Most people think of a game designer as the guy sitting in front of a computer playing games all day. Although part of that is true, because most of the game designer’s day is spent debugging millions of problems, the game designer is found exploring life from one end of the world to the other. After listening to what other game designers have to say about the games we make, I learned about how fear and money can motivate a player through a one difficulty-only game, and I learned that we should start creating more in-depth characters all the way down to their movements and mannerisms as to be specific to what gender they are. I also learned that we are able to make tailored games for our audiences through crowd funding.
As an aspiring game designer, I find myself traveling and socializing more than I used to in high school. When I go talk to someone about my dream to design games for the younger generations, they instantly ask the stereotypical question, “Oh, you like to play games?” Of course, this is completely independent of me creating games, so I have to explain a little more about what I mean when I say, “design games.” After a quick conversation about who I am and where I have traveled to, my listener often talks about their experiences and relates them to the things I have done in my life; this creates the connection between us so they realize a game designer is not necessarily the stereotypical “gamer” they perceive us as.
My conversations usually start out with someone asking what kind of games I want to make and I tell them that I want to make “educational” and puzzle games. I want to redefine the way children play games in schools. Instead of the old flash card games, I want them experiencing a story to help teach them relevant content to their classes. Now, I know how I can motivate and encourage the stages of developing story with instilling a sense of unknown to the player (Papoutsis, 2013). That sense of unknown will engage the player (student in this case) and it will aid them in learning materials for the class they are taking.
Taking the motivation through fear a little further, I learned that the use of money motivates the player (Leydon, 2013) nearly the same amount as having the unknown. Looking back to the educational game, what would happen if the students could play them at home (as homework)? There is a bit of information the player needs to discover some test answers, and their parents must pay one dollar to get that information. Now, the student accomplished all of the tasks to get to the answer, and $1 USD unlocks the answer for them. Their parents are investing into their education (the money could go to the school for supplies and game development for the students), and the school is getting their teaching across to students.
In shedding some new light about game designers, I learned that not all game design has to be created on the computer. A game designer is only limited to their imagination and the development of new technologies proves this. If the designer was limited to making mechanics based on the games they play, motion capture characters would not exist in varieties of gender like they do now (Boch, 2013). I personally thank all of the people who question my field of study, and I challenge those people to question me until they are blue in the face. Once I run out of answers, I can research a little more and validate why the gaming industry can only grow from here.
Avellone, C. A. (2013). Crowdfunding [Web]. Retrieved from
Boch, M. B. (2013). Gender assumptions in mocap [Web]. Retrieved from
Hutchinson, A. H. (2013). No easy modes [Web]. Retrieved from
Leydon, G. L. (2013). Coin op vs free to play [Web]. Retrieved from
Papoutsis, S. P. (2013). Creating fear [Web]. Retrieved from