Blog 11 - Lesson 1 Reflection

1. What are you most proud of in your lesson, and why?

I'm proud of the content that I introduced in my lesson. Sort of. I think that, for the most part, what I talked about didn't completely bore the audience-- which is always quite relieving. I like seeing nodding heads during my presentation. That always gives me a little bit of confidence. 

Mostly, however, I'm proud of my content because it's something that I'm passionate about-- maybe I'm proud of it for all the wrong reasons, then, but I think I was able to transfer some of that passion into my delivery (hopefully). And in doing so, I think I was able to keep the audience's attention for a longer period of time. 

I'm also sort of proud of the fact that, upon realizing a mistake I made mid-way through my presentation, I didn't trip over my words or give the audience any signs that something was bothering me. Hopefully. I'll go into detail on that in my answer three in this blog entry, to avoid needless repetition. Anyway, I'm always a tiny bit proud of myself when I can recover from my mistakes; while I do find some shame in them, you can't put yourself down for them forever. Better to work past it and learn to accept it. 

2. What assessment would you give yourself on your lesson? Explain why you earned that grade using evidence from the component contract.

I think, based on how I performed and the information I presented, I got a P-- definitely not on the higher end, more towards the middle and lower end. I did nothing special or spectacular, so I really don't think I'm deserving of an any grade above that. I presented my research clearly, cited my sources (including my interview and mentorship), and presented a portion of the information that gathered throughout my research over the span of the last three months.

I think in terms of my presence, and not my content, I struggled a bit with eye contact. While I tried to make meaningful eye contact with members of the audience throughout the presentation, I found myself staring more towards the back of the audience than the front. I'd like to be more inclusive of my entire audience next time. As for volume, I think I hit that well enough-- volume is typically never an issue for me, as I know how to control my voice well, for the most part. It helps that I'm on the louder side, naturally, to begin with. 



3. If you could go back, what would you change about your lesson?  How can you use that knowledge to give a better Lesson 2?

I'm aware that I forgot small pieces of my presentation for a moment, so I really wish I could go back and give myself a reminder of some sort (e.g. write it out on a sticky note, my lesson plan, etc.) to ensure that I wouldn't forget to mention a certain piece of information that I really wanted to share.

(Upon realizing that I forgot something, I felt an extreme heat rise up to my face. I don't think anyone noticed. It's a good thing I'm brown.)

Knowing that, for Lesson 2, I would use this knowledge to protect myself against future forgetfulness in the future.  For the future, I'd like to know my subject and presentation content so well, it's practically ingrained in my mind. Woven in so deeply, it'd be a crime to forget about any of my lecture content. That's the plan, at least. If things go my way, all will be well.

Blog 10 - Interview 2 Reflection

The USC Game Innovation Lab.

The audio of my interview is located here on my blog.

1. Please explain how you are spending your mentorship time (Is it at a workplace or somewhere else?  Are you shadowing?  Are you able to do tasks that are meaningfully related to the topic?  If so, what?  Are there other people who are experts in the location?  Etc...)

I am spending my mentorship time at the Game Innovation Lab located on the University of Southern California (USC). This lab functions as a workplace, primarily, with several research associates/game designers working in the lab, but a significant portion of these people are also educators in the Interactive Media Division of the USC Cinematic Arts School, where they educate game design students. 

My mentors are both educators and game designers. I spend my mentorship time with fellow senior Jessica Bui, and we spend our time in the Game Innovation Lab both shadowing and participating in educational activities that are typically  held for students in the game design program. We have the opportunity to sit in on meetings for several different design projects in the lab, as well as participate in these activities that hone our own design skills. For example, throughout our mentorship, we've re-designed a pre-existing board game, essentially creating a physical prototype of game mechanics (the game in question was Up the River). We've also created a Twine interactive story, or a story that is created on the computer that allows readers to choose which of our pre-set directions they want to take to further the story. 

Other experts in the location would include other staff and faculty in the Game Innovation Lab; these people are experts in specific areas of game design, such as animation, programming, creative design, and more. Everyone in the lab specialize in different areas of study, and are all experienced individuals. 

2.  How did you find your mentor?  How did you convince this person to help you?  

While I was searching over the summer for potential mentors at small game companies and small design teams, my friend Jessica Bui stumbled across the USC Game Innovation Lab, and read into the program and its significance among game design programs across the nation.

