Take classes in different subjects, go to an event you wouldn’t normally attend, travel as much as you can, talk to new people-the more you learn and experience, the more you have to draw from when designing your own games.Īnother great exercise is to look at the world around you with a critical and creative eye. What advice do you have for young people interested in designing and developing video games of their own?Ĭathy: Go out and try as many things as you can. Getting user feedback throughout the development process is critical for a successful end product. Sometimes the things we consider imperative to fix really don’t impact the player’s experience at all, and vice versa. It can be a challenge to anticipate their reactions and needs in game play.
Jeanne: In quality assurance, you focus on quality, but you’re also an advocate for the end user. Having this reference to quickly see how a change at the end may cause a cascading effect back to the beginning is invaluable in keeping the design stable and the story on track. I’ve found the best tool is to create a visual logic map of the entire game, displaying how elements connect and all the possible paths through the game. It takes incredible organizational skills, fine attention to detail, a logical mind and creative problem solving to blend it into a cohesive whole. What’s the toughest part of the development process? How do you work through it?Ĭathy: The most challenging part of the process is putting all of the pieces together. Screenshot from Nancy Drew: Sea of Darkness, the latest PC/Mac game from Her Interactive set in Iceland. Careful attention to detail within our games enables players to trust in the accuracy of our educational content. While presented within a fictitious game setting, players still need to be able to trust that the learning material they encounter through art, dialog, or written assets is legitimate. Jeanne: There also needs to be a certain level of authenticity to the game content. This collaborative iterative process continues through to the end of the project. Changes are made as needed, with the designer responsible for ensuring design integrity.
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Then the visual style is chosen, and we start designing puzzles and activities based around story points.Īs the team begins creating the art and code for the game, we dive into an iterative design process with weekly build reviews and walkthroughs to provide feedback on the current state of the game.
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Once we have this mystery synopsis set, we flush out characters and story points to a full narrative outline. Players make these discoveries with Nancy as they investigate, whether that’s deciphering hieroglyphics in Tomb of the Lost Queen or learning the basics of coding in Codes & Clues.įor story based mystery adventure games such as ours, we begin with the five Ws of investigation: who, what, where, when, and why. Her detective work provides logical opportunities to integrate learning into games in a fun and unassuming way. How do you translate a Nancy Drew story into an engaging experience for players?Ĭathy: One of the great things about Nancy is that she’s a curious person. Turns out this drive to find alternative solutions is a perfect fit for game development. My earliest game experience, King’s Quest IV: The Perils of Rosella, cemented a lifelong gaming love of logic, puzzles, and looking for loopholes. Jeanne: I am lucky enough to have parents who encouraged learning and grew up surrounded by STEAM. Though animation was what lead me to games, I received the opportunity to assist in design and quickly realized design was a great match for me. The liberal arts background is actually an ideal match for design, as I need to pull from various subjects (such as language, math, science, theater or art) for any given game. Interested in becoming an animator but wanting a broader education, I received my B.A.
When did you become interested in developing and testing video games?Ĭathy: I discovered design in a roundabout way through computer graphics. Jeanne and Cathy researching for Nancy Drew: Tomb of the Lost Queen.
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