Design process project

1. AFT157-DESIGN PROCESS PROJECT-III
COURSE COORDINATOR :- KRISHN VERMA -20194)

2. COURSE DESCRIPTION:
• “AFT57- Design Process Project” is a basic foundation for project course in clubbed project form
• These fundamental concepts provide a basis for all the design/art disciplines as they are applied by the
students regardless of their major area of interest.
• This course is foundational in content and provides the students of Design/art with methodologies for
composition and quality performance in two-dimensional presentations.

3. COURSE OBJECTIVE
• Observe the design making process
• Develop creative concepts during design development
• Analyze strategically and creatively as an designer practitioner across all aspects of the
creative/design process
• Analyze the requirements for client products or services and develop entrepreneurship
skill in the form Indie game and Animation and graphic designer

4. COURSE OUTCOME
• You will get an overview on the course content and understand meaning of design in maximum aspect
area
• You will get an overview of steps for process of design in case study form either in the form brand
design form and its campaign ad , game design or animation film design
• You will get how to pitch and start your project
• You will get an overview of steps for making the animation film design means get knowledge of pre-
production ,production, publishing ,its pipeline and will get ability to implement that knowledge in forth
coming animation project
• You will get an overview of steps for process of the game development and game structure , production
pipeline ,how is different from software design and will get ability to implement that knowledge in forth
coming game project
• You will get knowledge of basic management skill, PMBOK (project management body of knowledge)
and knowledge transfer guide , and will be able implement him in forth coming project
• You will understand their leadership and team management for group project

5. COURSE CONTENT
• CREATIVE INDUSTRY AND ITS DEVELOPMENT PROCESS
• COPYRIGHT RULES AND ITS PROCESS
• DESIGN PROCESS IN GRAPHIC DESIGN
• DESIGN PROCESS IN ANIMATION FILM DESIGN
• DESIGN PROCESS IN GAME DESIGN
• PROJECT MANAGEMENT CONCEPT
• LEADERSHIP SKILL AND TEAM WORK
• CASE STUDY PROJECT IN THE THREE DIFFERENT ASPECTS MEANS BRAND DESIGN,GAME DESIGN AND
ANIMATION FILM DESIGN

6. GUIDE LINE OF PRACTICAL PMR REPORT OF ANY VERTICAL SLICE
OF GAME DESIGN (PROJECT -3)
PHASE 1– SELECTION ANY GAME EITHER PHYSICAL GAME ,CASUAL GAME,
HYPER CASUAL GAME, DS CONSOLE GAME, Wii CONSOLE , X –BOX ,PS2
/PS3 GAME, PC GAME AS BENCH MARK OF YOUR VERTICAL SLICE OF
GAME PROJECT .
PAHSE 2- WRITE THE GDD DOCUMENT OF THAT GAME AND MAKE
VERTICAL SLICE OF GAME PROJECT(PREFERENCE WILL BE
GIVEN FOR PHYSICAL GAME PROJECT. EXAMPLE -PAPER PROTOTYPE OF
YOUR VERTICAL SLICE PROJECT.
OR
PHASE 3- CONSOLE ROOM DESIGN FOR VEDIO GAME PARLOUR

7. WHAT IS GAME?
• A game is a type of play activity, conducted in the context of a
pretended reality, in which the participant(s) try to achieve at least
one arbitrary, nontrivial goal by acting in accordance with rules.
• And the discipline that studies games in general, and video games
in particular can be defined as a LUDOLOGY
• Unit of game called as LUDO.

8. Play is older than culture, for culture, however inadequately always
presupposes human and animals have not waited for man to teach them
their playing.
Have you watch the dog ? who teach him to play ?,even some dog get
together and play according to their intellect..

9. •Animals play just like men. We have only to watch young to see that all the essentials of
human play are present in their merry gambols.
•They invite one another to play by a certain ceremoniousness of attitude and gesture.
•They keep to the rule that you shall not bite, or not bite hard, your brother's ear.
•They pretend to terribly angry

10. 1. Here we have at once a very important even in its simplest forms on the
animal level,
2. Play is more than a mere physiological phenomenon or a psychological
reflex.
3. In play there is something" at play" which transcends the immediate
needs of life and imparts meaning to the action.
4. By some the origin and fundamentals of play have been described as a
discharge of superabundant vital energy, by others as the satisfaction of
some "imitative instinct." or again as simply a "need" for relaxation.

