Most games simulate some real world scenario. So how do you decide which parts of the real world to represent in game mechanisms? This is where the real artistry of game design comes to light.

Between each iteration of my game, I'll have dozens of ideas. But which do I actually implement? I find it extremely helpful to break my ideas down into problem statements, and then focus on just solving the most important problems. Here are some examples of how this works for me. [link to play game] [link to original conference talk]

I've got a great game with great reviews. So how the heck do I get it onto shelves? Here's everything I've tried.

Play the new prototype with us by joining our discord! I built a game that feels like a board game, but is secretly a social game that requires collaboration, deception, and communication.

How do you communicate complex rules to players? It's worth thinking about what kind of complexity you're communicating, how you communicate it, and when you communicate it. This episode has a couple examples of how designers solve this problem.

LLMs excel at churning out sugar free vanilla paste. That's great when you're writing code. And it's awful when you're doing creative work.

A game is only a game if it is playable. It is so hard for me to resist the temptation to retreat to the "mind palace" where my game devolves from a playable, testable, living thing into a mere thought experiment. Here's how I avoid that temptation. Also, here is the link to my video of rapidly prototyping in Figma. 

My white whale (one of them, at least) is to let players decide how they want to win, and even decide whether it's a cooperative or competitive game. I haven't cracked it yet. But I got a lot closer last week.

There are two voices in your head. You don't know which is correct, but you do know that one is more useful. 

Everything I learned at my first game conference. Buy Colossi now.