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Button City is a narrative adventure game about a small community of low-poly animals, each named after herbs and spices. Indie studio Subliminal Gaming teamed up with WINGS Interactive, a company that invests in indie games that feature women and marginalized genders in key development positions, to release Button City to PS5, Xbox Series X|S, Nintendo Switch and Steam on August 10th, 2021. Button City already secured pre-production funding in 2018, but found themselves needing additional funds in 2020. This is the deck they used to seek bridge financing after most of the game was complete Read more at bestpitchdeck.com/button-city-2020

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想成為強大的遊戲設計師又苦於不知道如何增進自己的實力嗎?看到複雜的遊戲機制或規則就感到頭痛嗎?看這個簡報就對了!請你先準備一些簡單的美工用具,紙張和幾隻筆，按照簡報的說明把原型做出來。再找三五好友試玩一下這個原型，雖然沒有漂亮的美術也沒有程式，你一定會很訝異這個遊戲會讓你獲得很多樂趣。接下來和你的朋友一起討論一些修改這個原型的方式，透過不斷的修改和測試，你的遊戲設計能力就會變得很強大!這個簡報的遊戲範例是SiSSYFiGHT(小妹生死鬥)，在GDC 2012當中的Game Design Workshop三個原型案例之一，千萬不能錯過!

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There’s a reason so many board gamers show up UX events. The same skills that make us great information wranglers are the same things that make board games like Catan, Pandemic and yes, even Exploding Kittens so appealing! It should come as no surprise that we’ve seen prominent UX leaders cross over into board game design (Matt Leacock, Dirk Knemeyer). If we scratch beneath the surface, there’s a set of shared skills (and struggles) common to these different professions. Specifically: the spatial arrangement of information, visual encoding of information, creating designed spaces, a systems view, playtesting / user testing, competing tensions, triggering emotional responses, and many more. Okay, so what? Sure, it’s kind of neat that we have so much in common. But how might this change what I do at $largecompany? Here’s the honest truth: The game design profession is just a little bit farther down the road than us, and we have a lot to learn from this group if we can look past the superficial differences. We talk about designing for emotions, but let’s face it, game designers are actually winning at this. Processes? We talk about lean and agile, but game designers have mastered playtesting (and the design to playtest ratio should make us embarrassed at how little we actually iterate with users). And there’s plenty more. I’m confident that if we can look our our own profession through the lens of game design, we’ll see plenty of glaring opportunities for improvement, and a few tricks we might pick up, as well.

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For all the attention given to design and UX in recent years, here’s the truth: Most companies are not set up to truly deliver an experience. Consider the rich, nuanced experiences we’ve come to expect from more mature mediums like film or game design. These experiences makes us feel, in deep and profound ways. But pulling this off requires a constant orchestration of things at the systems-level and a laser focus on incredibly fine emotional details. And speaking frankly, things like “feelings” “experiences” and “emotions” — these are intangible things. Businesses are trained to prioritize, quantify, and measure tangible things, that promise a clear payoff. We pit belief–about what will create a great customer experience— against data. Is there a reconciliation between these two mindsets? In this session on design leadership, speaker Stephen P. Anderson will share his experiences, both as a consultant and as part of an executive team, trying to balance the needs of the business with needs of the customer. He’ll share a model — adapted from game design — that offers to balance theses kinds of “art and science” issues, promising to bring together cross-functional teams and reconcile competing interests. Taking cues from game design, this new model will give you a constructive way to think about everything from designing for emotional needs to tracking key metrics to discerning between “little e” experiences and the “Big E” experience. Walk away with a framework you can use to balance what’s right for the business with what’s right for the customer.

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“How do you create a concept model?” It's a simple question without a simple answer. As wranglers of information, we routinely create visual artifacts to make sense of difficult subjects. Think service blueprints. Site maps. Clusters of sticky notes on walls. Venn diagrams. These are all external representations created to organize our understanding—concept models. And in team settings, these models allow us to communicate and collaborate; master these visual thinking skills and you can effectively frame the conversation. For as long as we’ve organized things into stacks (“my pile, your pile”) or into some continuum (letterforms carved into a clay tablet, sorting kids by height), we’ve used the *spatial* arrangement of things to assign meaning. Consciously or not, we're tapping into a powerful visual language to help us and others understand difficult concepts. But, what is this language we're using? And can it be taught? In this session, speaker and author Stephen P. Anderson will share the fundamental elements behind every visual representation. Much like there’s a grammar behind the written word, there’s a grammar behind the visual display of information; once understood, you can easily create clear and concise visual representations of thought. Best of all, this same approach extends into other kinds of external representations, such as custom data visualizations or novel interfaces. And, as we move into a connected world, where information is distributed into the physical environments around us, we can prepare now by having a fundamental vocabulary to describe this arrangement of information. Whether on the page or screen, or in the physical space around us, understanding how to derive (and convey) meaning through the arrangement of information is and will become an essential skill for anyone designing information.

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This presentation shares the journey I’ve been on, from trying to shape and influence a user’s path, to creating sandbox environments in which people can play and amaze us! ______ Designers are trained to guide users toward predetermined outcomes, but is there a better use of this persuasive psychology? What happens if we focus less on influencing desired behaviors and focus more on designing ‘sandboxes’: open-ended, generative systems? And how might we go about designing these spaces? It’s still “psychology applied to design”, but in a much more challenging and rewarding way! In this talk, I’ll share the journey I’ve been on, from trying to shape and influence a user’s path, to creating these sandbox environments. You’ll learn why systems such as Twitter, Pinterest, and Minecraft are so maddeningly addictive, and what principles we can use to create similar experiences. We’ll look at education and the work of Maria Montessori, who wrote extensively about how to create learning environments that encourage exploration and discovery. And we’ll look at game design, considering all the varieties of games, especially those carefully designed to encourage play — a marked contrast with progression games designed to move you through a series of ever-increasing challenges, each converging upon the same solution. Finally, we’ll look at web applications, and I’ll share how this thinking might influence your work, from how you respond to new feature requests to how you design for behavior change in a more mature way.

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It’s easy to solve the wrong problems. Good design relentlessly questions assumptions and reframes the problem to be solved. We know this, and yet, HOW to actually reframe a problem is missing from our conversations. In this session, Stephen P. Anderson will share tips that have helped him cut through the noise of requests and requirements, to focus on the real problem(s) to be solved. Specifically, you’ll pick up ways to see a problem from different perspectives, ways to ask why, how to draw upon seemingly unrelated experiences, how to separate real from perceived constraints, and most importantly, ways to keep yourself in check, so as not to solve the wrong problem (or if you do, you do so intentionally, for a strategic purpose!). Whether you’re designing strategies or screens, you’re sure to pick up a few new mental hacks that you’ll no doubt use on a daily basis.

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If we focus too much on content, we ignore what we know about how our associative brain comes to makes sense new information. Think about how many people respond before reading past the first sentence of an email, or how a magazine article doesn't get the same reaction when displayed in HTML. Or consider how knowing the author of a publication influences your judgement of that content. Picking up from the session Stephen P. Anderson gave last year on "The Stories We Construct" (a biological look at the narratives that influence behavior), this session focuses on how we come to perceive—and respond to— information. From phantom limbs to magicians fooling our senses, Stephen proposes a model that makes sense of how we truly experience information. Practical? You'll leave with a deep understanding of everything UX is about and an awareness of common practices that don't account for this knowledge.

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