Gabriel Cornish

🕹️ Larian announcement: No Baldur’s Gate DLC or sequel

This made me happy.

Long-term, investing in owning and making games around your own IPs is better, even if it is riskier.

BG3 was a massive success. Players love Larian.

  • Now’s the time to take risks on new IPs.

Just stumbled on this quote and it got me thinking.

“No matter what the work you are doing, be always ready to drop it. And plan it, so as to be able to leave it.” ― Leo Tolstoy

I find myself sometimes clinging to things past the point where I should have let them go.

🧘I thought it would be good to formalize my mental health toolkit.

This process keeps me going:

  • Meditate every day for at least 10 minutes
  • Workout 20 minutes, 4 times a week
  • Create something for 20 minutes, 3 times per week

Total time required:

  • 30 minutes per day
  • 3.5 hours per week

I want to get back to doing my MS Paint doodles, so here’s todays.

Use This Simple Technique To Generate Gameplay Ideas Fast

The Problem

Have you ever tried to make a game about a theme like love?

It sounds simple, right?

But when you sit down to design it, you might find yourself stuck.

Where do you even start? There are so many ways to approach this theme. It’s like standing at a crossroads with hundreds of paths.

You could go in any direction, but how do you know which one is right?

This is a big challenge for game designers, both newbies and pros. It’s easy to get lost in the sea of ideas and end up not starting at all.

Why It Matters

Why is solving this problem important?

Well, having a clear process to turn any theme into a game concept is key. It helps you move faster in developing your game.

You waste less time thinking and more time actually creating. Plus, you start to get a feel for what ideas will work and what won’t right from the start.

Personal Experience

I’ve been there, stuck in the idea phase.

Once, during a game jam, I spent half of the 48 hours trying to decide on an idea.

When I finally picked one, I hardly had any time left to make the game. And I wasn’t alone in this struggle. After reading other developers' logs, I knew we needed a better way.

Verb Before Consequence

The solution is simple: “Verb Before Consequence”, or V.B.C.

This means you think of a gameplay idea as something the player must do (the verb) before something else happens (the consequence).

For example:

  • “Rescue the princess BEFORE the dragon eats her.”
  • “Stop the love of your life at the airport BEFORE they hop on a plane and leave forever.”
  • “Clean the whole house BEFORE your parents get home.”

These ideas have a few key things:

  • Drama: There’s a clear consequence and a ticking clock.
  • Interactivity: The player has a task they must do.
  • Clarity: You understand what the game is about.

Objections

Some might say this method is too simple to create a good game. But simplicity is powerful. The best games often have straightforward, engaging concepts.

For example:

  • Chess: Checkmate your opponent BEFORE they checkmate you
  • Super Mario Bros.: “Reach the end of the level BEFORE time runs out
  • Capture The Flag: Take the other team’s flag back to your base BEFORE they take yours
  • Basketball / Football / Soccer: Score the most amount of points BEFORE time runs out

You can dissect plenty of games and mechanics using this lens.

How to use the V.B.C. Technique

Whenever you need to come up with a gameplay concept, fill in the blanks, “Do (Verb) BEFORE (Consequence)."

Boom! You’ve got a solid concept to start designing your game.

By using this V.B.C. method, you’ll find yourself moving from idea to game development much faster.

It’s a straightforward, effective tool to unlock endless creative possibilities.

So, next time you’re stuck, remember: Verb Before Consequence.

Happy game designing!

Ask This One Question To Make Game Design 10x Easier

You know how tricky and complex game design can be.

In this journey filled with endless tasks and challenges, it’s easy to lose focus. But there’s one simple question that can make your life as a game designer much easier.

What’s the Big Question?

Here’s the most important question you should always ask:

“What problem are we trying to solve?”

Sounds simple, right?

But it’s often overlooked even with experienced developers. When you’re deep in game development, it’s easy to get lost in the details and forget the main goal.

Albert Einstein said, “If I were given one hour to save the planet, I would spend 59 minutes defining the problem and one minute resolving it.”

This quote highlights how crucial it is to know the problem before you jump into solutions.