I had come across a potential (yet unresponsive) mentor at the same time that Jessica contacted Tracy Fullerton, the director of the Game Innovation Lab at USC. She emailed Tracy all of the information regarding the senior project, how our school functions, and her personal skill level with programming and other aspects of game design. 

While I was still contacting my potential mentor (who, by the way, didn't appear very excited at the prospect of taking on an inexperienced mentor), I was in contact with Jessica, and we were both exchanging information on how our mentor searches were going. When Jessica got the confirmation that a mentorship at USC was  fine with our potential mentors, she asked if I would be willing to also mentor with her at USC. Of course, I jumped on the opportunity with her, and we've both been going to USC every other week ever since. 

3. How would you rate your comfort level with your mentor at this point in your relationship?  How does this relate to the time you've spent so far at mentorship/with this person?

 Personally, I'm quite comfortable with our mentors, Sean and Elizabeth. It is fairly easy to hold conversation with them, and they've done nothing but make Jessica and I feel welcome. Of course, as students under them who often interact with and shadow them, we dance the line between formality and casualness. While we are very polite to our mentors, we're on a first-name basis and often hold miscellaneous conversation with them. 

The director of the lab, Tracy, who is also one of our mentors, has not been around Jessica and I as often as Sean and Elizabeth, due to her busy schedule. While she is very friendly and welcoming, we have not talked in a casual setting with her as often as we have had with Sean and Elizabeth, so I typically find myself quite formal and polite with Tracy. Nonetheless, she is still a very kind person, and we still learn a lot from her. 

I've found that because I feel welcomed in the Game Innovation Lab by the staff and faculty, I'm quite comfortable in that setting. I'm not nervous or uncomfortable working and shadowing our mentors in that setting, so I feel that that comfort allows Jessica and I to focus more on our learning experiences while we're at the Lab.

4. What went well in this interview?  Why do you think so?  What do you still need to improve?  How do you know?  How will you go about it?

Sean has long-winded answers, and that was amazingly helpful-- to the point where each time I had a follow-up question for him, he managed to answer it before we could even move on to another question. It was both humorous and amazing; essentially, all of my questions for Sean were answered easily because of this ability of his.

As for improvement, I feel that I struggled in the preparation process of the interview, where I would create questions that revolved around Sean's background. I had difficulty distinguishing between questions that asking about Sean's background, and questions that fulfilled my own curiosities. I tried to overlap these two areas as best as I could, but I still felt that some of my questions fell short; thankfully, Sean's long answers provided with me with a good chunk of information, so that definitely helped make up for my mistake.

For future interviews, I will spend more time in the pre-interview process, taking more time creating my questions and reviewing them to ensure that they do what they're intended to do, as well as fill my own curiosities. 

Interview #2: Sean Bouchard

Blog 9 - Advisory Prep 3

1. State whether or not you currently have a mentor, and what the status of your interview is with that person (I have completed the interview, I have scheduled the interview, I have not scheduled the interview, etc).

I have stable mentors: Tracy Fullerton, Sean Bouchard, and Elizabeth Swensen.  My mentorship with them is held at the University of Southern California Game Innovation Lab.

For this interview, I chose to interview my mentor Sean. I have already completed my interview with him. I need to transcribe it and post it here.

2. At this point, your research is probably guiding your studies toward more specific areas within your topic.  Name the area or two you find most promising and explain your reasons.

Throughout the course of my project, I've been drawn the area of storytelling within video games. This would include worldbuilding, character creation, and plotting of a dramatic arc. World creation is an extensive process with potential for great depth-- for example, J.R.R. Tolkien's Middle-earth (Lord of the Rings) is a broadly developed, complex fictional world that still has limitless potential to keep reader interest.

Upon creating a deep and complex world, creation of characters and the major plotline are large entities to handle, as well. As these three elements are observed in literature everywhere, research and information regarding these specific topics is easily accessible.

Beyond just storytelling, I believe the player experience throughout the game is important, as well. In relation to storytelling, I'd also like to focus on the player experience throughout the storytelling process; I'd like to ensure the story has the intended impact on players of a game. To do this, researching more in-depth on player experience is necessary; thus far, I've found potentially sufficient amounts of research on the topic.

3. What kinds of sources do you think will help you in the next month to gain more research depth?  Where will you go to get them?

I believe that while video game design books will definitely help me in the topic of storytelling, I also believe that works and books regarding storytelling in general will be of great use. I know that I can easily obtain these books from the vast amount of resources in the Cal Poly Pomona library, as well as my local libraries.

