START DATES FOR UNIVERSAL STUDIOS:
September 14, 2012 • January 11, 2013 • September 13, 2013
DEGREE PROGRAM OVERVIEW
The New York Film Academy (NYFA) Master of Fine Arts (MFA) in Game Design is a four semester conservatory-based, full-time study undergraduate program. The curriculum is designed to give gifted and energetic prospective video game designers and storytellers all the tools they need to succeed in their chosen sector of the video game industry. The New York Film Academy Master of Fine Arts in Game Design provides a creative setting with which to challenge, inspire, and perfect the talents of its student body.DEGREE PROGRAM OBJECTIVES:
In addition to providing a solid base of specified upper-level knowledge, the educational objectives in the Master of Fine Arts (BFA) in Game Design Degree Program are to teach students the art and craft of game design and storytelling for an interactive medium, and how to be a productive and sought-after member of the video game industry through a strict regimen consisting of lectures, seminars, and total immersion workshops.YEAR ONE
During the first semester, students are introduced to the concept of game design by experiencing the evolution of games. Students start with centuries-old board and card games, then through paper and dice games (like Dungeons and Dragons), to early digital games, to the current crop of highly-advanced, 3-D graphics, deep, immersive story-driven games. Students begin designing games from the very beginning, as they are asked to “mod” (a game design term meaning modify a game from it’s original intent) the games they are playing into something that expresses their own creative voice. They are introduced to the world of interactive writing. Starting with Aristotle’s Poetics, and traveling through history to Tom Stoppard’s perfection of postmodern narrative in Arcadia, students are exposed to a variety of storytelling forms and theories. Once a foundation in narrative theory is established, students are then introduced to the tools, theory, and craft of storytelling in an interactive medium. They are given a foundational understanding of the business of video games, which will create a baseline language for discussion and interaction throughout the two year program. Students have their first video game analysis class, which is intended to create a baseline of game genre knowledge and terminology that will aid discussion and interaction through the two year program. Finally, students are introduced to game technology, which helps inform what is possible today in video games, and what will be possible in the future. This understanding of game technology is essential. In the “real world”, game designs and writers must collaborate with programmers, but oftentimes that collaboration is hobbled by a lack of understanding on the designer’s and writers’ part of challenges of game programming.In the second semester, students continue game “mods”, and other game deconstructions, as a tool for deepening their understanding of game design. They also create their first original video game concept. These ideas are shared and workshopped in class. Students have an introduction to animation class, which is intended to give our future designers and writers a taste of what goes into the 3-D animation process found in video games. Just as with the designers’ and writers’ interaction with programmers, a lack of understanding of the challenges of 3-D animation oftentimes causes disastrous collaborations between writers and artists. Video game analysis and the business of video games continues this semester as well.
YEAR-ONE EXPECTED LEARNING OUTCOMES:
Skills learned as a result of successful completion of this year include:
• Understand, through analysis, the key elements that make up specific video game genres (Role Playing Game, First Person Shooter, Platformer, Sports, Massively Multi-Player Online, etc.), and how they are employed effectively to create a successful game.
• Understand, through study, the history of the video game industry, and how that history influences the development and production of today’s video games.
• Master, through study, guest lectures, and practical application, the theories of game design; how to make a game fun; how to make a game entertaining; how to engage and immerse the player in a gameplay experience.
• Master, through study, analysis and practical application, the theories of interactive storytelling; how to enhance a player’s engagement in the gameplay experience by crafting a compelling, entertaining story; how to craft a character arc for a player character; how to maintain a narrative structure in a medium that encourages the consumer to choose which direction the story takes.
• Understand the process of creating art assets and animation for video games, and how that process informs, alters and co-exists with the design and writing aspects of game development.
• Understand the technology involved in creating games.
YEAR TWO
In the third semester, students begin work on their final project, which is supported by their core classes. In advanced narrative design workshop, students begin work on their thesis game design document, as well as accompanying story materials that showcase the narrative positives of the game and other ancillary applications of the concept (TV, movies, comic books, etc.) In Advanced Art of Game Design, students meet to begin work on the collaborative thesis project. An iPad programming workshop is offered to give students the basic programming skills to execute a working prototype of their collaborative thesis project at the end of semester four. A summer lecture series occurs in semester three, where A-list guests from the video game and ancillary entertainment world talk to the students in a faculty-moderated environment. Finally, semester three also includes a History of Video Games class, for only in understanding where games came from, can students truly know where games are going.In semester four, development continues on the students’ “next gen” video game concepts. At the same time, they are introduced to the most underappreciated aspect of video game development – producing. Just as in film, a good video game producer keeps a project running on time and under budget. Understanding the art of producing a video game will help students work well with the producers who will be overseeing their work once they are in the “real world”.
