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Game design, a subset of game development, is the process of designing the content and rules of a game in the pre-production stage^[1] and design of gameplay, environment, storyline, and characters during production stage. The term is also used to describe both the game design embodied in a game as well as documentation that describes such a design.^{[citation needed]} Game design requires artistic and technical competence as well as writing skills.^[2]

History[link]

Early in video game history, game designers were lead programmer and often the only programmers for a game, and this remained true as the video game industry expanded in the 1970s. This person also sometimes comprised the entire art team. This is the case of such noted designers as Sid Meier, John Romero, Chris Sawyer and Will Wright. A notable exception to this policy was Coleco, which from its very start separated the function of design and programming.^{[citation needed]}

As games became more complex and computers and consoles became more powerful, the job of the game designer became separate from the lead programmer. Soon game complexity demanded team members focused on game design. Many early veterans chose the game design path eschewing programming and delegating those tasks to others.^{[citation needed]}

With very complex games, such as MMORPGs, or a big budget action or sports title, designers may number in the dozens. In these cases, there are generally one or two principal designers and many junior designers who specify subsets or subsystems of the game. In larger companies like Electronic Arts, each aspect of the game (control, level design) may have a separate producer, lead designer and several general designers.^{[citation needed]}

Overview[link]

Game design starts with an idea,^[3][4][5][6] often a modification on an existing concept.^[3][7] The game idea may fall within one or several genres. Designers often experiment with mixing genres.^[8][9] The game designer usually produces an initial game proposal document containing the concept, gameplay, feature list, setting and story, target audience, requirements and schedule, staff and budget estimates.^[10]

Many decisions are made during the course of a game's development about the game's design; it is the responsibility of the designer to decide which elements will be implemented, based on, for example, consistency with the game's vision, budget or hardware limitations.^[11] Design changes may have a significant positive or negative impact on required resources.^[12]

The designer may use scripting languages to implement and preview design ideas without necessarily modifying the game's codebase.^[13][14]

A game designer often plays video games and demos to follow the game market development.^[15]

It is common for the game designer's name to misleadingly be given an undue amount of association to the game, neglecting the rest of the development team.^[16]

Funding game publishers must be taken into account, who may have specific expectations from a game^[17] as most video games are market-driven — developed to sell for profit.^[18] However, if financial issues do not influence designer's decisions, the game becomes design- or designer-driven; few games are designed this way because of lack of funding.^[19] Alternatively, a game may be technology-driven, such as Quake (1996),^[20] to show off a particular hardware achievement or to market the game engine.^[20] Finally, rarely a game may be art-driven, such as Myst (1993),^[21] mainly to show off impressive visuals designed by artists.^[21]

In The Study of Games, Brian Sutton-Smith writes:

Game designer[link]

A game designer is a person who designs gameplay, conceiving and designing the rules and structure of a game.^[22][23][24] Many designers start their career in testing departments, where mistakes by others can be seen first-hand.^[25]

• Lead designer coordinates the work of other designers and is the main visionary of the game.^[26][27] Lead designer ensures team communication, makes large design decisions, and presents design outside of the team.^[28] Often the lead designer is technically and artistically astute.^[29] Keeping well-presented documentation also falls within the lead designer responsibilities.^[30] Lead designer may be the founder of a game development company or may be sent by the publisher, if the game's concept is provided by the publisher.^[27]

• Game mechanics designer or systems designer designs and balances the game's rules.^[27]

• Level designer or environment designer is a position becoming prominent in the recent years.^[16] Level designer is the person responsible for creating game environment, levels, and missions.^{[31][32][33][34]}

• Writer is a person often employed part-time to conceive game's narrative, dialogue, commentary, cutscene narrative, journals, video game packaging content, hint system, etc.^{[35][36][37][38]} It is the responsibility of the writer to collaborate with primary designers^[38][39] to seamlessly place this content into the game, creating immersion, avoiding repetition, providing feedback, etc.^[40] Writing for games involves a different set of skills from those for traditional works, such as novels or screenplays, as the writer must collaborate with the other designers during the writing process.^[38]

Compensation[link]

The examples and perspective in this section deal primarily with North America and do not represent a worldwide view of the subject. Please improve this article and discuss the issue on the talk page. (January 2011)

In 2010, a game designer with more than six years of experience earned an average of US$65,000, $54,000 with three to six years of experience and $44,000 with less than 3 years of experience. Lead designers earned $75,000 with three to six years of experience and $95,000 with more than six years of experience.^[41]

Disciplines[link]

This section requires expansion.

