The Battle of Game Directors in Creating Good Games: Exploring Fun and Trade-offs

The Battle of Game Directors in Creating Good Games: Exploring Fun and Trade-offs

Creating a good game is no easy feat. It requires the game director to navigate the delicate balance between exploring fun elements and managing uncertainties. But how does one know if their game is truly successful? And even if it becomes a hit, what should they think about next? The truth is, almost every production requires some level of redoing. The easiest way to alleviate anxieties is to embrace being controlled.

Contrary to the common image of game directors as individuals who engage in discussions and make decisions based on specifications, the reality is that they constantly make detailed plans that tend to have a 30% to 70% failure rate. They then proceed to determine their next steps based on these failures. Being a game director means constantly battling uncertainties and making decisions that are far from certain. They must always project an image of success to reassure their team members while leading them through the foggy marshlands. It truly feels like navigating through a battlefield, where failure of a plan can lead to doubts about the director's competence and whether following them is the right choice.

It is no secret that the Japanese tend to be more prone to anxiety compared to other nationalities. This may explain why they have a particular fondness for cute things as a means to escape from their anxieties. On the other hand, Westerners may not seek cuteness as much because they do not experience the same level of anxiety. This understanding of cultural differences sheds light on why the concept of cuteness plays a significant role in Japan.

The MDA framework, which divides the essence of games into three stages - Mechanics, Dynamics, and Aesthetics - serves as a means to evaluate, analyze, and research game design by providing a linguistic and modeling approach. To make a game truly enjoyable, one needs to be prepared for numerous iterations. However, excessive iterations can lead to instability within the team and result in the collapse of the project. The essence lies in how quickly and how frequently one can approach the core of fun. But what if, in the middle of the process, you stumble upon an idea that promises great potential but renders previously ordered designs unusable? How should you proceed? Should you discard the invention or abandon the design (along with the allocated budget and schedule)? These are the judgments that a game director must sometimes make. But what would the ordering designers or outsourced members think of these decisions? There is no perfect answer that can satisfy everyone.

Even Disney and Pixar, despite their reputation for being smart and efficient, have their own flawed methods that could potentially blow away entire projects. In the world of game development, one cannot simply avoid these challenges if they wish to create a good game. The better the game, the higher the proportion of discarded content, reaching rates as high as 95% to 60%. Relying on false information for product development leads to an inability to approach the essence, which ultimately results in failure. Therefore, it is crucial to confront reality as a team rather than resorting to deception. This necessitates the creation of a tough team that can collectively assess goals and realities.

Understanding the difference between customer-centric and user-centered design is essential for any design company. Rather than rushing to provide solutions, it is crucial to first focus on the needs of the users and delve deeply into their challenges. By doing so, one can create the optimal product. It is important to note that user feedback is merely an analysis of their own experiences. If one truly wants to prioritize the customer, it is vital to capture the underlying needs behind their statements. This is the essence of design thinking and it leads to innovative results that surpass the users' imagination.

In conclusion, the battle of game directors in creating good games revolves around the exploration of fun elements and the management of uncertainties. It requires embracing being controlled, confronting anxieties, and making decisions that may not have a guaranteed outcome. Cultural differences and the understanding of anxiety play a significant role in game development. The MDA framework provides a means to evaluate, analyze, and research game design. It highlights the importance of quickly approaching the core of fun without compromising the stability of the team. Creating a good game often involves discarding a significant amount of content, and relying on false information only leads to failure. To succeed, it is crucial to confront reality as a team. The understanding of the difference between customer-centric and user-centered design is essential for any design company, as it allows for the creation of innovative and customer-focused products.