Game Prototyping Quickstart

So you have a new idea for a game.

But where do you start? And what do you build first?

Ask around, and you'll hear a range of approaches: some will insist you start with the experience you want players to feel and work backwards from there. Others argue for focusing on mechanics first to find the "fun", then build everything else around it. Still others champion starting with a story, crafting characters and a world to immerse players in.

Most perspectives you'll hear have a kernel of truth to them, but you'll be hard-pressed to find an approach that sufficiently produces a method which can hold between new game ideas, much less one that is game and genre agnostic.

Attempting to tackle this ourselves, we approached the question of "How to prototype new game ideas" from the notion of game design as a formal discipline.

Across other formal creative disciplines, whether art, film, or writing, creators rely on techniques that allow them to explore new ideas with confidence, irrespective of the style, type, or genre.

For instance, in writing a book or movie script, it's common to start with the end in mind and work backwards to ensure consistency and cohesion across the plot and its arcs.

Designing a game, however, requires a different approach because the degree of agency a game affords (as opposed to books and films) creates a dynamic of co-authorship between the player and the designer.

The designer crafts the world, establishes the framework for interaction, and gives the player skills to navigate it. The player's choices within that container results in a collaborative storytelling process where the designer sets the stage and the player determines the path forward.

So you mentioned you had a new idea for a game, eh?

Let's roll up our sleeves and get to work.


Step [ 1 ] - Game Ideation Starts With The IP

Whether you recognize it or not, this is the natural origin point of every idea you've ever had for a game.

The IP is the product of our intuition of a theme we find interesting, paired with a set of activities to support gameplay within that theme.

Let's draft a few quick game IP examples:

  • You are a victorian seamstress attempting to grow your small tailoring shop into a renowned atelier.
  • You are a caretaker for a rare breed of hydrangea-headed animals on the verge of extinction.
  • You are a traveling poet resolving domestic disputes by communicating only through haikus.
  • You are a parasite who needs to "host hop" back to your original host after a terribly strong sneeze.

This seed of an IP is all we need to get started.


if you don't care for additional context, you can move to Step [ 2 ]

Why does starting with the IP matter?

In a previous discussion where we wrote about the role and significance of authenticity in games, we found one factor to consistently define the success of standout titles: their ability to remain authentic.

Put another way, successful games are considerably better at maintaining consistency and cohesion with regard to their core concept. This, in turn, creates an experience that's as intuitive as it is immersive.

We start with the IP because it provides you, the designer, with a clear and tangible target to be authentic towards right from the outset.

We deliberately use the term "IP" instead of "Experience" because the latter often comes loaded with subjective implications—emotions, feelings, and thematic nuances. While these aspects are undoubtedly important to consider, they tend to obscure the primary goal of building a focused prototype that embodies the core fantasy of the game.

To maximize our chances of success, we have to start by defining the core fantasy we want the player to fulfill. From there, we can then design systems and a world that supports and enhances the authenticity of that fantasy.

A common pitfall for designers is the tendency to micromanage the player's journey, attempting to control the moment-to-moment experience.

Instead, we need to trust in (and embrace) the interplay between the player's agency and the thoughtfully constructed world we've built, allowing room for the player to co-author their meaningful and memorable experience.


Step [ 2 ] - Authenticity Requires Consistency In Verbs

We use the term "Verbs" to describe the foundational actions the player can take: "Run", "Aim", "Cast", "Jump", "Hit", "Climb", and "Lick" are just some examples.

"Verbs" are not to be confused with "Skills", which we consider to be the intersection of two or more Verbs:

  • The "Void Bolt" ranged Skill is an intersection of two Verbs: "Aim" + "Cast"
  • The "Wall Climb" traversal Skill is an intersection of two Verbs: "Jump" + "Climb"
  • The "Soaring Flame Strike" melee Skill is an intersection of four Verbs: "Run", "Jump", "Cast", and "Hit"

Continuing on with verbs, let's apply this exercise to one of our draft game IPs: "You're a victorian seamstress attempting to grow your small tailoring shop into a renowned atelier."

From this premise, we can start to identify the Verbs necessary to support the authenticity of this fantasy:

  • Thread, Stitch, Seam
  • Alter, Design, Repair

As you brainstorm verbs for the Player to action through, gameplay ideas will naturally begin to take shape:

  • A customer brings an oversized gown from their late grandmother, asking you to tailor it for a ballroom social
  • A sentimental traveler brings a trench coat needing repair, riddled with holes from a long journey.
  • A customer brings an outdated coat, with a request to modernize its style for current trends.