World design[link]

World design is the creation of a backstory, setting, and theme for the game; often done by a lead designer.^[42]

System design[link]

System design is the creation of game rules and underlying mathematical patterns.^[42]

Content design[link]

Content design is the creation of characters, items, puzzles, and missions.^[42]

Game writing[link]

Game writing involves writing dialogue, text, and story.^[42]

Level design[link]

Level design is the construction of world levels and its features.^{[31][32][33][42]}

User interface design[link]

User interface designer constructs the user interactions and feedback interface, like menus or heads-up displays.^[42]

Game elements[link]

Narrative[link]

Numerous games have narrative elements which give a context to an event in a game, make the activity of playing it less abstract and enhance its entertainment value, although narrative elements are not always clearly present or present at all. The original version of Tetris is an example of a game apparently without narrative. It should be noted that some^[who?] narratologists claim that all games have a narrative element. Some go further and claim that games are essentially a form of narrative. Narrative in practice can be the starting point for the development of a game, or alternatively can be added to a design that started as a set of game mechanics.^{[citation needed]}

Gameplay[link]

Gameplay is a commonly used term used to describe the interactive aspects of video game design. Gameplay involves player interaction with the game, usually for the purpose of entertainment, education or training.

Design process[link]

The design process varies from designer to designer and companies have different formal procedures and philosophies.^[43]

The typical "textbook" approach is to start with a concept or a previously completed game and from there create a game design document.^{[citation needed]} This document is intended to map out the complete game design and acts as a central resource for the development team. This document should ideally be updated as the game evolves throughout the production process.

Designers are frequently expected to adapt to multiple roles of widely varying nature: For example, concept prototyping can be assisted with the use of pre-existing engines and tools like Game Maker. Level designs might be done first on paper and again for the game engine using a 3D modelling tool. Scripting languages are used for many elements—AI, cutscenes, GUI, environmental processes, and many other behaviours and effects—that designers would want to tune without a programmer's assistance. Setting, story and character concepts require a research and writing process. Designers may oversee focus testing, write up art and audio asset lists, and write game documentation. In addition to the skillset, designers are ideally clear communicators with attention to detail and ability to delegate responsibilities appropriately.^{[citation needed]}

Design approval^{[clarification needed]} in the commercial setting is a continuous process from the earliest stages until the game ships:

When a new project is being discussed (either internally, or as a result of dialogue with potential publishers), the designer may be asked to write a sell-sheet of short concepts, followed by a one or two-page pitch of specific features, audience, platform, and other details. Designers will first meet with leads in other departments to establish agreement on the feasibility of the game given the available time, scope, and budget. If the pitch is approved, early milestones focus on the creation of a fleshed-out design document. Some developers advocate a prototyping phase before the design document is written to experiment with new ideas before they become part of the design.^{[original research?]}

As production progresses, designers are asked to make frequent decisions about elements missing from the design. The consequences of these decisions are hard to predict and often can only be determined after creating the full implementation. These are referred to as the unknowns of the design, and the faster they are uncovered, the less risk the team faces later in the production process. Outside factors such as budget cuts or changes in milestone expectations also result in cuts to the design, and while overly large cuts can take the heart out of a project, cuts can also result in a streamlined design with only the essential features, polished well.^{[original research?]}

Towards the end of production, designers take the brunt of responsibility for ensuring that the gameplay remains at a uniform standard throughout the game, even in very long games. This task is made more difficult under "crunch" conditions, as the entire team may begin to lose sight of the core gameplay once pressured to hit a date for a finished and bug-free game.^{[original research?]}

See also[link]

• Game development
• List of video game designers
• Video game genres
• List of video gaming topics
• Future Play, international academic conference that focuses on the future of video game design and technology.
• List of books about video games
• First playable demo
• Field of view in video games

References[link]

