"In the beginning, There is the Designer"
The chapter begins by discussing
confidence and a lack of fear in the designer, in order to succeed within the
industry. Utilising a method of self motivation as one of the opening
paragraphs sets how the rest of the chapter will pan out, in an informal
method. I think that the point of self determination is shown best by 'Some of the greatest inventions have only
come from people who only succeeded because they were too dumb to know what
they were doing was impossible'. The chapter then continues prepare the reader
for a career in the games industry as a designer by making it clear that they
will fail in design. But it is shown that your faliures shoud be used a an
experiment for iterations and also to be as a tool in order to fuel the success
of becoming a designer. This sense of trial and error is pushed upon as a
necessary tool to become a successful games designer and I agree, learning from
mistakes and using these lessons at a later date in future projects is the only
way to progress as a better designer.
The chapter continues by listing multiple skillsthat are needed for a games designer. These skills vary from Animation to phycology, and history to Visual Arts. This list is broad and varied, with some obvious and yet others most would not associate with games design.
The following section within the chapter mentions the single most important skill that a Games designer requires: Listening. The chapter continues to mention this skill and engages the reader with a mention to how listening can be developed in a method of even deeper listening, utilising a story that involves body language and deeper meanings.
There are five types of listening, as stated in this chapter of the book and they are as follows:
The first is listening to the Team, ensuring that the team has a good spectrum of skills and opinions that can be mixed together in order to form a good team and create a good game.
The second is to listen to the Audience, they are the gamers who will be playing the game and therefore the ultimate goal of game design and making is to make the gamers happy.
The third is to listen to the Game, a more vague form of listening, this involves listening to how the game runs and deciding if it is ok or not; not disimilar to a mechanic and a car engine, to quote the book.
The fourth type is to listen to the Client, the moneybags, the provider, the sponsor, or pretty much the person paying for the game to be made. If the game is not what they want, when they want it they may choose to stop paying for the game.
The fifth and final type is to listen to your Self, this is an important type because it involves working within yourself, and discovering exactly what it is you want.
The chapter concludes with a talk about gifts. Gifts are split into two types, Innate and Major. The Innate gifts are natural talent in an action, such as piano or designing a game. The major gift is to love your line of work, and to enjoy what you are creating. What is the point of entering a long career line without any interest in the career itself? Without this love of the work you will never be able to use all of the minor skills you may possess to their full potential and then create good games.
The chapter continues by listing multiple skillsthat are needed for a games designer. These skills vary from Animation to phycology, and history to Visual Arts. This list is broad and varied, with some obvious and yet others most would not associate with games design.
The following section within the chapter mentions the single most important skill that a Games designer requires: Listening. The chapter continues to mention this skill and engages the reader with a mention to how listening can be developed in a method of even deeper listening, utilising a story that involves body language and deeper meanings.
There are five types of listening, as stated in this chapter of the book and they are as follows:
The first is listening to the Team, ensuring that the team has a good spectrum of skills and opinions that can be mixed together in order to form a good team and create a good game.
The second is to listen to the Audience, they are the gamers who will be playing the game and therefore the ultimate goal of game design and making is to make the gamers happy.
The third is to listen to the Game, a more vague form of listening, this involves listening to how the game runs and deciding if it is ok or not; not disimilar to a mechanic and a car engine, to quote the book.
The fourth type is to listen to the Client, the moneybags, the provider, the sponsor, or pretty much the person paying for the game to be made. If the game is not what they want, when they want it they may choose to stop paying for the game.
The fifth and final type is to listen to your Self, this is an important type because it involves working within yourself, and discovering exactly what it is you want.
The chapter concludes with a talk about gifts. Gifts are split into two types, Innate and Major. The Innate gifts are natural talent in an action, such as piano or designing a game. The major gift is to love your line of work, and to enjoy what you are creating. What is the point of entering a long career line without any interest in the career itself? Without this love of the work you will never be able to use all of the minor skills you may possess to their full potential and then create good games.
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