This post outlines an approach to game design that focuses on human values underpinning gameplay, and how to use them to craft meaningful conflict, fostering emergent storytelling.
Each week I compile a gaming industry insights newsletter that I share with other Rioters, including Riot’s senior leadership. This edition is the public version that I publish broadly every week as well. Opinions are mine.
An in-depth review of making user stories as one of the main game developer tools.
Game composer Winifred Phillips presents an annual resource list for game composers. Included: game music concert tours for inspiration, communities and forums for advice, popular software tools, and conferences/academia resources for advanced learning.
Increasing number of games include progression trees in their core gameplay experience. The question is how to compute the values associated with each threshold. There exist three techniques. Let’s review them and assess their pros and cons.
In part 2 of my series on The Division, I explain how the online systems manage the AI characters in-game.
Ever wonder how to make a game 'feel good' without adding anything that changes gameplay? Slime Road does just that with some very simple strategies.
Here are four lessons I learned while working on my latest game project, La Rana. La Rana is a game developed by fourteen graduate students at SMU Guildhall.
I've quit playing my favourite free-to-play game after 3 years of daily play. Why? Do I regret it? How does it feel to leave a game that I've played so much?
An examination of the player motivations that are present within Rockstar's Red Dead Redemption 2.
Constantly challenging dungeons to make characters stronger in Phantom Brave could easily become tedious and boring, but the use of positive and negative feedback loops help keep gameplay interesting.
Here are four important lessons I learned about being a producer on a 55 person team.