In terms of player experience, I believe research in more video game design books, especially those focusing on user experience and user interface, will prove helpful. I can access these books at the Cal Poly Library as well, but I can also check them out from my mentorship and the University of Southern California Library.

4. Write down a possible EQ.  Please don't worry about wording other than ensuring that it provides the option for multiple correct answers.  At this point, the senior team is most interested in understanding your thought process.

What areas of focus in storytelling are important to emphasize in order to deliver the best player experience?

How can a game designer create a positive player experience through storytelling techniques?

Blog 8 - Independent Component 1 Proposal

I plan on doing a significant amount of drafting and planning through my preparatory process of creating a video game, including physical prototyping of potential game mechanics. Above is an example of a physical prototype in development. 

1.  Describe in detail what you plan to do for your 30 hours.

Over the next thirty hours, I plan to start and delve into the lengthy preparation process of creating a video game. There's quite a bit of work that goes into this kind of project, and I'd like to take a moment to explain some of the preparatory steps my mentors have recommended that I take before actually creating my game.

For Independent Component 1, I would like to focus specifically on the preparation process of the video game. Essentially, I want to be able to focus on current concepts and ideas I have for creating a fictional world and characters, as well as creating new ones. I want to extensively go through the brainstorming process to create this world, it's inhabitants, and form the story of the game. Once the planning stages of the game world and characters are creating, I want to be able to focus on planning out a plot that'd occur over the course of the game. 

Once the world-building portion of the game is completed, I want to move onto the planning and prototyping of the game mechanics (and subsequently, potential gameplay). Essentially, I want to determine and plan out how the game plays out-- which includes the type of play (sidescrolling, first person, puzzle, etc.), game interface and controls, and detail upon the intended player experience.

For clarification: I am not directly creating the video game just yet. I am spending these thirty hours in preparation for creating the game, by taking the necessary steps I listed above. 

2.  Discuss how or what you will do to meet the expectation of showing 30 hours of evidence.

Brainstorming is a lengthy process in itself-- for the creation of concepts and ideas, I will keep detailed notes and sketches regarding said concepts/ideas. As for the world-building and plotting portions of my planning, I plan to also write out and notate throughout this process: essentially, I will write all there is to write regarding the world I will create, it's inhabitants, and the story I wish to tell throughout my game. In summary, there will be written evidence of the creation of the world-building and plotting.

As for the game mechanics, I plan to begin with brainstorming for that process, as well. The brainstorming process here will too be noted and sketched throughout. I want to determine which type of gameplay and interface will not only properly deliver the intended story and emotions I want to convey in the game, but also creates an enjoyable player experience in the finalized, digital version of my game later on.

I would also like to prototype these game mechanics; to do so, I believe a physical prototype of sorts to test how the game mechanics can work out will serve my purpose just fine. Oftentimes, it is ideal and convenient to begin designing gameplay (and therefore, working out any issues with it) with physical prototypes, as they can easily be iterated and changed within seconds to suit any new ideas for game mechanics. Digital prototypes take significantly longer to create new iterations of, and often these iterations can be scrapped if the idea they are based upon just doesn't mesh well with other aspects of the planned game. Therefore, physical prototyping is the best method of prototyping to utilize here. I will also document my experience of physical prototyping through notation and pictures, which I will keep in sequential order. In doing so, any viewers can see the creation and changes my prototype will undergo.

3.  Explain how what you will be doing will help you explore your topic in more depth.

What I'm doing for independent component essentially encompasses the entire planning processes of the creation of a video game. In doing so, I will need to do further research in the complexities of world-building and plotting for video games, as well as research different types of directions I can take my game mechanics. 

I'm of the belief that actively planning the foundation and mechanics of my game will help me not only explore my topic through further, specific research, but also help me explore it by allowing me to get a taste of what it's like to plan extensively for a video game. I think this opportunity is important for me to understand what it's like to truly delve into video game design as a project and potential career.

4.  Update your Senior Project Hours log.

Done. Thanks!

Blog 7 - Second Interview Preparation

Students at USC participating in Demo Day, an event at USC wherein students of Game Design and Interactive Media are able to display their projects and games produced.

1.  Who is your mentor and where do they work?  If their workplace does not reflect their expertise, what makes them an expert?

Currently, I have three different mentors I plan to interview over the course of my senior project. While I've yet to decide which of these mentors I shall speak to for my second formal interview, I know that they are all reliable and excellent options.