Why This Question Matters

Game development is a journey filled with distractions.

As a game designer, your job is to solve problems for the player. But remember, not every problem needs solving.

It’s important to focus on the right ones. Asking “What problem are we solving?” brings clarity and focus.

The Benefits of Asking the Right Question

  1. Productivity: If you understand the problem, you can work more efficiently.

  2. Alignment: It ensures everyone on the team is on the same page. This minimizes miscommunication and conflicts.

  3. Time-saving: It saves hours of work. You don’t waste time on solving the wrong problems.

Why People Avoid Asking This Question

Some might think it’s a rude question, or fear it might get annoying if asked too often.

But the truth is, it’s a necessary step in effective problem-solving.

Personal Experience

I’ve been in design meetings where we debated solutions for hours! It never occurred to us that we didn’t even agree on the problem.

We spent hours in discussions and left with no clear direction. We could have avoided this by asking, “What problem are we solving?”

A Simple Framework

  1. Agree on the Problem: Always ensure everyone agrees on the problem.

  2. Clear Goal: At the start of meetings, state the problem you’re there to solve.

  3. Self-Reflection: If you’re on your own, ask yourself if you’re solving the right problem. Is it a problem worth solving to begin with?

Conclusion

In game development, it’s easy to get caught up in endless tasks.

By asking, “What problem are we solving?” you bring clarity and focus to your work.

This simple question is a powerful tool in your game design toolkit. Use it wisely, and watch your productivity and efficiency soar!

Receiving feedback made easy:

  1. Assume positive intent.
  2. Appreciate all feedback. Say thank you even if you don’t agree.
  3. Accept or discard, but always consider it deeply.

This simple process elevates your creations and builds collaborative relationships.

The #1 Skill in Game Design: Mastering Feedback

What’s the Big Deal with Feedback?

When you’re crafting a video game, it’s like you’re in a bubble.

You think your game is awesome, but will others feel the same?

The truth is, you can’t know if your game is a hit or a miss until players get their hands on it. That’s where feedback comes in, and trust me on this, it’s a game-changer!

Why Feedback is Your Superpower

Imagine feedback as a power tool in your game design toolbox. It’s not just about listening to what others say about your game. It’s about how you listen.

Taking feedback the right way can turn your good game into a legendary one. It will also improve your relationship with players and coworkers!

Ego, Be Gone!

First things first, you’ve got to ditch the ego. I’m serious.

Remember, your game isn’t about you – it’s for the players. When someone gives you feedback, they’re helping you, not attacking you.

Appreciation is key here.

Even if you don’t agree with what they’re saying, say thanks. It shows you value their opinion. They will be more likely to come to you again with feedback.

The Truth About Feedback

Here’s a secret: when someone tells you there’s a problem with your game, they’re usually right.

But if they give you a solution, be cautious. That’s your job to figure out.

Either way, be grateful you’re getting feedback. If someone’s not giving you feedback after you ask, it might mean they don’t believe you’ll receive it well. Yikes!

You want play testers to always feel comfortable being honest with you. That’s your responsibility.

Why Feedback Rocks

Learning to love feedback can do wonders.

The more feedback you get, the more you learn, and the better your game becomes.

It’s like having a secret weapon that keeps making your game cooler and cooler. Designers who know how to receive feedback will always produce a better game than those who don’t.

Common Worries About Feedback

Some people worry that showing their game too early might give a bad impression. Or worse, someone might steal their idea!

And sometimes, the feedback feels just… wrong. Like the player doesn’t ‘get’ your game. Or they’ll just tell you what you already know.

These are real worries, but don’t let them stop you from seeking it out anyway. The value you get from a good feedback process outweighs any of the costs.

It’s never too early to get feedback.

Look at how Slay the Spire looked when their designers started requesting feedback.

That game went on to become a smash hit!

My Story with Feedback

I didn’t always take feedback well.

In the beginning, I would get defensive or justify my design. I would blame the person for not “getting” my design.

This held me back as a game designer.

But when I started embracing feedback, everything changed. I went from a so-so designer to one of the best on my team! I got promotions and more opportunities within the studio.

