projects for the   long term in the background for the soul of  a game to me it's really about finding what   a part like what matters really matters in a  particular game that can be very different between   different games having every component of the  game working toward that is really the ultimate   ultimate goal and to make something feel  cohesive especially when we have you know   so many disciplines coming to a medium like  game you know you have the artists you have   the writers you have the programmers you have  the uh you know musicians but sometimes the best   way to do something within that particular  discipline it's not the best way to fit into   to you know make the whole project shy so if you  look at a writing by itself and judge it versus   writing with the cohesive whole with  the music and art and everything else   it's very different you know it's a very different  standard to make true of the saying how does it go   how like a fist is stronger than five fingers that  that is really keeping the soul of a game intact i was just thinking of the the latest zelda  game where you start off in the game you   start off on this plateau um you kind of  learn the ropes a little bit but you can   go right to the end of the game almost immediately  or you can just take so much time wandering all   over the universe you feel like you're in complete  control and i loved that about that game as you   have you really feel like it is your universe and  you can do whatever the heck you want you can try   if you want you can try to beat ganon which  you don't have much luck with or you can just   play it really really feels like you  have agency in that in that universe you know if you look back to the original banjo  game there really wasn't a kind of much of a   guide in terms of where you should be going next  it was up to you to explore and i think that was   something that people loved about that game and  that era of games there wasn't really a thing   that said these are your quests this is where  your next quest is there's an arrow telling   you where to go there's a mini map but without  those there's people who've been brought up on   the expectations that those things exist were  really struggling because they were finding that   we're where am i supposed to do that the idea  that you would have a place where you just explore   was like why that was alien to those people  sometimes starting out in a game is very   intimidating if you give people too many paths  at the beginning it's it's it's almost like a   phenomenon when when the uh world wide web  started where you felt like if you click   started clicking down paths you would go too far  down a path and you you felt like you had a neat   need to work your way back out so that you  didn't miss something or lose your place or   or gloss over something and and and not see it and  so the games we've done recently we start out much   more linear so that people kind of get a feel and  a lot of times it's a simple task at the beginning   mist had this too but it's it's something to kind  of reassure them that you're on the right path   it's fairly linear and you can do what you want  so they get the feel of the place before you   kind of open it up and start giving them  choices you give them a bit of security   i think players do want and even need structure  it's just how much you put in there on impossible   layer on the overworld it's quite open like  you can that there's pay walls at certain areas   um but once you level one you go into  the new section of the overworld and then   there's like another bunch of levels but you could  theoretically walk past all of them all the way up   to the next pay wall and if you've got enough  you could pay to go through to the next area   but what's interesting is at one point in  development we didn't have any paywalls the   idea was you'd be dropped in the game and you  could go to any level you go to the last level   but then we thought that that was too open so  we put these kind of more soft uh walls in that   allowed you to go into a section and have a bit  of freedom and you could have those you have your   own choices but then you would eventually reach a  final point you then open up this other new area   so it keeps putting the player back on course  and then open opens up again for them and it   just like kind of cascades that information to  the player so they're not getting overwhelmed   being able to know the player's state of  mind is one of the most important things   into the move for example right it ultimately it  tells kind of a sentimental story but the tone at   least the first part of it especially the first  part of it is quite uh not serious you know it's   quite uh it tries to go to the comic route and  it tries to not take itself seriously so that's   kind of the job of the two doctors right so the  two doctors are kind of um are syncing with the   player at least thinking with a type of player  so the people who are into dramas to begin with   and people who are just dropping by and they  got like maybe they just had a bad day they're   they're not focused you know they're dropping  by to perhaps even have fun and to be able to   um be in sync with both of those type of players  you really have to kind of meet them both by the   door and lead them to one particular hallway  right so people who are into drama you don't   have to worry about them