Bernardo Heynemann > Bernardo's Quotes

“Today, competition can come from just about anywhere at any time. No business is completely safe, especially in the long-term.”
― Phil Simon, The Age of the Platform: How Amazon, Apple, Facebook, and Google Have Redefined Business

“people need simple, secure, powerful, integrated, and user-friendly ways to create, consume, purchase, share, and manage their content.”
― Phil Simon, The Age of the Platform: How Amazon, Apple, Facebook, and Google Have Redefined Business

“As far as the propositions of mathematics refer to reality, they are not certain; and as far as they are certain, they do not refer to reality. —Albert Einstein (1879–1955)”
― Douglas W. Hubbard, How to Measure Anything: Finding the Value of Intangibles in Business

“Once managers figure out what they mean and why it matters, the issue in question starts to look a lot more measurable.”
― Douglas W. Hubbard, How to Measure Anything: Finding the Value of Intangibles in Business

“We find no sense in talking about something unless we specify how we measure it; a definition by the method of measuring a quantity is the one sure way of avoiding talking nonsense. . . . —Sir Hermann Bondi, mathematician and cosmologist3”
― Douglas W. Hubbard, How to Measure Anything: Finding the Value of Intangibles in Business

“The most important questions of life are indeed, for the most part, really only problems of probability. —Pierre Simon Laplace, Théorie Analytique des Probabilités, 1812”
― Douglas W. Hubbard, How to Measure Anything: Finding the Value of Intangibles in Business

“Every NPC needs a role. A job. A reason for living.”
― Scott Rogers, Level Up! The Guide to Great Video Game Design

“You know, the suspension of disbelief is fragile. It’s hard to achieve it and hard to maintain. One bit of unnecessary gore, one hip colloquialism, one reference to anything outside the imaginary world you’ve created is enough to destroy that world.”
― Ernest Adams, Fundamentals of Game Design

“Myst and Gemstone both have harmony. They have it because their makers had a vision of the experience they were trying to achieve and the confidence to attain it. They laid down a solid, ambient groove that players and their respective markets can relate to emotionally. They resisted the urge to overbuild. They didn’t pile on a lot of gratuitous features just so they could boast about them. And they resisted the temptation to employ inappropriate emotional effects. Effects like shock violence, bad language, inside humor. You”
― Ernest Adams, Fundamentals of Game Design

“People love to design and create things, whether clothing, creatures, buildings, cities, or planets. They also love to customize a basic template of some kind to reflect their own choices.”
― Ernest Adams, Fundamentals of Game Design

“Lead Designer. This person oversees the overall design of the game and is responsible for making sure that it is complete and coherent. She is the “keeper of the vision” at the highest and most abstract level. She also evangelizes the game to others both inside and outside the company and is often called upon to serve as a spokesperson for the project. Not all the lead designer’s work is creative. As the head of a team, she trades away creativity for authority, and her primary role is to make sure that the design work is getting done and the other team members are doing their jobs properly. A project has only one lead designer. •”
― Ernest Adams, Fundamentals of Game Design

“A game concept is a description of a game detailed enough to begin discussing it as a potential commercial product—a piece of software that the public might want to buy.”
― Ernest Adams, Fundamentals of Game Design

“Design Rule The Story Comes Later Do not spend a lot of time devising a story at the concept stage. This is a cardinal error frequently made by people who are more used to presentational media such as books and film. You must concentrate most of your efforts on the gameplay at this point. Types”
― Ernest Adams, Fundamentals of Game Design

“Game worlds are much more than the sum of the pictures and sounds that portray them. A game world can have a culture, an aesthetic, a set of moral values,”
― Ernest Adams, Fundamentals of Game Design

“One of the purposes of a game world is simply to entertain in its own right: to offer the player a place to explore and an environment to interact with. As”
― Ernest Adams, Fundamentals of Game Design