11. 5. Most of them only deal incidentally with the question of what play
is in itself and what it means for the player.
• To each and every one of the above "explanations'" it might well
be objected: '"So far so good, but what actually is the fun of
playing?
• Why does the baby crow with pleasure?
• Why does the gambler lose himself in his passion?
• Why is a huge crowd roused to frenzy by
• A football match

12. The Essential Elements of a Game
Game have four key elements
PLAY -RULES –GOALS – THE MAGIC CIRCLE
▪ Play, non essential usually recreational activity
▪Competitive play-: overcoming challenge , defeating opponent
(Competitive Play is one of Over watch's game modes that can be accessed from
the Play menu).
▪Creative play-: construction and self –expression Ex –
(Creative play definition is - children's play (as modeling or painting) that tends to
satisfy the need for self-expression as well as to develop manual skills Ex – Mine Craft).
▪Social play-: role playing and interacting with others
All these games are single player means Player verses Machine

13. ▪RULES- that define how game is played
•In video rules are implicit and enforced by the software.
▪GOALS to be achieved in victory condition
•Not all video games are game in the formal sense
▪THE MAGIC CIRCLE-a social mental space created by pretending
•Pretending creates suspension of disbelief, also called immersion
which is common to all fictional form of entertainment.
•Games are different from other form of entertainment and may have
multiple end .
• While Participatory books and movies are presentational and have one end

14. HOW GAME ENTERTAIN US ?
▪Game Play- Challenges and achievement
▪Aesthetic – Visual and auditory style
▪Story telling – Character to be care about.
▪Exploration – Moving through unfamiliar space
▪Novelty- New thing to do , see and hear
▪Progression- Growth in many forms
▪Risk and Reward-Fear of Loss and Hope of gain
▪Learning - Understanding and mastering
▪Creativity- Making and sharing things
▪Role Playing- Wearing a mask and acting a part.
▪Socializing- Interacting with other people

15. MDA GAME DESIGN FRAMEWORK
• The MDA (Mechanics, Dynamics and Aesthetics) framework was developed and taught
as part of the Game Design and Tuning Workshop at the Game Developers Conference,
San Jose 2001-2004
• MDA supports a formal, iterative approach to design and tuning. It allows us to reason
explicitly about particular design goals, and to anticipate how changes will impact each
aspect of the framework and the resulting designs/implementations.
FUN
RULES SYSTEM PRESENTATION
MECHANICS DYNAMICS AESTHETICS

16. • Mechanics describes the particular components of the game, at the level of
data representation and algorithms.
• Dynamics describes the run-time behavior of the mechanics acting on the
player inputs and each others’ outputs over time.
• Aesthetics describes the desirable emotional responses evoked in the player,
when she interacts with the game system.
DISCOVERY NARRATIVE PAST TIME COMPETITION CHALLENGE
EXPRESSION FANTASY SENSATION FELLOWSHIP KINESTHETICS

17. PAST TIME
SENSATION
CHALLENGE
FELLOWSHIP NARRATIVE
FANTASY
LESS MORE
Example:
Dots and
Boxes,
Dots
Example:
Mushroom
Wars.
Badland
Modern , minimalist
approach to design,
Promotes more of
the mechanics and
dynamics of game
play
Use skew morphism
to convey feeling
through textures ,
style and color
Leverages custom
characters, scenery
or narrative to
enhance game play
CLIENT

18. GENERAL COMPONENT OF ROLE PLAYING GAME
• What Are Role-Playing Games?
• War Games
• Action Games
• Adventure Games
• Game Features
• Themes
• Progression
• Game play Modes
• Core Mechanics
• Rolling Dice
• Character Attributes
• Magic and Its Equivalents
• Skills and Special
Capabilities
• Character Design
• The Game World and Story
• Settings
• Story
• The Presentation Layer
•Interaction Model
•Camera Model
•User Interface