Tracy Fullerton is technically my "primary" mentor. She was the one who allowed for Jessica and I to mentor at USC's Game Innovation Lab. Currently, she works as the director of the lab, and is an experienced game designer with many years of work in the industry. She's worked on several projects throughout the years, working as one of the head designers herself or serving as a faculty adviser (for student projects). Furthermore, she's also a professor at USC with her classes and courses, wherein she educates aspiring game designers on game theory and many other essential components of game design.

Sean Bouchard and Elizabeth Swensen were technically my "secondary" mentors. We never directly asked Sean and Elizabeth to mentor under them-- it kind of just happened. But really, "secondary" doesn't quite cut it-- Sean and Elizabeth are really just so much more than that. They've been with Jessica and I during our mentorship since Day 1, doing their best to ensure that we both learn from our activities in the lab/on-campus and enjoy ourselves. Both Sean and Tracy are staff and research associates of the Game Innovation Lab, working both in-lab and teaching their own courses in the university. They have both graduated from USC with MFAs (Masters of Fine Arts), completing the university's game design program. Since then, they've both worked as game designers on projects of their own and projects from outside parties.

2.  What five questions will you ask them about their background?

1. Were there any studies or educational experiences you had, in school or out, that were valuable to your career as a game designer?

2. Have any of your interests outside of game design converged with your work in game design?

3. Was there any point in your life where you figured out that a career in video game design was right for you? Was this a specific moment, or a culmination of experiences?

4. Are there any personal characteristics, traits, or qualities you think are necessary to move forward in this industry?

5. Is there any important or helpful advice you have to share for aspiring game designers? Have there been any words, thoughts, or ideas that have pushed you forward or motivated you as a game designer?

Blog 6 - Advisory House Prep

User experience is something that I find important within my topic, so I'm keen to take the time to focus on how to enhance user experience in video games, while still being able to properly tell a great story.

1. What has worked well for you concerning senior project this year?  What has made it a positive experience for you?  

Throughout the course of senior project thus far, I've found that taking the time to thoroughly read materials discussing my topic has been rewarding. I've learned quite a bit about other areas of my topic I previously had little knowledge on, so I'm quite glad I've had the opportunity and motivation to delve further into learning more about my topic. 

Expanding my knowledge on my topic has definitely been a positive experience for me, in the form of both research and mentorship. Research has been an excellent way for me to learn theory regarding video game design, while mentorship often provides me with the opportunity to test those theories in motion. So it's a pleasant mixture of text-based learning and hands-on learning. Being able to learn about something and apply it in a real-life scenario is quite rewarding, really.

2. What are you finding difficult concerning senior project?  How can you adapt to make that portion work better for you?  How might the senior team help?

I'm having difficulty brainstorming the content I want to showcase through my independent component. I definitely want to create a game of sorts, something that can visually and audibly deliver the story and experience I want to get across to players. 

I just need to take more time to sit down and really start thinking about what direction I'd like to take my component in. It's not really about waiting for inspiration to hit, but channeling the creativity and skills I have now to make something happen. The only way the situation as it stands can improve is for me to take the time to do that. However, that's really only a personal thing, and not something that really begs for help from the senior team.

However, if I do come up with a concept-- a story, experience, and feelings I want to get across to the player, I'd be more than grateful for feedback on my content. I don't want my component to be something that's just for me-- I want it to be a game that other people can something away from, as well. I want experience to be emphasized, so feedback will be quite important. 

Blog 5 - Interview 1 Reflection

1. What is the most important thing I learned from the interview?  Is there anything I would do differently for other interviews?

During the course of the interview, Elizabeth brought up a great deal of points I had never considered, and many ideas I had never fathomed previously.

The most important thing I've learned from her is that inspiration for video game design is not limited to video games and digital media. Maybe this point is quite obvious, but Elizabeth explained this further in detail.

Game designers can be inspired by a great many deal of things; "from a traffic light to a beautiful vista", in Elizabeth's words. But inspiration is not limited to plot, characters, or certain aspects of gameplay. Anything about a video game can take inspiration from anything, anyone, or anywhere.

One such unique example would be the Museum of Jurassic Technology in Los Angeles, a museum created with a set user experience in mind. The museum is intentionally mysterious, even a but strange and creepy. But it is created to make visitors feel that way. Even a physical, non-digital experience can inspire a game designers and have significant effects on their game projects.