People enjoyed working with me because I was open to their ideas. They felt comfortable coming to me with problems and I loved hearing their feedback.

It wasn’t always easy, but it was always worth it.

Feedback Made Easy: A Two-Step Process

Ready to become a feedback expert? Here’s how:

  1. Appreciate the Feedback: Say thanks, even if you don’t agree. It shows gratitude and encourages the other person to come back with more.

  2. Accept or Discard: You decide if the feedback works for your game. Give the feedback honest consideration before making a decision. (Pssst, you can keep this part a secret.)

The Bottom Line

Feedback isn’t just about making your game better. It’s about being a better designer, a better team player, and building trust with players.

When someone offers you feedback, remember, it’s not just advice. It’s your ticket to being a great game designer! 🌟🎮👾

Here is the key to compelling games!

It’s not just about mastering design techniques. Observe the behavior and emotions you enjoy in your favorite experiences.

How can you get the player to feel those too?

Thoughts are temporary. They come and go. We just need to let them pass through.

The Game Dev Practice That Changed Everything

I owe my entire game development career to a single practice: Learning to make games in 2 hours.

Why it matters:

  • We’re all busy, and it’s hard to find time to make games
  • The problem is you need to make a lot of games to build the skills necessary to make game development a lifelong career

There is no way around this. The experience gets you to where you want to go.

“You make good work by (among other things) making lots of work that isn’t very good, and gradually weeding out the parts that aren’t good, the parts that aren’t yours. It’s called feedback, and it’s the most direct route to learning about your own vision. It’s also called doing your work. After all, someone has to do your work, and you’re the closest person around.” - David Bayles.

Solution: The two-hour game jam is the best practice to develop and keep your skills sharp and growing. It will:

  • Help you develop your unique style and voice
  • Teach you how to wield your tools efficiently
  • Show you how to scope, finish, and ship
  • Force you to value process over outcome
  • And so much more…

None of this is new. People have been making games in a short time frame for a long time. Vlambeer, a successful independent game studio, was created by game jam culture. Jan Willem Nijman would regularly participate in 3-hour game jams. He even once made a game in 16 minutes.

That’s when I realized that design experience isn’t in the size of your games, or even in the scope of it - it’s in the number of projects you’ve been through. - Rami Ismail

The game developer who has made a hundred small games has a massive advantage over the designer who’s only ever worked on one big game.

The big benefit: This is a sustainable practice. Because the time commitment is so low, you can do this even if you have the busiest schedules. I’ve maintained this practice even while caring for a newborn, helping launch a AAA game, and spooling up a new workout routine.

No matter how busy life gets, I can still crank out a game in 2 hours.

The best part is you don’t need to do the 2 hours all at once! I tend to split up my 2-hour game jam into four 30-minute sessions.

If you have 30 minutes every other day of the week, you can make games and improve your skills.

By consistently practicing the 2-hour game jam, I’ve been able to:

  • Break into the game industry
  • Learn a bunch of different game engines and techniques
  • Get thousands of people to play my games on itch.io
  • Create over 100 games
  • Design innovative features for large teams and game studios

Lastly, it’s just straight-up fun! If you commit to the practice, I guarantee you will have fun.

How to get started in 4 easy steps

Step 1. Make a game a week for one month

  • Every Monday, commit to creating a new game
  • Work on your game for 30 minutes every other day. Or all at once. The choice is yours.
  • Remember! You only get two hours!

Step 2. Ship it or Kill it

  • When two hours are up, your game should be finished.
  • Decide whether to ship the game or delete it forever.

This part is crucial! You’ve made a game, and now it’s time to put it in players’ hands so that they can play it. If you can’t bring yourself to share your game, you must delete the game. Permanently.

This teaches you a couple of things:

  • Games are meant to be played by other people
  • Delete your game so you’re not tempted to “delay” or keep working on it
  • Don’t get attached to your work

However, go for it if you want to capture a screenshot or video before deleting your game.

A common objection: “But what if I want to keep working on it because I like what I built and it has potential?”

It took two hours to make the game. Delete it and start over. If you can’t get yourself to do that, the game may not be worth pursuing.

