Dec 012014
 

Slide20I know it seems like most all I post on this blog lately is stuff about speaking one place or another, and you always get three posts in a row: I will speak here, I spoke and here’s the slides… and a little while later, here’s the video.

Well, not to be redundant, but here’s the video! Gamasutra – Video: Practical Creativity – A way to invent new kinds of video games.

This was the session I did at GDCNext about treating (game design) creativity as a skill that can be practiced, offering up tips and tricks on how to be creative.

Nov 242014
 

At GDCnext I moderated a panel with Zach Gage, Rami Ismail, and Adam Saltsman on indie marketing. It was a fun session, made more so by the fact that they all walked into the room with one minute to spare before the session started (I was about to start pulling dev’s from the audience into the stage!).

It all worked out though, and now video is posted on the GDCVault! Enjoy!

Nov 032014
 

Slide1Today I delivered a lecture at GDCNext that was my tips for “practical creativity.” Basically, it’s a collection of techniques, habits, and ways of thinking drawn not only from lots of reading and research into creativity in general, but also my experience in visual, writerly, musical, and ludic arts. It touches on breaking down craft elements in games, on choosing ambitious and unusual themes, on simple lifestyle habits, on the power of “scenius” and collaborators, and much more.

I wanted this to be deeply practical. I myself have been using these methods a lot in the last year — maybe slacking a lot on the “get regular exercise” one. And it’s been very fruitful for me, almost too fruitful, pushing my prototype hit rate over 90%.

I really wanted to emphasize the fact that in all this, the craft is inseparable from the art, too. Creativity in craft drives creativity in art, and vice versa. Continue reading »

Speaking on “Practical Creativity”

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Sep 232014
 

I’ll be talking at GDCNext in LA in early November about “practical creativity.”

Over the last couple of years, I have had no commercial masters over my creativity. Oh, I’ve done some consulting and whatnot, but the vast majority of my time has been on projects that I am pursuing out of pure passion, a desire to make them. And I’ve had an incredibly prolific period; the most prolific of my life, actually.

One of the things that has been really striking about it for me is the high hit rate on prototypes. Some strange alchemy between the indie strivings towards art and the accumulated lessons from game grammar and “formalist” thinking, between reading up on human psychology and mathematics, has created for me a toolset that is in some ways very practical, even dull. Very straightforward and easy to share. So, I’m going to!

Practical Creativity

Raph Koster  |  Designer, Independent
Format: Lecture
Track: Design
Pass Type: All Access Pass, GDC Next Pass

It’s a world of clones, of derivative ideas, of repackaging games in genres. It can be hard to be creative. And all too often, creativity is treated as a magical talent that few have, when it’s actually a skill that anyone can learn and that improves with practice! Come learn what science tells us about creativity, and practical straightforward steps that any game designer or developer can make use of in order to get more creative. We’ll actually try these things out in the talk, and I promise every attendee will leave with a brand-new game idea, never before seen.

Takeaway

Attendees will learn what “creativity” is currently thought to be, and specific tools and tricks for making their games more creative. We’ll even try to be creative during the actual talk!

Feb 052014
 

Slide14My GDCNext talk “Playing with ‘Game'” has been posted up here as video with slides:

Gamasutra – Video: Playing with ‘game’ – What games can be, and what they can mean.

I described the talk thus a while back:

The talk starts out with some basic semiotic theory — basically, the difference between a thing, the name we give a thing, and what the thing actually means. This serves as an entry point into talking about not only the way the word “game” is incredibly overloaded with different people’s interpretations, but also as a way to start discussing the way games themselves can mean things.

This leads to exploring the notion of “play” as space — free movement within a system, which is not a new idea at all, ranging from Derrida to Salen & Zimmerman. And then to looking at the two big sorts of play I see: the play of the possibility space of a set of rules, and the possibility space of a set of symbols or signs, which we might be more used to calling the thematic depth of a literary work. Along the way I break down writing techniques, game design techniques, and more, trying to find the ways in which these tools can be applied to games of different intents — which tools work best for a given craftsperson’s purpose?

For me, a lot of the reason I did the talk was to try to bring together the parties separated by contention over “what is a game” and similar debates. I wanted to show that there’s a lot more commonalities there than not, but also that different creators have different goals for their work, and therefore pick up different tools from the workbench. And that, actually, sometimes this means that games we’d never link together actually have structural commonalities just because the techniques that the creators choose to use.

I actually think I ended up spending too much time on the first half, which is effectively “game critic inside baseball” for quite a lot of people (though might be interesting nonetheless). The result was that I kind of rushed the second half, the part with the tools and techniques. Ah well. I am told it was an interesting talk anyway, just not one of my best.

Enjoy!