For other interviews, I would ask the interviewee what kinds of experiences they'be had-- physical or digital--  that inspired something in their work. I was very immersed in Elizabeth's words, but I did not think to ask her about her own inspirational experiences herself, unfortunately.

2. Did I get additional resources and contacts?  What is the most useful?  Why?

Elizabeth was able to give me several new reading materials to assist me in my research, including books such as Rules of Play by Katie Salen and Eric Zimmerman and Video Game Workshop by Tracy Fullerton.

Furthermore, she suggested other potential interviewees within the Cinematic Arts school of USC. These people include Dennis Wixon, who previously worked under Microsoft on the Halo series and other projects. According to Elizabeth, he specializes in the user experience side of video game design; essentially, he works to ensure that players are experiencing the game as the creators intended.

Elizabeh also suggested I speak to and interview Richard Lemarchand, another individual with experience in the video game industry. Lemarchand was a lead designer on the Uncharted series during his time with game developer Naughty Dog. Lemarchand has experience in the emotional and experimental aspects of a game.

I've found that Elizabeth's suggestions of potential interviewees was the most helpful of resources. I've found Elizabeth's interview alone incredibly helpful, so I know that interviews with both Dennis Wixon and Richard Lemarchand can potentially be just as helpful.

I'm very much looking forward to speaking with them in the future!

3. What makes my interviewee qualified to help me? 

The interviewee, Elizabeth Swensen, is a game designer and research associate at the Game Innovation Lab at University of Southern California. She attended and graduated from USC, undergoing the school's video game design program during her time there. Elizabeth graduated with an M.F.A (Masters of Fine Arts), and has since worked for the university in the Games division. At the Game Innovation Lab, Elizabeth has worked on numerous projects over the years.

Interview #1: Elizabeth Swensen

My first formal interview for my senior project, currently focused on video game design. I asked one of my mentors, Elizabeth Swensen, who works at the Game Innovation Lab at USC, a variety of questions I've been pondering regarding game design for quite some time.

Blog 4 - House Advisory Prep

There are a wide variety of jobs and positions in the gaming industry, even beyond being a game designer. In my senior project, I'm able to speak with people who often aren't game designers often, and they give new insight to my research.

1. Write a short explanation of what you are hoping to accomplish through your senior project topic.

Throughout the course of my senior project, I am hoping to be introduced to and learn of the many components that create video game design, as well as grow as potential game designer (or potentially another position) myself. While it is a career field I have been interested in a long time, I'm hoping that my experiences throughout this year will help solidify my decision further; I will feel more at ease knowing that I have some experiences regarding the career field I wish to join.

Beyond just determining if video game design is a field that appeals to me as a career choice, I want to learn and see much more of the time and work that is poured into video game development. As fascinated by the topic as I am, I am by no means an expert; I want to expand my knowledge immensely on the subject over the year. I want to learn and experience more than just what is required of me for project, but to take it a step further, and learn not just for the sake of the project, but also for myself.

Truly, this is something I want to do. From my experiences so far, I can easily see myself enjoying this industry of work. There's still so much more to see, so I'm very much looking forward to learning more and more with each day of research and mentorship.

Blog 3 - First Interview Preparation

A screencap of The Witch, a game written and designed by Elizabeth Swensen. The game is a single-player narrative, wherein the player takes on the role of a young girl labeled as a with. By selecting different options and actions throughout the game, the player can change the way in which the story is told.

1.  Who do you plan to interview?  Why?

For my first interview, I plan to interview Elizabeth Swensen, one of my mentors at the Game Innovation Lab at USC.

Elizabeth is not the head of the lab, but through watching her work and getting to know her a little, I’ve learned that she’s quite the qualified mentor. Aside from being a research associate of the Game Innovation Lab, she also works as an educator at the university and as a game designer. Seeing her work in the lab and having the opportunity to play some of her previous works, Elizabeth proves herself to be quite the knowledgeable and talented designer.

However, aside from her qualifications, another reason I have for choosing to interview Elizabeth is her history before entering the field of game design; prior to becoming a Game Design student at USC and working at the Lab, Elizabeth actually pursued Humanities (specifically ancient languages) in her education. I’m very much interested in learning more about how her path changed, as I feel that my own path has vastly changed over the years, as well.

For some time, I felt that I was lagging behind other aspiring game designers, due to my interest in game design as a career path only arising within recent years, while others had dreamed of pursuing such a path for so much longer. I believe that speaking with someone whose situation is similar will be not only informative to my project, but important to me on a personal level.

