Before taking this class, my understanding of game design was limited. I enjoyed playing games but didn’t fully grasp the effort, iteration, and creativity involved in creating them. My perception of games focused primarily on rules and competition, and I underestimated the importance of aesthetics, storytelling, and player experience. I thought designing a good game required months or even years, and I never imagined myself capable of producing something polished or meaningful in such a short span. I also had little interest in visual design and avoided it whenever possible. Frankly, it seemed like a skill set completely out of reach.
This class completely upended my assumptions. The structure of rapid prototyping taught me how much could be accomplished within two-week cycles. Iterating on concepts, gathering feedback through playtests, and refining designs became second nature by the end of the quarter. I worked on four distinct projects, each presenting unique challenges and teaching me valuable lessons.
One of the most significant aspects of the class was playing diverse games during sessions. These experiences introduced me to mechanics and genres I had never encountered. For instance, serious games addressing societal issues like inequality and resource management expanded my perspective on what games could achieve. I realized that games weren’t just about entertainment—they could educate, critique, and spark meaningful discussions.
Project Reflections
Each project offered specific takeaways that helped me grow as a game designer. Here’s what I learned from each of the four games I worked on:
1. Fish Reproduction
Fish Reproduction was an educational board game that simulated ecological systems, focusing on resource management and species interactions. In the early versions, the game felt too predictable and lacked strategic depth. Players could easily identify optimal strategies, which reduced replayability. To address this, we introduced a territorial conflict mechanic in the next version (p-4), where players with smaller populations could challenge larger ones for resources. This addition mirrored real-world reef dynamics and added tension to the game. The inclusion of interspecific competition transformed the gameplay by encouraging player interaction and strategic decision-making. Playtests revealed how this mechanic created exciting moments, such as underdog players successfully challenging the leader. Additionally, we focused on aesthetics in later iterations, incorporating a 3D-printed game board and laser-cut tokens. These changes enhanced the tactile experience and aligned the visuals with the game’s ecological theme. This project taught me the importance of balancing mechanics with player engagement and how small changes can significantly impact the overall experience.
2. Interactive Fiction: Pokemon – The Next Adventure
For my interactive fiction project, I created a narrative-driven sequel to the original Pokémon games using Twine. The goal was to explore moral ambiguity within the familiar world of Kanto. Players faced choices that determined whether they upheld the system or challenged it, leading to one of three endings. This project required balancing narrative depth with accessibility, particularly for players unfamiliar with Pokémon. The most significant learning moment came when simplifying overly complex mechanics and focusing on meaningful player choices. Adding a type-effectiveness battle system provided strategic depth while ensuring it was intuitive through type charts and hints. Playtesting highlighted the importance of clear progression and feedback, which I integrated through expanded dialogue and visual cues. This project underscored how narrative design can evoke emotions and immerse players in morally complex worlds.
3. Helicopter Parent
Helicopter Parent critiqued societal norms around education and parenting through a satirical worker-placement game. The core mechanic instrumentalized children as pawns, emphasizing the extreme lengths parents go to for their children’s success. Early versions suffered from repetitive gameplay and underutilized mechanics, but iterative changes, like reworking happiness as a temporary buff and introducing exclusive opportunities, added layers of strategy. One significant lesson from this project was the importance of thematic consistency. The gameplay needed to align with the satirical message, and every mechanic had to reinforce the critique. For example, exclusive opportunities mirrored the privilege and inequity inherent in real-world education systems. By the final version, the game successfully combined strategic depth with sharp social commentary, making it both engaging and thought-provoking
Key takeaways from this course have fundamentally changed my approach to game design:
First, I’ve learned to embrace iteration as a core part of the design process. Early playtests often revealed fundamental flaws or opportunities I hadn’t anticipated, and the ability to rapidly prototype and refine ideas proved invaluable.
Second, I’ve gained a deep appreciation for player-centered design. Understanding how players interact with a game, what confuses them, and what resonates has become central to my design process. This often meant simplifying complex mechanics or adding clearer visual cues to enhance the player experience.
Third, while I still dislike drawing sketchnotes, I’ve come to appreciate how visual elements contribute to a game’s success. Aesthetics aren’t just decorative—they’re crucial for creating immersive experiences and reinforcing thematic elements.
Finally, I’ve learned to view games as both systems and stories. Mechanics can reflect larger societal dynamics, while narratives can explore complex themes and provoke thought. This understanding has enriched my approach to game design, pushing me to consider not just rules and competition, but also the emotions, messages, and experiences I want to create.
Looking ahead, I plan to approach game design holistically, considering all aspects of the player experience. The skills I’ve developed—in design thinking, iterative development, and player psychology—will be valuable not just for future game projects, but for any creative endeavor requiring user engagement and systematic thinking. While I may still collaborate with others on visual elements, I’m no longer intimidated by the design process. This class has given me the confidence to see myself as a game designer, capable of creating experiences that resonate with players and leave lasting impressions.
