I’m Harrison. I entered the game industry in 2008 at the boutique game studio Thrust Interactive in Atlanta, GA. My time was spent designing educational games for kids (as well as social games, adver-games and other client-based services).
In 2011 I moved to San Rafael, CA and joined Telltale Games as a game designer, working on the acclaimed The Walking Dead Game, winner of over 90 Game of the Year awards. I was also lucky enough to work on the DLC episode 400 Days as well as Season Two of The Walking Dead Game.
I co-created and led the initial concept design for Tales from the Borderlands, which released its first episode in November, 2014. One of the best parts of that process is being lucky enough to see so much fan art and great cosplay work done by fans of characters I had a hand in creating.
In December 2014 I joined Hangar 13 (an internal 2K Games studio) in Novato, CA as a designer working on Mafia 3.
I hold a BFA in Interactive Design and Game Development (with additional Minors in Animation and Film & Television) from the Savannah College of Art & Design.
In my spare time, I continue designing games both digital and analog, including a board game designed to encourage improvisational storytelling in groups. I also cosplay on the side (everyone needs a hands-on hobby).
For more information or speaking arrangements, please email firstname.lastname@example.org or find me on Twitter @ColonialPink. You can follow my design thoughts at blog.harrisonpink.com.
In Part Two of my series on getting into the game industry, I discuss the difficulties of breaking in, provide specific suggestions for getting past them and reveal some embarrassingly bad work from my past!
In Part One of a two part series on getting into the game industry, I describe my own personal path into games, as well as clear up some common misconceptions about being a professional game designer.
I think the Theme vs. Mechanics discussion is fallacious. I believe itís missing an incredibly important third piece that changes the relationship between the two: Feeling.
Lessons I've learned from teaching kids for almost a decade and designing games for them for a shorter period.
A reply to the argument that game designers should focus on engagement over elegance while designing.
A case study on the scoring system of Hitman: Absolution, and why I believe it serves to confuse a player's internal motivations
[News - 02/17/2017 - 05:55]
Thanks for your interesting comments ...
Thanks for your interesting comments I think it 's important to remember that I 'm not advocating that every game needs more story to make it better. Or that more story always better. Chess is a game with almost no story at all, and it 's a fantastic game. What ...
[Blog - 03/03/2014 - 02:54]
Thanks for the feedback Luis ...
Thanks for the feedback Luis I decided that Dynamics was Theme and Aesthetics was Feeling for a specific reason. I don 't interpret Aesthetics in MDA to mean visual aesthetics but rather the overall effect the game has on the player which to me maps more closely to feeling. Dynamics, ...
[Blog - 06/10/2013 - 03:39]
[Blog - 04/03/2013 - 01:59]
Bart: Great suggestions What you ...
Bart: Great suggestions What you 're advocating is a strong sense of synergy between mechanics instead of completely new ones. Lead Designer of Magic: The Gathering Mark Rosewater wrote a brilliant article on synergy http://www.wizards.com/Magic/magazine/Article.aspx x mtg/daily/mm/236 r n r nKevin: I agree that the interface should essentially melt away ...