Step 3. Process over outcome

The 2-hour game jam is a practice. You don’t go to the gym once and suddenly become fit.

  • Don’t worry about how the game turned out
  • Don’t worry if the game is good or bad
  • Don’t worry about if you feel like it’s a waste of time

This practice will build on itself, given enough reps and time.

Repetition. Repetition. Repetition. This is how you get better. This is how you make games for a lifetime.

🕹️ I found a manifesto about small games and I love it.

  • As I get older, I crave smaller and tighter experiences when it comes to the games I want to play.

🕹️ I just found out that Rock Paper Shotgun wrote a review of one of my games (Marshmallow Nights).

This is the first review I’ve ever gotten from a website!

  • Me: (hugs wife) I love you
  • Wife: Your shirt smells like spit up

🕹️ I impusively signed up for a game jam

It was probably not the best idea. I have a newborn, and I’m helping the studio I work at launch its first game in the next couple of months… so time isn’t something I have a lot of.

Anyways: I decided to make a card game for the Godot Wild Jam. The theme is “Train”

  • I established the data structure for shuffling and dealing out the deck of cards
  • Picked the color palette for the game
  • Got a basic visual representation of cards to show up on the screen

The Concept: You’re a personal trainer for trains.

  • Your goal is to help them get fit by helping them shed their extra cargo
  • You’ll play cards and powerups to help them lose the right amount of cargo

Next up: I gotta work on the functionality for allowing the player to play cards.

🕹️ Clarify your game design with "If-Then" thinking

Why it matters: Gameplay becomes stronger when you talk about it the same way players talk about it.

  • If you drink the potion, then you heal” (Every game ever)
  • If you rest at a bonfire, then it unlocks a checkpoint” (Dark Souls)
  • If you throw your axe, then you can press triangle to recall it” (God of War)

Pro tip: “If You” is one of the best ways to start a gameplay concept:

  • If” implies choices and possibility
  • You” puts the player at the center of the design

This method serves as a way to check how intuitive the concept is. If it’s confusing as a sentence, it will be confusing as gameplay.

Yes, but: Add a “but” at the end of the statement to introduce a twist to the concept. The Dark Souls example becomes, “If you rest at a bonfire, then it unlocks a checkpoint… But, it also respawns all the enemies in the area.”

Bottom line: Good game design starts with clear and easy-to-understand concepts.

I started working on a roguelike for the Playdate 🕹️

  • I’ve always loved fantasy consoles and the constraints that come along with designing games for them

I like that there are no rate limits on the indie web 😊

🕹️ I love simple, practical guides.

Credit: Matt Hackett

🕹️ Game Design Tip: “If the player doesn’t see it, it may not exist.”

Why it matters: If you have something in your game that the player can’t perceive, those areas may not benefit your design.

Learn more: Ep. #236 of the Game Design Round Table with designer Tanya X. Short of Kitfox Games

✨ My first Father’s Day gift.

“Air Jordan 1 Retro OG Spider-Man Across the Spider-Verse”

I wrote about this the other day, but Zach Gage put it more succinctly.

Doing nothing in games should be meaningful.

Why it matters: In game design, not pushing a button can be just as important as pushing a button. Choosing not to do something should have gameplay consequences.

  • If there’s a benefit to doing something in your game, there should also be a benefit to not doing it. This approach creates tradeoffs. Tradeoffs are one of a player's most fun decisions in a game.
  • For example: Say you have a treasure chest in your game that the player can destroy to earn a reward; what are some ways to reward them for not destroying it?

    Maybe they could:

  • Gift the chest to an NPC to increase friendship with them
  • Use the chest to climb onto a ledge that’s out of reach
  • The bottom line: You can increase the depth of a single interaction if you consider how the player can benefit from not doing the interaction. 🕹️

    🕹️ Player verbs are gameplay.

    Why it matters: “But what does the player get to do?”

    This is the question I have to ask after most game announcements and trailers.

    The bottom line: Cinematic trailers are not gameplay. Backstory and lore are not gameplay. Beautiful graphics are not gameplay.