because they are they're  ready to go but you have to kind of you know kind   of help the folks who are not yet focused not in  the right state of mind uh to get there and once   they're there they'll they'll be along for the  ride right so that that's kind of what the uh   from a technical perspective i guess  that's kind of what the doctors do   that's the core of what makes something  work is just to be able to get into the   same state of mind as the player sync with  them and gradually without bricks without   sudden jones to break that connection  to to lead them where uh they need to be   you want people to think that they're making  choices and they can go anywhere they want but at   the same time just to just to make a game just to  be able to build it for the most part especially   if you're an indie in a small studio you've got to  constrain where they do and what they do so that   you don't have too many variables to have to build  and mess with so that's the balance that we try to   strike so in brick wars player agency is kind of a  carrot i dangle in front of players but never give   to them i'm always trying to move them forward  but never give them what they think they want   so in a regular war game you have the power to  send your troops out and kill other things and   destroy things and watch them all die in brick  wars i want you to think you have that power   but then as soon as you send your  troops out everything goes wrong   uh nothing you thought was going to happen  happens and you have to continually deal with   things not going the way you expected and having  that accelerate over the course of the game so   the the further you get in the worst things get  and that is terrible game design right like like   in any other game that is what you're trying  to avoid uh you're trying to clamp down on any   exploding mechanics or mathematics that that  take off in a direction you don't expect and   here i'm trying to ensure that happens the the  more games i can have that end with the ship   blowing up or a nuke going off and everybody  dying from something they never saw coming   the happier i am the the player agency is  in setting off these disasters but then   the actual narrative agency is often with the  person who just had the disaster happen to them   like starting with mist we were trying to reveal a  story in there and this story had a large part in   keeping you immersed and involved it wasn't that  you were getting a bag of gold you were trying   to achieve something because you were part of the  story and so um we had this issue at the beginning   where people started the game and they wandered  around the island but they weren't picking up on   stuff and we initially didn't have the um the four  chamber we put that in later realizing that oh   p people need a little bit of a of a boost  and we can start the story just a step   earlier if we put a message from atres to his wife  in there that something's gone awry as robin has   said many times it missed felt like an experiment  you know it was just us learning as we went and   that was one of the things we changed and i think  for the better also i think that missed was early   i think so many games have taken that basic idea  i think it would have happened anyway and taken   it a lot further it was a very small story a very  simple story but now you see these massive stories   i i think it's very exciting to now see and  play these huge novelesque type worlds and   you you just are constantly encountering story  elements and that's crazy and insane and super fun so i think game theo actually shares a lot  of commonality with uh what we were talking   about with the soul of the game i kind of think  of it like set bonus you know for collecting   gears in certain kind of games right so each  individual piece might not be particularly good   by themselves compared to some other ones but  if you collect them in such a way that you know   the set bonus really sets them apart because they  work well together with something like rpg makers   certain things are definitely more set than others  so you have um so you're already left with kind   of an unbalanced toolkit which is actually not a  bad thing i think because a blank sheet of paper   is more dangerous than something with something  already drawn on it so in that sense i i i wasn't   too troubled by by rpg maker's limitations as  a whole at least for what i was doing a large   part of the uh the void that was left was um  to be filled with things like music for example   which are not limited in any way a big part of  my approach to placing people in the environment   of one of our games is trying to create a musical  setting that feels like it comes from a specific   place you know the music isn't all diegetic in  the games but i try to make the components of the   music feel as if they are meaning i try to make  it so that the music feels that it comes from   this place you know i ask a series of questions to  myself at the beginning of a project and through   the first part of a project through all the way  through sort of the pre-production phase and   the questions are like what would the instruments  in this place be what sort of music would the   people in this place listen to what sort of  music would they write so i'm trying to sort of   discover the answers to those questions as i'm  coming up with the sonic palette based on what   