With our IP guiding us toward authenticity and a list of verbs to support the fantasy, the next step is to give meaning to the player's actions in the fantasy.


if you don't care for additional context, you can move to Step [ 3 ]

Why Are Verbs Necessary To Define At This Step?

To use an expression, think of the IP as your head in the clouds, and the verbs as your feet on the ground. Defining verbs early helps anchor the IP so as you continue to design (and ultimately develop) your prototype, you don't drift too far from the core fantasy you're aiming to fulfill.

If you've ever attempted to design a game without a core set of verbs defined, you'll know how frighteningly easy it is to fall into the trap of designing top-down from the experience, as opposed to designing bottom-up through the actions.

The verbs you choose significantly influence the direction for the game.

Referencing our Victorian Seamstress game IP, if we had chosen the verbs "Manage, Barter, Supply" instead of "Thread, Stitch, Seam", the player would be a bustling entrepreneur overseeing a victorian tailoring shop instead of being a hands-on seamstress.

Even more dramatically, if we had opted for the verbs "Lick, Zap, Weld" rather than "Thread, Stitch, Seam", the original setting would be preserved but the player now has a curiously different skill set fit for an unconventional clientele.

All three examples fulfill the fantasy of being "A victorian seamstress attempting to grow your small tailoring shop into a renowned atelier", but the verbs drive how the player will participate in that fantasy.


Step [ 3 ] - Worldbuilding Is The Gluing Agent for Authenticity

All games operate on a spectrum of risk versus reward, and it's this dynamic which gives meaning and weight to player actions.

But how does that relate to worldbuilding?

For anything that inhabits a world to have meaning, it must have a motivation.

This motivation is a catalyst for conflict which, in turn, creates the foundation for meaningful risk and reward.

To figure out that dynamic, we use a simple structure to explore entities which could exist in our world and quickly evaluate whether an entity supports and enhances authenticity.

Each entity is defined by the following:

  • Entity (name/type - can be an individual, group, faction, race, etc)
  • Core Traits (what defines this entity? what is important to know about them?)
  • Motivation (what is the entity's goal? what are they reaching and/or optimizing for?)
  • Conflict (what is considered a threat and/or currently preventing the entity from achieving their goal?)

Let’s revisit our Victorian Seamstress game IP for this exercise.

Lady Brooke (The Player)

  • Core Traits: Lady Brooke is empathetic, striving to understand each customer's personal story and reflect it in their garments. She possesses a deep love for craftsmanship, preserving time-honored traditions while experimenting with subtle new innovations.
  • Motivation: Lady Brooke wants to grow her shop into a renowned atelier but more than just material success, she wants to leave her mark through the recognition of her skill, artistry, and signature style.
  • Conflict: Lady Brooke finds herself caught between authenticity and appeasement. Each engagement challenges her to weight financial security against artistic growth in her attempt to create a signature style.

The Aristocratic Debutantes (Client Type)

  • Core Traits: Aristocratic Debutantes are meticulously groomed and socially conscious. They are sensitive to the unspoken rules of high society, valuing elegant attire and subtle indicators of status.
  • Motivation: They use fashion as a powerful tool to distinguish themselves. A perfect gown can open doors to favorable marriages, social alliances, and mentions in society columns.
  • Conflict: Though they desire clothing that sets them apart, they fear straying too far from tradition. They wrestle with the tension between the allure of a signature style and the safety of conformity.

The Foreign Dignitaries (Client Type)

  • Core Traits: Foreign Dignitaries are representatives of distant lands carrying cultural nuances, rich traditions, and a cultivated taste shaped by their journeys.
  • Motivation: They want attire that bridges their heritage with local aesthetics. Wearing garments that honor motifs, patterns, or techniques can fortify diplomatic ties, secure meaningful alliances, and convey the sophistication of their culture abroad.
  • Conflict: They struggle with the delicate balance between faithful representation of their traditions and blending into their host society. An ensemble too foreign might alienate locals, while one too local risks erasing their cultural pride.

This quick exercise has now given us some glue to work with, and we can see how the gameplay dynamics emerge naturally.

Simultaneously the game's setting begins to take shape, as does its atmosphere, mood, and tone.


if you don't care for additional context, you can move to Step [ 4 ]

What If My Game Has Combat And Enemies?

This game design technique can equally be applied to a game that takes place in a post-apocalyptic world where the player is the only character among a bastion of enemies.

Let's consider the following game IP: "You’re an underwater miner attempting to survive a dangerous ecosystem after falling into an undiscovered ancient city following a catastrophic mining accident."