19. FUNDAMENTAL PART OF VIDEO GAME
PLAYERS
USER
INTERFACE
CODE
MECHANICS
Input Actions
Output Challenges
( INTRACTION LOOP OF PLAY )
▪PLAYER-Play the game
Senses outputs ,thinks and acts , generate inputs
▪User Interface –Presents the game to the player
Converts challenge into outputs and converts input into actions
▪Core Mechanics –Implement the rules and game AI
Generate the challenges and compute the effects of action

20. WHAT IS GAME DESIGN ?
▪Imagine the game
Ideas, story ,fun,
▪Defining ,how it works
Core Mechanics(game play , victory condition, internal process
Use Interface(Inputs and Outputs)
▪Describe the Elements that make it up.
Conceptual, functional, visual, auditory etc
▪Transmitting the information to others.
Either is big team or small team
▪Design is craft ,not an pure art or pure science
▪Design has pleasant aesthetic and functional elements

21. To Full Fill Dream ,Understand the Role
▪Large Video games exists to full fill the dream.
Dream of power ,achievement , creativity , beauty, approval…
▪Ask first ,Does the player dream of doing?
Understand the action at the heart of role
Which are fun (include them), which are not fun(Omit them) ?
Only then think about the character, story ,setting, art style etc
▪Games can offer more then one role, example Sports game
ex Athlete ,coach, general manager, striker, goelie
▪If you cant describe the player role clearly
The Player might not understand
The Marketing department definitely won’t understand.

22. Game play
There have been many effort to define it
My Definition : game play= challenges + actions
Challenges is the goal of the game
This include immediate goals and the overall goal or victory condition
Must have one or more action that overcome them
Actions : the verbs of the game , the player options
(what the player is going to do)
Actions are assigned to input devices and menus
Some action are unrelated to challenges
Creative play action, customization ,chatting ,saving the game etc

23. Hierarchy of challenges Win The
GAME
Complete
level1
Complete
level2
1.Win Big
Fight Mission
3.Defeat Level
Boss Mission
2.Distroy
Object Mission
Bargain
Successfully
Solve
Puzzle
Defeat
Level
Boss
Solve
Puzzle
Win
Fight
Destroy
object
Win Big
Fight
Find
Item
Win
Fight
1.Win Big
Fight Mission
3.Defeat Level
Boss Mission
2.Distroy
Object Mission
Bargain
Successfully
Solve
Puzzle
Defeat
Level
Boss
Solve
Puzzle
Win
Fight
Destroy
object
Win Big
Fight
Find
Item
Win
Fight
Lowest level of challenges are called ATOMIC CHALLENGES
Cannot break into smaller challenges
Each new have one or more action that overcome it

24. Game play Modes
Most game offer only subset of their game play at any one time .
Each subset is game play mode
Most video games have 4-5 modes ; some have dozens
A game play mode is characterized by :
A camera model (explained later)
An interaction model (explained later)
Game play that is available in that mode
Whenever any of these changes significantly ,it’s probably a new
mode
But the definition is not rigorous
Does the player sense that something has changed?

25. PLAYERS
INTRACTION
MODEL CODE
MECHANICS
Input
Actions
Output Challenges
CAMERA
MODEL
GAME PLAYUSER INTERFACE

26. INTRACTION MODEL
▪How the player interacts with game world.
▪Two traditional model are
Avatar based
▪A character or object that represent the player
▪Player affects the game world through Avatar
▪Shooter platform and driving games
Omnipresent
▪Player can act many places in the world

27. CAMERA MODEL (Perspective)
▪Most all game stimulate in physical space
▪Virtual camera looks at that space
oFirst person used with avatar based interaction model
✓First person shooters e.g. Half life
oThird person –i.e. over the shoulder , avatar based
✓Tom Raider ,modern era Mario
oSide scrolling ,top scrolling , fixed –varies
✓Super Nintendo Mario ,Pac-Man
oAerial (isometric , top down etc)-omnipresent
✓Sim City , Starcraft , FIFA- Soccer
oContext Sensitive –varies
✓Resider, Silent Hill

28. Perspective
Isometric
Interaction
Model:
Omnipresent
Game Play
Strategic

29. Perspective
Isometric
Interaction
Model:
Omnipresent
Game Play
Strategic

30. Perspective
Isometric
Interaction
Model:
Omnipresent
Game Play
Strategic

31. Perspective
Isometric
Interaction
Model:
Omnipresent
Game Play
Strategic

32. Perspective
First person
Interaction
Model:
Avatar based
Game Play
Tactical

33. Game Structure
▪The Relation ship among game play mode
▪Some mode are entered by player action
E.g. Going to strategy menu in sports game
▪Some mode are entered automatically
E.g. Going into penalty kick mode in soccer game
▪Create a flow board to design the structure.
▪