tone we're trying to create in a specific place  and what that place should feel like texturally   the essence of the game feel we kept it very  simple just a mouse and one button anybody could   do it and we evolved that as we went now we got  into some rather sophisticated use of a mouse and   one button you know with clicking and dragging  all the things that that apple did as well   but it was it was just so simple we wrapped  everything around that interface and so when   we came to do mist it was it was only natural to  kind of keep that going and i love that i really   really love that i am not a fan of interacting in  a world with a controller with a gaming controller   it's a line in the sand for people that breaks the  uh the ability to learn how to play for a lot of   people i think with miss one of the reasons it was  successful is it was just so freaking easy we sat   our mom in front of it and regardless  whether she continued to play or not   she could click on the mouse and step forward and  you know kind of get the idea of it now that said   it's hard it's just a hard thing to really  maintain always and do things simply vr is a whole   new challenge in vr games there's such an ability  to like be in the world and use your hands even   and it really feels like you're there i love being  in certain v you know virtual reality games and   you know if they're built correctly you  aren't really thinking about interface anymore   there's all kinds of vr games that do it  in all sorts of different ways but it's   it really is a magical experience oh but vr  still the controllers do have buttons on them   and thumbsticks and you know all that stuff too  that you have to try and implement things that   way and that's the hard part i don't like that  i wish i could do everything with just hands   i really really invest into the tactile element of  the game this is something i didn't realize until   a decade in or so if the game is about the bricks  then everything should tie back into the bricks   so every every ability every device every feature  of your character is another brick it's got to be   represented by something that can be broken off  and taken away or put on something else and then   i took that even further by fetishizing the dice  themselves so now the actual dye that you hold in   your hand has power and some of your minifigures  actually know about it some of them can see the   dice and and some of them can't and it's it's this  whole religious thing where some believe and some   don't these aren't figures that represent soldiers  right these are the actual soldiers like if you're   if you're doing damage to a helicopter and you hit  a piece that holds the front part to the tail part   those things are broken apart that's not written  on a sheet anywhere it's just you know that   that's held together by that one piece because the  physical model is held together by that one piece   if his leg has a crack in it then the actual  characters like has a crack in it right for me my main first audio pass is when  you look at the game anything that looks   like it should have a sound i go through and  i make a sound for and try to get it hooked up   anytime a visual effect happens anytime there's  a impact or contact or you touch something or   that you know if anything visual happens you  usually want some sort of sonic component to   it then you'll notice other things that feel like  they should have sound because those things have   sound and then you kind of go more granular more  granular the menus in our games tend to be pretty   expressive i think so the sounds in the menus  of the games tend to be themed around that world   you know in pyre all all the sounds were like  book paper themed so it's like flipping through   pages whenever you toggle through a menu in uh  transistor they were it was all like using some   weird alternate universe like mac in bastion it  was all building sounds like hammering nails and   and in hades you know the the mirror of night menu  for example it's sort of like um mystical powerful   almost creepy thing that instills in you some sort  of unholy power you know and you and so it's got   some of that vibe but it's also got like kind of  glass like tinking like that sort of mirror like   you're tapping on a mirror almost so it's got  some like textural components in there too and   and i tried to give the the actual darkness  resource like kind of like a liquidy like kind   of quality because that's what it looks like so  i'm just trying to theme all the ui sounds after   you know some central uh element of the game when  you play a game that's in development or even just   like a game that comes out you kind of know if it  doesn't feel right but it's hard to know exactly   what doesn't feel right about it and i think the  solution is just like lots of little things really   it's like you know the correct sound effects and  the correct animations and timings of animations   like just a few frames can really change the  feel of something yeah i mean the challenge   is is often getting this um digital inputs that  you're making on this joystick and translating   them into something that's an analog experience  from what you want in your head so you're wanting   a character to run around on the spot and you  thinking well what they're trying to do there   what would that feel like if you're doing it  in real life and so you