2.  Five questions will be assigned to all seniors to ask.  What additional questions do you plan to ask?

Aside from the required five questions to ask, the following are additional questions I plan to ask Elizabeth:

• How much of a balance of creative and technical skills should an aspiring designer aim for? How do you land on this scale?  
• What are characteristics of a game that is successful in immersing an audience?
• It’s often said that time spent on sharpening core mechanic gameplay is sacrificed to instead focus that time on making visuals more appealing. How do you personally feel about this, and how much time do you believe should be spent on sharpening certain aspects of a game?

Blog 2 - Summer Mentorship

The SCI building on the USC campus, part of USC's School of Cinematic Arts. 
I attend mentorship here with my great friend Jessica Bui! We are often in the Game Innovation Lab, located on the third floor of this grand building.

My mentorship log is located here!

1. List the contact name, phone number, and organization of the person with whom you volunteered.

• Tracy Fullerton
• Position/Organization: Director, USC Game Innovation Lab
• Phone: 213-740-6981
• Email: tfullerton@cinema.usc.edu

• Elizabeth Swensen
• Position/Organization: Game Lab Research Associate, USC Game Innovation Lab
• Email: swenyo@gmail.com

• Sean Bouchard
• Position/Organization: Game Lab Research Associate, USC Game Innovation Lab
• Email: seanbouchard@gmail.com

Jessica, Tracy, and I. 

Jessica, Sean, Elizabeth, and I. 

(Note: Tracy is my primary mentor, but as she's quite busy at times, Sean and Elizabeth have also been highly-involved in my time at USC, so I consider them mentors, as well.)

2. What qualified this person as an expert in your topic choice?     

Tracy Fullerton is the director of the Game Innovation Lab at USC, as well as a game designer and professor in the Interactive Media Division of USC, a game design program that has ranked as #1 of its kind nationally. Being the director of the lab of this division, she has been involved with numerous projects at USC over the years, working as a game designer or faculty adviser for said projects.These projects include several titles such as The Night Journey and Walden, among many other impressive works. Before her work at USC, Tracy has been involved with several other game developers and interactive studios, including Spiderdance and R/GA Interactive, both of which she was the founder and founding member of, respectively.

Watching Tracy in the lab, she exudes charisma and confidence, yet remains so approachable that it's a breeze to communicate with her. Armed with her friendly nature and incredible skill sets, it's evident how effective of a worker Tracy really is. Tracy and leadership just seem to go together so naturally: the look and role of a leader suit her well. Being both a game designer and educator, she has a plethora of knowledge to share.

Elizabeth Swensen and Sean Bouchard are both game designers and research associates at USC, both of whom are staff in the lab and educators to game design students. Both Elizabeth and Sean attended USC and shared some classes together, both receiving MFAs (Masters of Fine Arts) before going on to work as staff in the lab. While Tracy is considered my primary mentor, as she is the one who approved of mine and Jessica's mentorship at USC, Elizabeth and Sean are often the ones who have stepped up to expose Jessica and I to new learning experiences and activities during our mentorship. 

Elizabeth and Sean have displayed their responsibility, diligence, and kindness while with us in the lab, often alternating between their own work and ensuring that we are comfortable and occupied. I often don't see one without the other-- Elizabeth and Sean are partners in the workplace, and subsequently both have an equally heavy influence on my experiences at USC. As game designers themselves, both Elizabeth and Sean have worked on their own projects in the past, individually and as a team, including titles such as The Hatter's Table and Application Crunch. Despite their easy-going and friendly natures, both Sean and Elizabeth are evidently diligent, hard workers: they wholesomely participate in team projects, often offering new ideas and helping to resolve any issues within the project. As former USC students and current game designers, both Sean and Elizabeth are often sharing their wisdom with Jessica and I, for which I'm very thankful for.

3. List three questions for further exploration now that you've completed your summer hours. 

1. How much of a balance should one seek to have between creative and technical design skills? (How much of a focus should someone have on sharpening their programming skills, writing abilities, etc.)

2. Generally speaking, how in-depth and critical are key design decisions treated by design teams? (Such as decisions on visuals, narratives, gameplay, etc.)

3. Aside from working directly on their own projects/commissioned projects, what other work experiences do game designers typically have in the game industry?

4. What is the most important thing you gained from this experience? Why?

I've learned quite a bit about what people in the game industry do on a regular now, but I've also learned a lot about the people around me who work in the lab. During a casual sit-down seminar of sorts with graduate students, some of the staff and faculty from the Game Innovation Lab came to talk with USC students about their time as graduate students in the game design program, as well as introduce themselves.

