How to find amazing game ideas
Short Summary:
This video, "How to Find Amazing Game Ideas," guides aspiring indie game developers through the process of generating and evaluating game concepts. It explores four main avenues for idea generation: modifying existing games, working within established genres, creating entirely new mechanics, and starting with a desired player experience. Specific examples like Hotline Miami, Crypt of the Necrodancer, Papers, Please, and Death Stranding illustrate these approaches. The video emphasizes the importance of prototyping to test the fun factor and evaluating an idea's viability, marketability (using "hooks" and "anchors"), and personal passion before committing to full development. Methods for evaluating ideas, including considering the game's "appeal" and imagining a marketing campaign, are detailed.
Detailed Summary:
The video is structured around four main ways to generate game ideas, followed by tips for idea generation and finally, criteria for evaluating the viability of an idea.
Section 1: Generating Ideas from Existing Games: This section argues that all games are built upon previous works. It suggests using existing games as springboards, modifying their perspective (e.g., Satisfactory from Factorio), theme (Subnautica from Minecraft), medium (Among Us from social games), or even reviving outdated concepts (Stardew Valley as a response to Harvest Moon). The example of Hotline Miami’s development, inspired by Ikiki’s games but ultimately distinct, highlights how personal vision transforms borrowed concepts. Terry Cavanagh's quote, "Everything anyone ever makes is inspired by what’s in their head – what they’ve played or read or encountered or thought a lot about. Creation doesn’t happen in a vacuum – everything is a remix!" emphasizes the iterative nature of game design.
Section 2: Generating Ideas from Genres: This section proposes using genres as templates, either by adding a unique spin, addressing genre flaws (e.g., Crypt of the Necrodancer tackling roguelike randomness), combining genres (Spelunky blending platformers and roguelikes), adding or subtracting core mechanics (e.g., Captain Toad removing jumping), or changing the metaphor (e.g., Pokemon Snap and PowerWash Simulator reimagining the FPS aiming mechanic). The importance of considering genres loosely, focusing on core DNA rather than strict definitions, is stressed.
Section 3: Generating Ideas from New Mechanics and Systems: This section focuses on drawing inspiration from real-world experiences (Papers, Please) and personal interests (Pikmin, SimCity, The Sims). It also explores inspiration from control methods (Fruit Ninja, Super Mario Sunshine) and isolating single mechanics from other games (Braid, Shovel Knight, Mind Over Magnet). The concepts of "bottom-up" design (starting with mechanics) and "top-down" design (starting with experience) are introduced, using examples like Splatoon and Death Stranding, respectively.
Section 4: Generating Ideas from Experiences: This section emphasizes starting with a desired player experience or theme. Examples include FTL aiming for the feeling of commanding a spaceship, Thronefall focusing on the power fantasy of ruling a kingdom, and Spiritfarer exploring themes of death and dying. The importance of defining the win state, obstacles, fail state, and player actions to solidify a game idea is explained using Crazy Taxi as an example. It cautions against mistaking a story or single mechanic for a complete game idea.
Section 5: Rapid Fire Tips for Idea Generation: This section offers ten quick tips: break games down to their atomic elements, critically analyze games, challenge conventions, play diverse games, impose limitations, enter game jams, experiment in the editor, use music and art as inspiration, avoid forced brainstorming, and keep initial ideas small. Examples like Risk Legacy and Parking Garage Rally Circuit illustrate these tips.
Section 6: Evaluating Game Ideas: This section stresses the importance of evaluating an idea's viability before committing to development. Questions to ask include: Can you make it? (considering resources and time, with Jonas's "one or two days prototype = one or two years game" rule of thumb), Are you passionate about it?, Will it stand out? (discussing "hooks" and "anchors," and the importance of a clear and appealing marketing message). The video cautions against being too innovative, using the example of Arco's failure. The concept of "appeal" (fantasy, exploration, toy, etc.) is introduced as an alternative to solely focusing on hooks. Finally, the importance of prototyping to test the fun factor is emphasized. The video concludes by encouraging viewers to watch a follow-up video on prototyping.