This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (May 2011)

• Adams, Ernest; Rollings, Andrew (2003). Andrew Rollings and Ernest Adams on game design. New Riders Publishing. ISBN 1-59273-001-9. 
• Bates, Bob (2004). Game Design (2nd ed.). Thomson Course Technology. ISBN 1-59200-493-8. 
• Bethke, Erik (2003). Game development and production. Texas: Wordware Publishing, Inc.. ISBN 1-55622-951-8. 
• Brathwaite, Brenda; Schreiber, Ian (2009). Challenges for Game Designers. Charles River Media. ISBN 1-58450-580-X. 
• Moore, Michael E.; Novak, Jeannie (2010). Game Industry Career Guide. Delmar: Cengage Learning. ISBN 978-1-4283-7647-2. 
• Oxland, Kevin (2004). Gameplay and design. Addison Wesley. ISBN 0-321-20467-0. 
• Salen, Katie; Zimmerman, Eric (2003). Rules of Play: Game Design Fundamentals. MIT Press. ISBN 0-262-24045-9. 
• Shahrani, Sam (April 25, 2006). "Educational Feature: A History and Analysis of Level Design in 3D Computer Games". Archived from the original on 2009-04-22. http://web.archive.org/web/20090422170131/http://gamasutra.com/features/20060425/shahrani_01.shtml. Retrieved 29 March 2010. 
• Rules of Play, a book on game design by Eric Zimmerman and Katie Salen
• Swords & Circuitry: A Designer's Guide to Computer Role-Playing Games by Neal Hallford and Jana Hallford
• The Game Design Reader, about game design and criticism by Eric Zimmerman and Katie Salen

External links[link]

Wikiversity has learning materials about School:Game design

• Game design veteran Tom Sloper's game biz advice, including lessons on game design
• ACM Queue article "Game Development: Harder Than You Think" by Jonathan Blow
• The Art of Computer Game Design by Chris Crawford
• Game design at the Open Directory Project
• Example Game Design Document by Chris Taylor
• "So You Wanna Be a Game Designer" at GameSpot
• The Designer at Eurocom

Newsgroups[link]

• comp.games.development.design via Google Groups
• rec.games.design via Google Groups

Raph Koster
Raph Koster at the Web 2.0 Conference in 2005
Born	(1971-09-07) September 7, 1971 (age 40) Long Island, New York
Occupation	Game designer
Spouse	Kristen Koster (m. 1992) «start: (1992)»"Marriage: Kristen Koster to Raph Koster" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Raph_Koster)
Children	Elena Koster David Koster

Raphael "Raph" Koster (born 7 September 1971) is an American entrepreneur, game designer, and author of A Theory of Fun for Game Design. Koster is widely recognized for his work as the lead designer of Ultima Online^[1] and the creative director behind Star Wars Galaxies.^[2] Since July 2006, he has been working as the founder and president of Metaplace (previously operating as Areae and acquired by social gaming company Playdom in 2010) producing an upcoming platform for online games also called Metaplace.

Biography[link]

Koster attended Washington College in Chestertown, Maryland, receiving a Bachelor's degree in English (Creative Writing) and Spanish in 1992. The same year he became involved with MUDs as a developer of Worlds of Carnage, then in 1994 moved on to become implementor of LegendMUD, where he was known as Ptah.^[3][4] He also played MUME for a time. On 10 May 1992, he married Kristen^[5] who would later work alongside him at Origin Systems as a game designer.

In 1995, he received a Master of Fine Arts in Poetry from the University of Alabama in Tuscaloosa, Alabama, and joined Origin Systems as the lead designer of Ultima Online. Koster was also the lead designer of Ultima Online: The Second Age, Ultima Online Live, and an unannounced and cancelled title until 2000, when he joined Verant Interactive in Austin as the creative director of Star Wars Galaxies.

Promoted to chief creative officer in 2003, he relocated to Sony Online Entertainment in San Diego where he spent three years primarily responsible for business development. In March 2006, Koster left the company to pursue other opportunities. As of July 2, he is currently working on "something indie ... something that is [hopefully] disruptive and different and not games as usual." [1] This venture was revealed as Areae on 2006-12-15. [2]

Koster is a charter member of the Academy of Interactive Arts and Sciences, and a member of the IGDA, ASCAP, and Omicron Delta Kappa. He is also a frequent speaker at game industry conferences such as the GDC,^[2] DICE, State of Play, and E3. He presently lives in San Diego, California with his wife, daughter, and son.