With the following verbs: "Lure", "Distract", "Salvage", "Repair", "Navigate"

Here is some world construction we could do:

Ronan Kai (The Player)

  • Core Traits: Ronan is resourceful, analytical, and determined to survive. However, he is ill-prepared for the threats lurking within the ancient city, forcing him to rely on wit and ingenuity rather than brute strength.
  • Motivation: Ronan wants to survive and reach the surface to reunite with his crew, all the while uncovering the mystery of the ancient city.
  • Conflict: Ronan's need to understand the mystery of the ancient city jeopardizes his safety and return, especially given his vulnerability in a hostile and alien environment.

The Tentacle Bloom (Enemy Type)

  • Core Traits: A stationary and coral-like predator, the Tentacle Bloom lives atop crystal deposits where it uses its long, tendril-like appendages to capture prey. It emits a low-frequency hum to attract creatures, paralyzing and consuming those that get too close.
  • Motivation: The Tentacle Bloom lures prey to sustain itself, relying on crystal deposits as both bait and habitat.
  • Conflict: The Tentacle Bloom's reliance on its tendrils for sensory input leave it vulnerable to blind spots that can be exploited, and its stationary nature makes it susceptible to environmental hazards.

Titan Scrap Crabs (Enemy Type)

  • Core Traits: Titan Scrap Crabs cobble together grotesque patchworks shells from debris, growing more fortified with every addition. They're greedy creatures who aren't particularly smart, but their tenacity and herd-like behavior make them formidable.
  • Motivation: Titan Scrap Crabs are driven by a desire to fortify their shells with anything they can find and scavenge, no matter its source.
  • Conflict: Their unrelenting greed makes them susceptible to baiting and distraction, as their fixation on acquiring "upgrades" blinds them to traps or dangers.

Silken Serpents (Enemy Type)

  • Core Traits: Silken Serpents are stealthy, opportunistic feeders. They often follow larger creatures to scavenge scraps or prey upon the weak, waiting until they're most vulnerable.
  • Motivation: Silken Serpents are driven purely by hunger, relying on their stealth and patience to secure an easy meal.
  • Conflict: While their stealthy tactics make them difficult to confront directly, their predictable behavior patterns create an opening for others that know how to anticipate and counter their movements.

Grovelith Sentinels (Enemy Type)

  • Core Traits: Grovelith Sentinels are immense, ancient creatures merged with the architecture of the ancient city. Their movements are slow, deliberate, and their structural connections are visible.
  • Motivation: The Grovelith Sentinels are protectors of the ancient city, acting not out of malice but from an ingrained biological directive to preserve the city.
  • Conflict: The Grovelith's symbiosis with the environment creates a weakness where damage to their connecting structures directly impacts their effectiveness and survival.

We see that even when applied to vastly different game styles and genres, this design technique consistently allows gameplay dynamics to emerge naturally and implicitly suggests the setting required to be authentic towards the fantasy of our IP.


Step [ 4 ] - Targeting The 1-2 Hour Gameplay Mark For Our Prototype

By this step, we’ve confidently addressed the question, "Where do you start?" but another critical question remains: "What do you build first?".

Answering this question requires we choose a specific point in the game to focus on. We find the most effective starting point for your prototype is the 1-2 hour mark of gameplay.

Why begin here?

By the 1-2 hour mark, players have typically been introduced to the game's world, core verbs, and have a firm grasp on the essential skills they'll use throughout the game.

This point also represents a natural progression where gameplay systems begin to intersect, allowing verbs and skills to combine in unexpected and exciting ways, all the while providing an ideal stage to assess the enjoyment and depth of moment-to-moment gameplay and evaluate whether the experience authentically delivers on the core fantasy of the IP.

Lastly, targeting this slice of gameplay mitigates risk. It avoids over-investment in early concepts that may fail to resonate while still providing sufficient depth to determine if the gameplay, its systems, and the overall experience is cohesive and engaging.


Step [ 5 ] - Designing The Prototype Objective To Test Authenticity

This step is the most challenging part of the process, because it's frighteningly easy to overextend and build a prototype that greatly exceeds what is required to validate the concept.

Even with a clear plan for your prototype, you have to remain vigilant about fighting the urge to add unnecessary gameplay elements or prioritizing thematic details you believe add authenticity, but fail to contribute to the gameplay.

How do we approach this?

We want to start with a singular objective that gives our prototype a clear arc to follow aligning with the fantasy of our IP, the actions (verbs) the player will use to participate in that fantasy, and the worldbuilding we established.

Let's revisit our Victorian Seamstress game IP for this exercise.

Our singular objective could be: "Serve the newly arrived caravan carrying 2 foreign dignitaries. One needs a design alteration to their Frock for a lavish dinner party while the other needs a pair of Breeches repaired before their next fox hunt".