might then make it   so the character leans in when they're they're  running in a tight circle so you're trying to   that's not something that you're kind of imbuing  via the controls directly there's not no control   to say lean in but you're trying to go well if  he's doing this kind of motion then he's probably   trying to do this and therefore from that we'll  amend the the particles or the you know the angle   the character to accordingly and then you've  got challenges where if you've got animations   that you want to put in sometimes the game play  requirements are such that they conflict and the   classic example is you want to jump and then  you know from the best animation point of view   you'd have somebody crouch and then jump but the  idea that you press the button and then character   squats down and then jumps doesn't work in a  fast action game but you know it would work in   some titles and sometimes like a lot of the time  actually like hamish said it's trial and error   you kind of have an idea in your head of what you  want to get to you try something out and then you   go well that's not quite right why is that and  you then have to analyze and go why does that   not feel like i expect it to and it's like how  how you know maybe character movement interacts   with other things in the game as well so it's just  like just tons of little just tinkering around you   know to to get it feeling right i don't know if  it's an exact science yeah you just just tinker so the gameplay comes first before  the audio implementation for sure   i'll try to assess like what's an interesting way  that we can incorporate the audio starting with   transistor we've had multi-channel music with  stems that we could kind of turn on and off on   command based on different game states and stuff  we've done that to varying degrees of complexity   pyre being the most complex where we had i think  eight stereo stems playing simultaneously like all   the time or whatever so in different combinations  once we tried to optimize the game realized oh   maybe that was a dumb idea i don't even think rock  band has that many stems playing at the same time   we do something similar in hades but we are aware  that players are going to be hearing the music in   hades a lot more because of the roguelike nature  and and the way the content is doled out and the   volume of the content it's a lot i think part of  it is trying to find an implementation that will   keep it fresh we kind of tried to like randomize  it a little bit more for example the music that   plays when you're exploring the biome maps and  you're progressing through a run we have an   intro section that plays for a couple of chambers  that's just sort of like a pulsing pad essentially   building anticipation and it opens up into sort of  the quote-unquote mediterranean folk arrangement   of the piece and then when you get to either a  mini boss or a boss it will call a transition to   the next section which is the big rockin section  and then when the final blow is struck on the boss   and they die it calls a transition to the ending  tag which is like a satisfying like conclusion   to the piece so it should feel theoretically  seamless but it's going to be different each   time you hear it to zoom out a little bit that's  sort of one of the general challenges of video   game scoring you're taking this linear medium and  sort of trying to put it into a non-linear medium   mechanically i try to make the most interesting  parts of the game the parts where you're failing   right if you if you swing a sword at somebody and  you hit them and they die that's it that's over   like there's no extra material that goes into  that but if you swing a horse and hit somebody   and they don't quite die now you have a bunch of  interesting decisions to make like did you top   their or actually they have a bunch of interesting  decisions i let them decide whether their arm fell   off or they took a mortal wound and they're gonna  die later but they get to make a speech first   in the same vein if you make a really great  role a critical success you do more damage   and it's over but if you make a really poor rule  now you as players get to debate like what kind of   disaster happened the goal is to move as quickly  as possible past all the standard war gaming stuff   and then really invest in all the parts where  things go wrong and where chaos is happening   i mean i think in impossible there we had a an  idea that when you have this move which is called   buddy slam which is really a ground pound kind  of move and we said oh really if you're going   down at that speed we should be able to convert  that into a roll a forward roll so you'd hit   the ground and then go forward at high speed and  so we put that in that made sense that was fine   and then it was only i think a couple of weeks  later that we were playing it and somebody spotted   the because when you roll at any point you can  jump when you ground pound you go into the roll   if you immediately press jump you could then  do this really large long looping jump just as   a side effect of that move and of course part of  the thought was should we get rid of that but then   why would you not be able to jump then but then  also it felt like actually this is kind of cool   but it does feel intuitive as well actually there  wouldn't be any sense of taking out because if   the player thought