![]() ![]() Our first project involves making a walking simulator with the whole games group. Finally, I always try to look at games with a critical eye: what design trends are driving me up the (repeating texture) wall? What little details do I really appreciate? What kinds of experiences are being neglected altogether? Whatever makes me feel empowered and motivated to develop can only be a positive thing. While our tutors can advise us on which game concepts to develop, we are free to go against that advice and make something we’re proud of. In this safe space, I can experiment with mechanics and concepts without necessarily worrying about how profitable they are. It's easy to get overwhelmed by what you don't know in gamedev, so I find identifying the bare minimum I need to achieve and breaking tasks down into “need to haves”, “should haves”, and “nice to haves” makes the path forward clearer.Īnother reason I feel so privileged being able to study gamedev is the freedom to take risks. That is to say, I’ve learned to be curious without stressing about mastering everything at once. Admittedly, there have been times where Maya’s neolithic interface has made me want to tear my hair out, or where Unity has overwhelmed me with a million options to achieve the same effect, but I always feel a rush of satisfaction when I see the final result. If I learn how to add transparency to a texture map, it’s because I want to make a window for my current project, not because it’s on a syllabus. With so much to learn and everyone at different skill levels, learning through doing is the way on my course. Pixel Ripped 1989: another title coming about from the NFTS course It’s when playing those games that I feel the strongest connections to the human beings behind the code. Even if you never end up making a game based on Stanley Kubrick’s 2001: A Space Odyssey (don’t worry, I wouldn’t blame you), who knows when those unconscious influences will inspire you in the future? Some of my favourite titles gamify niche interests or mundane activities, like PowerWash Simulator, Unpacking, or Yakuza’s minigames. So many times I’ve caught myself thinking “this relationship would be really fun to explore in a game” or “this situation could be gamified in some weird ways”. Bake all the banana bread! For me, I find comfort and inspiration in reading (I know, you can’t take the literature out of the English student). Inspiration can come from anywhere, especially outside video games. ![]() Besides, aren’t we all storytellers, just in different mediums? They might not be talking about video games, but I can’t get enough of storytellers discussing their crafts. In addition, the school invites speakers from the creative industries to deliver Masterclasses: anyone from author and screenwriter Neil Gaiman and Turning Red director Domee Shi to documentary presenter Louis Theroux. Since the NFTS is a film school, there are regular film screenings of recent releases and old classics. The thing I’m most thankful for about studying at a film school is being encouraged to cultivate interests outside my discipline. Here are some of the lessons I’ve learned in my very young journey along this unconventional route into gamedev. ![]() So while the fact I will have made five games by the end of this year is terrifying, it’s equally exhilarating. But I’ve always loved analysing how video games tell their stories, using their mechanics and audiovisual flourishes to make players feel certain ways. ![]() This February, I was among those hopefuls.Ī disclaimer: I’ve never 3D modelled before, never written a line of code, my undergraduate degree was in English Literature. And yet, every year up to ten students enrol with the hope of working in the games industry. Perhaps not the first place you would expect to find a games design and development MA. The National Film and Television School, Beaconsfield. ![]()
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