Credits[link]

Games[link]

• LegendMUD (emeritus implementor, 1994)
• Ultima Online (lead designer; Origin Systems 1997)
• Ultima Online: The Second Age (lead designer; Origin Systems 1998)
• Star Wars Galaxies: An Empire Divided (creative director; Verant Interactive 2003)
  • Star Wars Galaxies: Jump to Lightspeed (creative consultant; Sony Online Entertainment 2004)
  • Star Wars Galaxies: The Total Experience (creative consultant; Sony Online Entertainment 2005)
• EverQuest II (chief creative officer; Sony Online Entertainment 2004)
  • EverQuest II: Desert of Flames (chief creative officer; Sony Online Entertainment 2005)
  • EverQuest II: Kingdom of Sky (chief creative officer; Sony Online Entertainment 2005)
• Untold Legends: Brotherhood of the Blade (chief creative officer and editor; Sony Online Entertainment 2005)
• GripShift (chief creative officer; Sony Online Entertainment 2005)
• Frantix (chief creative officer; Sony Online Entertainment 2005)
• Champions: Return to Arms (chief creative officer; Sony Online Entertainment 2005)
• Field Commander (chief creative officer; Sony Online Entertainment 2006)

Discography[link]

• After the Flood (1999)

Writing[link]

• A Theory of Fun for Game Design — Foreword by Will Wright (ISBN 1-932111-97-2)
• "Declaring the Rights of Avatars"
• A Story About A Tree, (May 1998), revolving around the Karyn incident
• "The Laws of Online World Design" (GDC 1999 presentation)
• Koster, Raph. "Geek Fun Isn't Frivolous; Alien Swarms of Thundering, Flashing Games Hit Town This Week. They're Here to Make Us Smarter." Los Angeles Times 15 May 2005, sec. M1.
• "As Seen In Modern Lair" (October 2007)

Awards[link]

• Hot 100 (Next Generation 2006)
• 100 Greatest Developers (Game Informer 2006)

References[link]

External links[link]

Wikimedia Commons has media related to: Raph Koster

• Raph Koster's Website
• Areae, Inc.
• A Theory of Fun for Game Design official website
• MobyGames Biography
• "Raph Koster Leaves Sony Online Entertainment" (Gamasutra)

Interviews[link]

• Pham, Alex. "Game Design; Building a Community--Even a Virtual One--Takes Work." Los Angeles Times 6 Sept. 2001, sec. T5.
• Interview: December 21, 2006 (Amber Night)
• Interview: December 25, 2006 (Stratics)
• Interview: March 22, 2006 (Game Studies)
• Interview: July 25, 2006 (The Escapist)
• Interview: March 10, 2007 (GameZombie.tv)
• Interview: October 11th, 2007 (The MMO Gamer)

In the news[link]

• BBC: Virtual worlds opened up to all (September 19, 2007)

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (June 2009)

Steve Masters is an American radio and club DJ. He was an MTV VJ in 1991,^[1] and has worked for radio stations such as "Live 105" San Francisco and Channel 104.9 San Jose.^[2][3] He has also been in a band with his brother, Neighborhood Dilemma, and started his own record label, Tripindicular Records. Masters arrived at KITS a few years prior to the station's flip in 1986 from hits to modern rock. He hosted the night show and became very popular^{[citation needed]} in the Bay Area before leaving in 1995 for work in the music industry at an MCA label.