well i can ground pound  and then i can boost so if i can jump at the   same time surely that should work and so if you  naturally discover it it's like oh it feels good   like my approach is like there's the very early  parts of development where you're trying to   build the game and the systems at the same time  whereas later on in development and there's this   like nice sweet spot where you've kind of got  all these systems and stuff there and so you've   kind of got this toolbox to build levels and  experiences and puzzles with and so when you've   got all those systems there you can really play  with them together it's like what if i use this   and this together and what if i use this and this  together it's almost like like a mario maker you   know they give you all the tools and you just  you just combine them and see how they play   with each other and all this sort of stuff kind  of like a frustrating part of development where   just through the nature of it you you get to  a deadline where the game's going to release   and probably by that stage you've only just had  a chance to have all of them to be mixed together   and and you and all these sweet ideas coming  out but it's like oh no we have to release soon i think robin and i had a certain luxury as we  started out and moved up the chain because we   started just with the most simple children's games  you could imagine the mac had come out it was a   single button mouse and so our philosophy kind of  just latched on to that people didn't even know   how to use a mouse yet they didn't have computers  and you know sitting down and understanding that   moving that mouse and seeing the cursor on the  screen and how those two things coordinated with   one another that was actually a learning  experience and so then sitting and playing   mist we could not have that be any more of a  learning experience on top of that whereas now   today you know my eight-year-old daughter sits  down with a nintendo switch and she's just like   you know immediately all the complexity playing  you know any game she immediately just learns it   now maybe that is because she is eight years old  but we have grown so accustomed to learning these   computers and what they do and you know  it's easier it's so much easier for us   to adapt now i still think we should  try to make things as easy as possible   so i'm torn it just leads me to think more about  the way tutorials are handled for example portal   right that or platform zombie where it's it  eventually becomes such a complex system but   the way it's being approached or it's  been taught it's so gradual and natural   complexity built upon simplicity that's the  that's the best systems in my understanding so there's something inherent to human nature  that makes you wonder what's over the hill   or what's around the corner or what's in the  cave we have this desire we went to the moon   i think for the same reason i mean what  what is on that thing so it drives people   our parents took us on a lot of trips we lived  in at one point albuquerque and we used to go   like all over the place national parks  and there's just so much you know in those   surrounding areas to see and do i think we  were instilled a lot with uh the idea that   there's a lot in the world out there that is  you know kind of amazing and we like to explore making use of that in a game it seems only natural  and the more you make the world feel real the more   it seems to tug on that natural desire to  explore and the more people will overcome   little bits of friction that you give them and  then the reward becomes what is around the next   corner you get to see it you get to see what was  there and i think mist really did a great job of   that because it was so diverse what was around the  next corner meant what was in the next book and   you solve those puzzles you go to great extremes  and it's frustrating sometimes and you put it down   but then you pick it back up something comes to  you you go in there you realize oh my gosh around   this corner is something completely different  than the world i'm in right now it's not the   same it's a different place and it'll have its  own personality and its own pieces and parts and   normally we have to go a long way to get that kind  of variety so mist was condensed you know it gave   it satisfied a lot of things in a very small space  and i think exploration was one of those things   but at one point some of that exploration i began  to internalize a bit it took the form of paintings   and music and then writing it wasn't until  really we began making video games that   it started to burgeon and blossom and it's like  this whole idea of being able to explore worlds   as you're making games it's an  intensely intensely exciting thing oh for me uh the joy of discovery is watching  what everyone else brings to the table the stories   and factions and units people put together out of  their own bricks is so much more than you can get   from a character sheet or a store-bought mini that  you painted right these are creations that people   have built every single piece of them right it's  like construction brakes are so atomic like every   single piece of that army had to come from your  hands because they aren't pre-made every little   part that you put in can become critical of the  story in the way you never expected like including   the flowers or you put an extra brick