34. 13 LAWS OF GAME DESIGN
• MURPHY LAW
• THE 1-10-100 Rule
• LAW OF IDEAS
• THE LAW OF PRODUCTIVITY
• THE LAW OF VARIED REFEREENCE

35. MURPHY LAW
• Whatever can go wrong ,will go wrong
• We can leave this one out , even through its extreme .
• The point of game dev is not assume that thing are going well
• Rather monitor what happening , be sure its going well (or is
n’t)

36. LAW OF CONSTRAINTS
• Contemporaries have been taught to dislike constraints but
• Games are inherently artificial sets of constraints intended to result in
interesting play
• Constraints encourage creativity , complete freedom discourage
creativity.
• -As shown by history of many arts such as music and painting
• When you design a game sets limits of your self to work within .

37. LAW OF GAME CREATIVITY
• Game are 10 % inspiration and 90% perspiration .
• Most of the game design is form of ENGINEERING
• Moreover ,we cannot wait for creativity to come by and tap you on
the head
• Creativity is often active not passive, endeavor
• Creativity can help in problem solving – the ENGINEERING part

38. NIELSEN’S FIRST LAW
• Nielsen’s first law of Usability : “Your design will be tested by users
–your only choice is whether to run to test your self before launch
so that you can fix the inevitable problems while its cheap instead
of playing expensive catch –up later “
• Jacob Nielsen (Guru of Web page design ):Actually the law of
website development that applies equally to game design

39. THE LAW OF VARIED PREFERENCES
• Beyond debunking myths, the most important thing is
learn in game design is ,” what you think makes a game
good makes a bad for many .
• Corollary : “ you are not the your target audience “
• Corollary : “ Design game for your target audience , not
for you “

40. LEW’S LAW OF MANAGEMENT
• “CHOIS” is by definition undesirable
• The increase in chaos is proportional to the the square of number of people
involved ….
-1=1,2=4,3=9,4=16 .. So on
• The increase in chaos is proportional to the the cube of number of people
involved ….
-1=1,2=8,3=27,4=64 .. So on

41. 41
VERTICAL SLICE OF GAME
• Vertical Slice of Game – is that where we know
actual product how it look, game play working or not
?,it is sellable in market or not? By this product we
can publish in demo form in local market or or some
small regional area.

42. 42
DEVELOPMENT STAGES
• Develop original concept
• Shop to publishers
• Create schedule (12-24 months)
• Deliver work as milestones (work products or completed
activity)
• React to customer evaluation

43. 43
GAME DEVELOPMENT IS UNIQUE
• Must be willing to rip out features that don’t work
• Designers may create things customer never heard of
before
• May require more research and experimentation than
other software development
• Often more ideas than time to implement

44. 44
DEVELOPMENT TEAM SIZE
• In the 1980’s might be single developer
• Most teams today have 10-60 people
• Programming in now a smaller part of the complete
project than before (need good software engineering
and media design work)

45. 45
EXAMPLE 1988
• 3 programmers
• 1 part-time artist
• 1 tester

46. 46
EXAMPLE 1995
• 6 programmers
• 1 artist
• 2 level designers
• 1 sound designer
• Contract musicians

47. 47
EXAMPLE 2002
• 2 producers
• 4 programmers
• 2 game designers
• 1 2D and texture artist
• 3 level designers
• 1 audio designer
• 4 animators
• QA lead and testers

48. 48
DEVELOPMENT MILESTONES: DEVELOPMENT TIMELINE
• Here are some example development periods for
different platforms:
• 4-6 months for a high-end mobile game
• 18-24 months for an original console game
• 10-14 months for a license / port
• 16-36 months for an original PC Game

50. 50
CONCEPT PHASE
• Where concepts come from
• Sequels
• Film licenses
• Technology re-use
• Occasionally, original concepts get greenlit
• Producing the conceptual design
• Green light

51. 51
CHECK LIST VERTICAL SLICE OF GAME
➢What is the game we are making and who is it for? Describe all major
features.
➢What is the budget and deadline?
➢What art style and technology will we use?
➢How much art do we need? Do we make it in house, buy it or do we need
to hire a artist/art team?
➢Who are the leads for Design, Programming, Production and Art?
➢What tech will drive this game? Do we have an engine already?
➢Can we use third party modules or server, etc, or do we have to make our
own?

