![]() Most of the settings I've ever made could be described as, 'Here's a thing that's very easy to explain, oh, but there's a twist.' I think that helps people understand what you're making and the twist makes them go, 'Oh, and this is why it's original!' Then the twist can be used and explored to see, with this difference, how the setting would be different than other settings that have come before. Cain cited titles made by Troika Games, which involved a lot of player agency and provided enough space for different actions and behaviors. The setting should grab people’s attention and be easy to create stories and quests for.So it should be more like an elevator pitch. Cain tries to describe the setting in a sentence or two because this document is one of the first things that a publisher or investor will see.He also noted that he goes through this process when creating the original IP from scratch, but this approach can also work for other games as well. “They’re not only very different documents, but they’re intended for different people and they’re written differently,” Cain said. Systems - game mechanics should support the things described in the first two documents because this is the only way to make them good and connected to the setting and story.Story - a very high-level description of what every player will experience, which will also help to find the main story quests.Setting - it defines the space in which the game will take place.One of the recent videos is dedicated to design documents.Ĭain always writes three documents in this very particular order: In April, Cain started a YouTube channel where he regularly shares stories about games he has worked on and discusses various gamedev topics.
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