During his time at Live 105 Masters advanced in the programming department, working with Richard Sands, as the team crafted the station's most successful Arbitron ratings period, as Live 105 was consistently one of the top ranked stations in the 18-34 demographics, as documented in Radio & Records and Billboard.^{[citation needed]} Masters is credited by music industry professionals as finding several songs for his new music show "Transmitter Adjustments" that went on to become national hits in the Alternative radio format.^{[citation needed]} One example is "Creep" by Radiohead in 1993.^{[citation needed]}

Masters has resurfaced on Bay Area radio over the years and has continued to craft radio promotions. Today Steve Masters is regarded as a Bay Area radio legend^{[citation needed]}, due to the extraordinary number of artists he helped gain airplay at Live 105 in the 1980s and 1990s. Now Steve Masters is heard on 73^[4] radio stations across America on a feature called GottGame, a program he created^[5] which updates listeners on developments in the video game industry. Masters is also Editor in Chief of the show's web site.

External links[link]

• Official site
• Biography
• GotGame

References[link]

Warren Evan Spector
Spector at the November 30, 2010 release party for Epic Mickey at the Times Square Disney Store in Manhattan.
Born	(1955-10-02) October 2, 1955 (age 56)
Occupation	Video game designer
Spouse	Caroline L. Spector (née Skelley) (1987–present)

Warren Spector (born October 2, 1955)^[1] is a role-playing game designer and a video game designer. He is known for having worked to merge elements of role-playing video games and first-person shooters. He currently resides in Austin, Texas with his wife, fantasy writer Caroline L. Spector. He is best known for the cyberpunk video games System Shock and Deus Ex.

Early life[link]

Spector grew up in Manhattan, which he described as a sometimes hostile environment where “short, pudgy, Jewish kids didn’t fare well.”^[1] He showed an intense devotion to whatever topic became his obsession at any given time, from dinosaurs and airplanes as a small boy, to an interest in law by the sixth grade. At age 13, Spector had decided he wanted to be a film critic, and by high school, his obsessions expanded to include cars and basketball.^[1]

Education[link]

Spector attended Northwestern University in Illinois, still intending to become a film critic, stating that he “knew more about movies than a lot of my teachers.” Spector earned his BSc in Communications at Northwestern, and went on to earn his MA in Radio-TV-Film at the University of Texas in Austin in 1980.^[1] His thesis was a critical history of Warner Bros. cartoons.^[2]

All through college, Spector enjoyed gaming, and “played Avalon Hill games mainly, and a lot of OGRE and G.E.V. games, and Rivets from Metagaming. It was all boardgames until I became friends with science-fiction writers who were into D&D games, so I gave the game a try. I was hooked.”^[1] Spector taught several undergraduate classes at the University of Texas at Austin, on the history, theory, and criticism of film.^[1]

Career[link]

In 1983, after a job at the Harry Ransom Center as an archivist in charge of the David O. Selznick collection ended after a few months, Spector “was sitting around, wondering how I was going to pay the next month’s rent, when I got a call from Chris Frink. He was a writer for a weekly entertainment magazine I used to edit in college. Anyway, he said that he was now editor of Space Gamer magazine and asked if I wanted a job. So, in the fall of 1983, I started as an editor.”^[1] Within a short time, Spector became the editor-in-chief for all Steve Jackson Games products, the company that owned and published Space Gamer magazine. Spector began producing role-playing games for the company, stating, “I supervised game development, typesetting, and the art and graphic departments.”^[1] Most notably, he developed Toon with colleague and high school buddy Greg Costikyan. In March 1987 he was hired by TSR, initially working on games such as Top Secret/S.I. and the Marvel Super Heroes role-playing game.^[1] Spector spent some time in TSR's R&D department, helping launch, among other things, Spelljammer.

Subsequently he entered the computer game industry worked with Origin Systems and Looking Glass Studios. He worked on games including Ultima Underworld I and II, System Shock, and worked briefly on Dark Camelot, which later became Thief: The Dark Project. Later he founded Ion Storm Inc.'s Austin branch, which went on to develop Deus Ex, Deus Ex: Invisible War, and Thief: Deadly Shadows before being closed by owners Eidos Interactive in February 2005.^[3]

In 2004, Spector left Ion Storm to "pursue personal interests outside the company".^[4] In 2005, it was announced that he had established a new studio Junction Point Studios,^[5] where he is working on an unspecified game. A job advertisement for the studio called for artists for a game that has "classic Hollywood cartoons" featuring "cartoon mice, cats and wabbits". On July 13, 2007, it was announced that Disney Interactive had acquired Junction Point Studios.^[6] His first project with Disney Interactive is a project involving classic Disney characters, titled Epic Mickey. The game has been confirmed to be a Steampunk title and designed exclusively for the Wii;^[7] the game was released in 2010. Spector has contributed a great deal to video game theory, and constantly promotes the importance of proper execution of ideas in video games.^[8]