52. 52
PRE-PRODUCTION PHASE
• GDD
• Team selection
• Internal staffing plan
• Existing employees (same roles)
• Promotions, transfers (new roles)
• Hire new employees

53. 53
EXTERNAL DEVELOPMENT
• Selecting an external developer
• Previously used developers
• Referrals (producers, developers)
• Non-Disclosure Agreement (NDA)
• Bid package
• Treatment or GDD to date
• Publisher’s expectations for product
• Bid format and due date

54. 54
THE DEVELOPMENT AGREEMENT
• Developer’s obligations
• Publisher’s obligations
• IP ownership
• Warranties
• Termination
• Milestones

55. 55
MILESTONES
• Highly detailed, specific
• Quantifiable, measurable
• Due dates
• Payment amounts (upon acceptance)
• Can use terms like “alpha” , “beta” and “gamma”
unless clearly defined
• Milestone approval cycles

56. 56
THE TECHNICAL DESIGN DOCUMENT
• Game Design Document is a statement of the problem
• Technical Design Document is a statement of the solution
• Foundation for the programming work
• Identify technical challenges
• Plan for technical solutions
• Set forth asset format guidelines

57. 57
SCHEDULING
• Generate task lists from GDD & TDD
• Plan everything
• Programming
• Assets
• Demos
• Approvals
• Green lights
• Vacations, holidays
• QA
• Work backwards from completion

58. 58
ADJUSTING THE SCHEDULE
• Add people to reduce development time?
• Deliver assets on time
• Don’t make programmers wait for assets
• Prioritize feature set
• Lower priority features to be done later if possible
• Look for bottlenecks
• (feature-technology interdependencies)

59. 59
BUDGETING
• Personnel costs
• Salary X time X involvement %
• Developer/Contractor payments
• Equipment & software
• Supplies
• Travel & meals
• Shipments

60. 60
PROFIT & LOSS ANALYSIS (P&L)
• Costs
• Production budget
• Cost of goods (COGs)
• Marketing
• Licensor royalties
• Developer royalties
• Revenues
• Projected Sales
• Wholesale price
• Ancillary sales (OEM, strategy guides)

61. 61
KICKOFF GREEN LIGHT
• Producer’s plan for the project
• GDD
• TDD
• Schedule
• Budget
• Green light
• Executives
• IP owner (licensor)
• Platform holder

62. 62
PRODUCTION PHASE
• Programming now underway
• Kicking off tasks – art creation
• Art lists
• Art asset file naming conventions
• Art asset tracking
• Art asset approval cycles
• Art asset delivery formats

63. 63
RED FLAG SPOTTING
• The usual causes of red flags:
• Team conflicts
• Personnel issues
• Design problems
• Money troubles
• Technical glitches
• Change requests
• Schedule delays
• Take immediate action

64. 64
KICKING OFF TASKS - AUDIO
• Sound list
• Music specification
• Story text
• Voice-over script
• Creation of sounds
• Creation or licensing of music
• Recording of voice-overs

65. 65
FIRST PLAYABLE – PROOF OF CONCEPT
• Keeping everyone on board
• Licensor(s)
• Platform holder(s)
• Executives
• The Team
• The Cerny method
• Keeping the momentum going

66. 66
WORKING WITH MARKETING TEAM
• Working title → final title
• Screen shots
• E3 demo
• Magazine demo
• Platform holder promo

67. 67
POST-PRODUCTION
• Personnel transfers
• Localizations
• ESRB rating
• Box & docs
• Strategy guide

68. 68
QUALITY ASSURANCE
• Test plan
• The QA database
• QA – the view from inside
• The QA-producer relationship
• Post mortem

69. P O RT FO L I O
• http://www.dankennygamedesign.com/legends-of-
dorin.html
• http://www.designersnotebook.com/