“To someone who’s playing a game for the first time, the world is vital to creating and sustaining her interest. The other purpose of a game’s world is to sell the game in the first place. It’s not the game’s mechanics that make a customer pick up a box in a store but the fantasy it offers: who she’ll be, where she’ll be, and what she’ll be doing there if she plays that game. The”
― Ernest Adams, Fundamentals of Game Design

“Overused Settings All too often, games borrow settings from one another or from common settings found in the movies, books, or television. A huge number of games are set in science fiction and fantasy worlds, especially the quasi-medieval, sword-and-sorcery fantasy inspired by J. R. R. Tolkien and Dungeons & Dragons, popular with the young people who used to be the primary—indeed, almost the only—market for computer games. But a more diverse audience plays games nowadays, and they want new worlds to play in. You should look beyond these hoary old staples of gaming.”
― Ernest Adams, Fundamentals of Game Design

“Ultimately, the violence in a game should serve the gameplay. If it doesn’t, then it’s gratuitous and you should consider doing without it. Realism”
― Ernest Adams, Fundamentals of Game Design

“A producer is the primary driving force that guides the game development process to ensure that the work gets done on time and under budget.”
― Heather Maxwell Chandler, The Game Production Handbook

“Some game developers may wonder about a producer’s responsibilities; because producers aren’t usually content creators, they don’t contribute assets to the game.”
― Heather Maxwell Chandler, The Game Production Handbook

“In addition, the producer leads the team and keeps them motivated when the project becomes stressful. The producer also acts as a buffer between the development team and all the external forces that are trying to interfere with the team: marketing,”
― Heather Maxwell Chandler, The Game Production Handbook

“In fact, a lead should not be the most artistically talented or technically gifted person on the team. You want to keep these talents doing what they do best—creating high-quality assets for the game. If you move these high-quality content creators to lead positions, they won’t have time to create content, and the quality of the game will be diminished.”
― Heather Maxwell Chandler, The Game Production Handbook

“If people are in disagreement on how a certain element functions in the game, do not waste time trying to convince the dissenter that the idea is good. Instead, spend the time prototyping the idea, get some actual gameplay feedback on the fun factor, and make adjustments or change the functionality based on this information.”
― Heather Maxwell Chandler, The Game Production Handbook

“Alpha: At this milestone, key gameplay functionality is implemented, assets are 40–50% final (the rest are placeholders), the game runs on the correct hardware platform in debug mode, and there is enough working to provide the team with a feel for the game. Features might undergo major adjustments at this point, based on play-testing results and other feedback. Alpha occurs 8 to 10 months before code release.”
― Heather Maxwell Chandler, The Game Production Handbook

“Concept Art and Model Sheets Concept art consists of drawings made early in the design process to give people an idea of what something in the game will look like—most often, a character. Many people involved in the game design, development, and production process will need such pictures. This includes everyone from the programmers (who might need to see a vehicle before they can correctly model its performance characteristics in software) to the marketing department (who will want to know what images they can use to help sell the game). By creating a number of different versions of a character, you can compare their different qualities and choose the one you like the best to be implemented by the game’s modeling and animation teams.”
― Ernest Adams, Fundamentals of Game Design

“Meretzky suggests that you consider the following:”
― Ernest Adams, Fundamentals of Game Design

“To keep the absolute difficulty level constant, whenever you increase the time pressure on a player, you should also reduce the amount of intrinsic skill required.”
― Ernest Adams, Fundamentals of Game Design

“Core Mechanics The core mechanics consist of the data and the algorithms that precisely define the game’s rules and internal operations.”
― Ernest Adams, Fundamentals of Game Design

“Sources If a resource or entity can come into the game world having not been there before, the mechanic by which it arrives is called a source.”
― Ernest Adams, Fundamentals of Game Design

“Drains A drain is a mechanic that determines the consumption of resources—that is, a rule specifying how resources permanently drop out of the game (not to be confused with a converter, which we’ll look at next). In a shooter game, the player firing his weapon drains ammunition—that’s what makes ammunition, a resource, disappear. Being”
― Ernest Adams, Fundamentals of Game Design