It was a very casual atmosphere. In total, there was only about 25 or so people in the room, and the mood was light and welcoming. As each faculty and staff member went up to introduce themselves to the students, they told them a bit about themselves. One thing that stood out to me was Elizabeth's introduction.

Prior to her time as a student in the game design program at USC, Elizabeth was actually pursuing humanities; specifically, ancient languages. She said that she's always been a person fond of words and languages, so she had never envisioned herself working with anything else-- yet, when she was offered a job at the lab (an opportunity to escape her current work situation, which was quite boring and didn't pay well), she jumped on it immediately. Contrary to what she once believed she would be focusing on in her life, Elizabeth said she fell in love with being able to teach through games (especially when the subject matter involved languages and humanities), and that is one of the primary reasons why she is still working in the lab today.

At that moment, I realized that not everybody has to have years upon years worth of experience in programming and computer sciences; you don't have to be a master at navigating through coding and manipulating scripts to work in the game industry, let alone be a game designer. This was always something I worried about: I worried that without enough experience and skills in programming, I would get nowhere in the game industry. I honestly believed that if I wanted to make it here, I needed to pick those skills up and sharpen them as quickly and as soon as possible. I really thought that was the only way I could achieve my goals, even thought it meant doing something that not all of my heart was in (I've always been a little more interested in the creative aspects of game design, so the technical bits scared me a little). Elizabeth showed me different.

While I still plan on sharpening the skills I do have, and gaining new ones along the way, I don't feel like I have to be the best of the best with technology anymore. I don't necessarily need to be a computer whiz to get my foot in the door of the game industry (as much as it helps). People from all kinds of backgrounds work in this industry, Elizabeth included, and knowing that provides me with a great amount of comfort. 

5. What is your senior project topic going to be?  How did mentorship help you make your decision?  Please explain.

My senior project is going to be video game design. 

My mentorship thus far at USC in the Game Innovation Lab has been amazing. The people are wonderful, they're all so incredibly kind and welcoming-- I sincerely thank them for that. After all, these are the people that helped to shape my great experiences at USC, and have played such a huge part in making my stay a learning and enjoyable one. 

Tracy, Sean, and Elizabeth have all done so much to ensure that I've been able to work and participate in interesting activities, sit and watch insightful team project meetings, and enjoy my time in the lab. Truly, they're very kind and admirable individuals. I'm very grateful to have them as my mentors. 

With each passing day at USC, my mentorship has only solidified my decision to make video game design my senior project more and more. I've been able to see how design teams work together and discuss their projects, learn of just how powerful of an industry video games are in the U.S., hear team and individual success stories of previous USC students, and witness how video games really come together under the hard work of a unified team. I've been able to experience virtual reality and a simulated feeling of flying, sit through a California Assembly dedicated to the influence of the game industry, and know what it's like to sit in a team and design and create a physical board game. 

I've learned so much: about the ups and downs of the industry, the good and bad times people working to create video games will face, and the complex and fascinating processes designers everywhere work through nearly every day.

Game design has always been a key interest of mine, despite previously having no legitimate experiences in the field to help me decide if it's really a place for me. My experiences in mentorship both now and in the many days to come are surely going to help me reach a concrete decision for my future.  

Blog 1 - Senior Final Lesson/Interview Reflection

1. What three lessons were most helpful for you to see, and why?

The three most helpful lessons for me to see, I believe, were that of Security by Mike Rivera, Film Production by Micah Chambers, and Language Interpretation by Claire Dix. 

Mike Rivera's presentation on Security was helpful to me in that I learned that multiple activities throughout a presentation is a method to hold an audience's attention. He had three activities throughout his presentation, all of which had ample time between each of them for him to be able to present on his topic adequately. But with the separated activities, he was able to hold the audience's attention long enough before the next activity would occur. Essentially, he never once lost the attention of the audience-- a feat I thought was impressive.

Micah Chambers's presentation on Film Production was extremely helpful in that she showcased the makings of an excellent presentation. She was incredibly knowledgeable about her presentation-- to the point where she was able to interact with her powerpoint without relying on it. She was very passionate and invested in her presentation, and the fusion of her knowledge and investment aided in making her presentation so interesting and memorable.

Claire Dix's presentation on Language Interpretation was helpful to me in that she was constantly able to remain on topic, and did so through her immense amount of knowledge on her subject. She was able to connect ideas throughout her presentation multiple times, which made the topic overall more comprehensive to viewers. 