Personal life[link]

Warren met Caroline Chase in 1984 at a comic book store in Austin, Texas, where she was employed. Caroline got a job at Steve Jackson Games shortly afterwards, and shortly after that, the two began a romance. Warren and Caroline were married on April 11, 1987. He and Caroline sometimes worked together, such as on game supplements for the Marvel Super Heroes role-playing game.^[1]

Cameo appearances[link]

Warren Spector appears in many of the games which he helped design. In Worlds of Ultima: The Savage Empire and Ultima: Worlds of Adventure 2: Martian Dreams he appears as the scientist Johann Schliemann Spector, known by the locals in Savage Empire by the alias Zipactriotl. In Ultima VII Part Two: Serpent Isle he appears as the corrupt treasurer Spektor. In the first Ultima Underworld title, he appears as "an upset specter named Warren". In System Shock he voices one of the log files. In Deus Ex, the face of the character Ford Schick was modelled after him; in addition, "iamwarren" is one of the game's cheats (it causes electronic devices in the player's vicinity to malfunction spectacularly, a joke by the development team).

Credits[link]

Video games[link]

Spector in 2006

• Wing Commander (1990), ORIGIN Systems
• Wing Commander: The Secret Missions (1990), ORIGIN Systems
• Ultima VI: The False Prophet (1990), ORIGIN Systems
• Bad Blood (1990), ORIGIN Systems
• Wing Commander II: Vengeance of the Kilrathi (1991), ORIGIN Systems
• Wing Commander: The Secret Missions 2 - Crusade (1991), ORIGIN Systems
• Ultima: Worlds of Adventure 2: Martian Dreams (1991), ORIGIN Systems
• Ultima Underworld: The Stygian Abyss (1992), ORIGIN Systems
• Shadowcaster (1993), ORIGIN Systems (Uncredited)^[9]
• Ultima Underworld II: Labyrinth of Worlds (1993), ORIGIN Systems
• Wing Commander: Privateer - Righteous Fire (1993), ORIGIN Systems
• Ultima VII Part Two: Serpent Isle (1993), ORIGIN Systems
• Ultima VII, Part Two: The Silver Seed (1993), Electronic Arts
• Wings of Glory (1993), Electronic Arts
• System Shock (1994), Looking Glass Technologies
• CyberMage: Darklight Awakening (1995), ORIGIN Systems
• Crusader: No Remorse (1995), ORIGIN Systems
• Thief: The Dark Project (1998), Looking Glass Studios
• Deus Ex (2000), Ion Storm Austin
• Deus Ex: Invisible War (2003), Ion Storm Austin
• Thief: Deadly Shadows (2004), Ion Storm Austin
• Epic Mickey (2010), Disney Interactive Studios
• Epic Mickey 2: The Power of Two (2012), Disney Interactive Studios

Spector is usually credited as a producer, except for Deus Ex on which he is also credited as project director.

Role-playing games[link]

• Toon – Developer (1984), Steve Jackson Games
• Bullwinkle and Rocky Role-Playing Party Game – Editor (1988), TSR, Inc.
• Uncanny X-Men Boxed Set – Editor (1990), TSR, Inc.

Novels[link]

• Double Agent: Royal Pain/The Hollow Earth Affair by Richard Merwin/Warren Spector ISBN 0-88038-551-0

Comics[link]

• DuckTales- Boom! Studios - (2011)

References[link]

External links[link]

Wikimedia Commons has media related to: Warren Spector

• Junction Point Studios developer blog (usually Warren Spector, but sometimes other team members)
• Junction Point Studios, Inc. official website
• Warren Spector at MobyGames
• Warren Spector at the Internet Movie Database
• Spector is interviewed on a variety of game industry related topics
• Spector on Grand Theft Auto and video game violence
• Interview with Warren Spector about Ultima VII: Serpents Isle
• Interview at EuroGamer