In this singular objective, we have the following covered:

  • A clear arc to follow that defines the start and end of our prototype
  • A setting that supports the fantasy of being a victorian seamstress
  • Two entities (each dignitary) who add color, tone, and mood to our prototype, contributing to the authenticity of being a victorian seamstress
  • Two smaller objectives (each dignitary request) that allow the player to exercise the core verbs of Thread, Stitch, Seam, Alter, Repair, Design

From here, we can start to map how our game prototype will unfold:

  • The caravan arrives with its 2 foreign dignitaries in tow
  • The player is greeted by each dignitary, one at a time
  • The first dignitary requests a design alteration to their Frock for a dinner party; dialogue ensues, notes are collected, the player takes the garment
  • The second dignitary requests a repair for their Breeches ahead of their next fox hunt; dialogue ensues, notes are collected, the player takes the garment
  • The player sees their open requests and selects one to start working on
  • For the Frock requiring a design alteration, the player oscillates between selecting materials and the careful, repeated actions of threading, stitching, and seaming.
  • For the Breeches requiring a repair, the player oscillates between selecting materials and the careful, repeated actions of threading, stitching, and seaming.
  • Once the player marks the Frock request as complete, the first dignitary will show and evaluate the player's work; the player is judged on "quality" and "artistry"
  • Once the player marks the Breeches request as complete, the second dignitary will show and evaluate the player's work; the player is judged on "quality" and "artistry"
  • On completing both dignitary requests, the player's tailoring shop is granted a reputation change from the cumulative result of the "quality" and "artistry" scores given by both dignitaries

So what's next?

From here, your intuition about good game design is what will steer the gameplay decisions for your prototype.

Let's consider a thought exercise with one of the gameplay layers as a continuation of the previous exercise.

"The first dignitary requests a design alteration to their Frock for a dinner party; dialogue ensues, notes are collected, the player takes the garment".

  • The dignitary could be a physical person that walks into the store; OR the dignitary could appear on the screen as a character portrait
  • The dialogue could be delivered linearly with the dignitary sharing details of their travel, followed by the request; OR the dialogue could start with the dignitary's request and then branch to allow the player to uncover more details about the dignitary's travels and interests on their own
  • The notes could be collected automatically during the dialogue with the dignitary; OR the notes could be collected by having the player click on certain phrases in the dialogue
  • The garment could be collected automatically once the dialogue is finished; OR the player could physically grab the garment and place it on a nearby garment rack

What would you choose if you were building this prototype?

However you decided, there are no right or wrong answers. Ultimately your intuition about what makes a good game, your acknowledgement of the level of abstraction needed to fulfill the authenticity of the core fantasy, and an awareness of the skill set you have posses to build the prototype will influence how you move forward.


if you don't care for additional context, you can move to Step [ 6 ]

What If My Game Has Combat And Enemies?

Let's apply the same technique to our underwater mining game IP.

Our singular objective could be: "Navigate through a hostile, collapsed atrium within the ancient city to reach an abandoned mining excavator and salvage a torque converter. Upgrade your drill with the torque converter to mine through tougher surfaces, allowing you to drill through crystallized coral".

In this singular objective, we have the following covered:

  • A clear arc to follow that defines the start and end of our prototype
  • A setting that supports the fantasy of being trapped underwater miner attempting to survive a hostile environment in a mysterious, ancient city
  • An obstacle (tougher surfaces) that requires us to seek out a solution (the torque converter)
  • A target to reach (the abandoned mining excavator) and an item to collect (the torque converter)
  • A meaningful upgrade (the torque converter) that expands gameplay capabilities (drilling through tougher surfaces)

From here, we can start to map how our game prototype will unfold:

  • The player begins at an impasse of crystallized coral they can't drill through
  • The player learns they need to upgrade their drill to mine through the crystallized coral
  • The player sees an abandoned mining excavator in the distance and believes it could have what they need
  • The player navigates through the atrium, crossing paths with Titan Scrap Crabs (ignoring them now may result in the return trip being more perilous as they continue to fortify their shells)
  • When the player reaches the abandoned mining excavator, the torque converter is guarded by a lone Tentacle Bloom
  • The player needs to lure two nearby Titan Scrap Crabs towards the Tentacle Bloom to distract it
  • The player can choose to kill the Tentacle Bloom or leave it distracted (killing the Tentacle Bloom means also having to deal with the two Titan Scrap Crabs)
  • The player salvages the torque converter and upgrades their drill, allowing them to drill through tougher surfaces (crystallized coral)
  • The player returns the same way they came, but they can now use their upgraded drill to explore new small areas previously blocked by crystallized coral
  • The player returns to the original impasse of crystallized coral and uses their drill to mine through the structure