here that  you didn't mean to or there's a painting on the   wall that somebody takes down and hits you with  that's really where the joy of exploration is   for me is is seeing how these things you've  invested so much precious time into like   uh precious in the sense of like every single  little piece of it is something that you   invested time into it all of it could be  important in a way you don't realize yet   every level design that i do will start with  uh some kind of concept that i've got in my   head and then i'll begin to build it just like  rough shapes and stuff you know maybe i want to   go straight ahead or maybe i want to climb a  thing in a spiral maybe or whatever but then   i find that when i'm playing those uh iterations  i'll be navigating this like half finish level   and then i'll kind of be running a long path turn  a corner and then something will catch my eye for   some reason i'll think oh that that kind of caught  my eye so there's obviously something about the   shape and the design that's that's leading  me there i'm kind of playing at this stage   and thinking like all right let's go back around  the corner run around again and let's think like   what would look good over there you know um and so  i'll kind of pretend to run around and see like oh   look that's a nice thing that i just found even  though there's nothing there and then i'll kind   of go back into the editor and then i'll start  i'll build something into that little nook there   we do think about that in other ways as well as in  terms of the key objects you see in a level that   the weenies or whatever they're called  that where you you're basically thinking   that's something that's uh significant i need  to get to that point and you can see that right   from the start or whether it's something as  simple as just a placement of a collectible   or a set of collectibles that are a cue for you  to think oh there's a line of collectibles there   there must be some kind of platform there for me  to get up and get to that and then that's like oh   how am i going to get there and that question  is put in your mind just by the positioning of   three small objects maybe i think as well like  breath of the wild is such a good example of   that i've not worked on anything that big that's  such a huge open world game but it's just like uh   that's the game right it's  like a master class in that   uh and i am amazed that they pulled that off  on essentially like their first open world game   and nailed it i remember playing mario odyssey  and breath of the wild at quite similar times   you know both of them are like 10 out of 10  games i was playing through mario and i was like   the design here is amazing level design is so good  and then i went to breath of the wild and it was   almost like next level because it made me forget  about the design and i think that's what stood out   about breath of the wild to making it to other  um open world games is like in other ones maybe   you might open up the map and it tells you where  to go whereas in breath of the wild they really   encourage you to look in the world and highlight  something in the world not just on the map but   look at that special structure over there mountain  hill whatever put a point on it and then draws   it on your map so it's like even just through  that you're engaging with the world the way to   encourage that is simply to reward it you know to  to be able to to to reward the player with a with   a sense of wonder was a surprise when they do  feel that around every corner or around every   button press or exploration of the the menu or a  combat system there might be something unexpected   that's something that would uh allow them to push  themselves to to to try to be eager and find out   what's on the other side when i am playing a game  and then discover something new that i can do   or some new piece of information about the world  usually in roundabout ways that that's sort of the   most interesting for me you know hearing something  as exposition is often less interesting than   discovering something for yourself the the feeling  of discovery in a game is very cool because it's   unique to the medium in a lot of ways it you  know reinforces the feeling of player agency is   something that can be pretty rewarding if done in  a careful way you have to look at a place and know   we want to go to this place those days when  ran and i here were sitting in his trailer   like on the outskirts of spokane and we're like  designing mist it was all very um impulsive   just sort of like scratching out ideas take for  example the ship embedded into the stone i started   sketching that out and both of us knew there's  something magical and weird and interesting about   that it wasn't a lot of discussion around  that we just like we knew we wanted to go there you

Channel: Field of View: The Art of Game Design

Views: 63,216

Keywords: video games, game design, rand miller, robyn miller, darren korb, chris sutherland, hamish lockwood, mike rawyhawk, kan gao, myst, riven, yooka laylee, brikwars, to the moon, video game design, game developer interview, game design theory, game development, hades game, video game analysis, video game development principles, principles of game design, video game design principles, game design principles, field of view

Id: pF2LGYVRCwI

Length: 39min 47sec (2387 seconds)

Published: Sun Nov 22 2020