2. List one thing that you learned about the senior project in interviews that will help you get off to a good start?

One thing I've learned about the senior project is how incredibly important it is to choose a topic that I'm really dedicated to and passionate about, and just how much of myself I'd have to put into it. The project is demanding of one's time and attention. I had already known that senior year would be a busy one, but hearing about the project in more detail had only truly brought the demands of the project into perspective. I knew I was going to be busy, but I don't think I truly understood just how much of myself I'd have to immerse into this project.  

Potentially, I could've walked into senior year blissfully unaware that my heart and soul needs to be in the project to make it more enjoyable and rewarding. It's not just about the academics of the project anymore-- it's not like some school assignments where the need to really become enveloped in the assignment is nonexistent, because it's possible to get a high grade without being passionate about the topic.

Being passionate won't automatically equate to a high grade in the senior project, of course. But being passionate about the topic will definitely make the experience much more rewarding. By speaking to seniors, some of which who were not incredibly invested in their topics, I've learned that while the project is hard, choosing a topic that I'm interested and invested can has the overwhelming potential to bear the most fruit.

3. What topic(s) are you considering, and why?

I only have my eye on two topics currently: video game development and photography. 

Video game development has been a lifelong interest for me. I'm unsure of when the idea rooted itself in my head, but it's been there ever since. The development process is something I've always thought of as fascinating, and I know it's something I'd love to be a part of. While game design is a broad topic, I'd prefer to focus more on the creative design aspects of it, which concerns topics such as the game's story, characters, dialogue, and other elements of game-play. Building characters, their universe, and the relationships they share between themselves and the world they live in is fascinating to me. 

The interest may have been encouraged by my love of video games growing up, which may sound a bit like a worn-out mantra at this point. I know many people have said the same, but a number of those individuals truly dedicated to the subject have gone on to enter the video game industry, some of which have established themselves. I know game development is a bit of a long shot. Despite that, I can't deny my genuine interest in the topic, and as such, have listed it here.

Photography has not always been an interest for me. In fact, photography is not something that I truly began to seriously learn about until the beginning of Grade 11, where I began attending the ROP Photography on I-Poly. As it turns out, photography as a whole is much more complex and technical than many take it for. I was stunned. Taking a "good" picture depends on a variety of factors, many of which I had the opportunity to study and experiment with in my class.

Almost immediately, I found that photography already had a hold on me. I had never thought I'd be so enamored with any subject involving a camera (I'm not too fond of filming after Grade 10, as potentially interesting as it can be), yet here I was, completely immersed. Now, it's become something that I find as a method of expression, as well as a source for my creative drive. 

4. What EQ do you think might be interesting to consider in guiding a project like this?

Concerning video game development, I was thinking on an EQ that centered on how the creative development behind a game can make the game overall more enjoyable to an audience/consumers. I'm not incredibly focused on the technical or business aspects of the industry as much as I am invested in the creative side of it. Something along the lines of "How can a game developer oversee creative aspects of a video game to maximize player enjoyment?". It's a bit rough. Very rough, actually. 

As for photography, I was thinking of an EQ that focused on how to maximize the viewer enjoyment and visual appeal of a photo. An example could be: "How can a photographer compose different elements of a photo to maximize its visual appeal to viewers?" I don't expect my future EQs to be met with immediate approval, as I wouldn't go as far as saying that I'm in any way proficient at this. 

5. What are some ideas you have about finding summer mentorship?

Concerning summer mentorship, I have already contacted a few video game developers surrounding the Inland Empire area. One of which I'm anticipating reply is a developer by the name of Fenix Fire, who have a very professional but friendly persona online. Of course, that isn't the sole reason I'm anticipating their reply, but I'm impressed with the content they have released under their company.

Video game developers in Southern California are typically centered around Los Angeles, about an hour or so away from me by car. While I know that many of these developers are professionals, experienced, and could provide me with rewarding experiences, they are not my immediate go-to's due to the distance. However, this doesn't mean they're off-limits, either! I'm willing to make the trip if necessary.

As for photography, I know of a few people that I know I could turn to for mentorship. After taking the ROP Photography class at I-Poly, my teacher, Jack, is one available mentor. That's a topic I'd have to take up with him though, first. Furthermore, there are numerous independent photo studios in my area I'd be willing to make contact with to introduce myself and ask about mentorship.