The final semester of the NYFA MFA in Game Design is focused on completing the individual concentration thesis materials, as well as the collaborative thesis project, which includes a Game Design Document, written story materials, and the interactive “proof-of-concept” of the students’ game idea. A final Business of Video Games class teaches the students job hunting and interview techniques, and workshops a pitch of their game concept. This is also the semester where students are required to complete and internship, which oftentimes can lead to employment at a game developer.
YEAR-TWO EXPECTED LEARNING OUTCOMES:
Skills learned as a result of successful completion of this year include:
• Understand the process of programming video games on all platforms – PC, console, portable, internet, iPhone and iPad – and how that process dictates what can and cannot be achieved from a design and writing point of view.
• Understand, through frequent Senior Faculty Review Meetings, the concepts of milestones, weekly development updates, and other notes-driven and/or schedule-oriented aspects of video game development.
• Master the art of writing a 20-30 page Game Design Document, the underlying creative blueprint of every video game.
• Master, through frequent collaboration with peers in the Game Design and other NYFA programs, the ability to work collaboratively in a high-pressure creative environment.
• Receive professional training in the game industry by way of a required internship at a game publisher, developer or talent agency.
• Understand, through lectures, in-class exercises, and special guests, the composition of the video game industry, the functions of the various companies, the functions of the various employees within those companies, and how games go from “blue sky” idea to finished product.
• Master, through in-class exercises and special guests, the art of pitching a video game to developers and publishers, and how to effectively communicate and market the uniqueness and commerciality of a new video game concept.
SEMESTER ONE COURSE DESCRIPTIONS
Narrative Design Workshop IThis course will examine the critical elements that make strong concepts and how they can be shaped to create the foundations of great games. Students will design, story, game play, physical environment (world, gameplay spaces), and other key elements. Guest speakers will include veteran game designers, writers and graphic designers.
The Art of Game Design I
A survey of game design. Traditional games, console, PCs, online, mobile and beyond: an overview of game design and development. Answers the constant questions: “How do you make games? Whoʼs responsible for what?” A look at workflow, company structuring, console, MMO, mobile and emerging platforms. Also a review of the ever-increasing dialogue and cross-platforming between major games, studio films, comics and graphic novels. The most cutting-edge tools are reviewed: a special look at emerging game technology, the loss of the controller/ joystick, location-based and physical games, infrared, brush table, filament glove, sensor, hands-only, and even neurologically controlled games. RUSE, ASSASIN'S CREED, PANDEMIC and other case studies. Includes pitching, roleplaying as writers, designers, partners, publishers, studio execs, film execs, and much more.
The Great Video Games I
As its name implies, the focus of this course is the study and deconstruction of video games. Each week focuses on one game, ranging from early titles like PONG to the biggest hit games of the past few years. The game is played in class, with the instructor leading a discussion about what works and what doesn’t work. Every game genre is deconstructed: first person shooter, role playing game, massively multiplayer online game, etc. Video game franchises like Super Mario Brothers and Grand Theft Auto are also discussed, with special attention paid to franchises that exist in multiple mediums (Chronicles of Riddick, Lara Croft, etc.) The goal of this course is to give students a core understanding of what makes interactive electronic games entertaining and compelling by forcing them to deconstruct every element of the gameplay experience. This is a two-semester course.
Introduction to Game Technology
This class is a survey of state-of-the-art game, app and transmedia technology on all major platforms -- PC, console, iPhone, iPad, Droid, and others. The course will be divided into units that cover: game interface; human-computer interaction; controllers; the current push for “no controllers”; locations-based games; the user as controller; brush table, microfilament glove, infrared sensor, and GPS technology on: single-player, multiple player, online, mobile games, augmented reality, locative media, real world games, and much more. Students who take this will have enough information to be conversational about technical aspects of games.
The Art of Game Producing I
This course gives students a “lay of the land” look at the modern day video game industry, and prepares them to navigate the business of video games after graduation. Even more so than Hollywood, the video game industry is a collaborative beast. No matter what your specific job is at a video game company, everyone is expected to take part in the creative development of the game. This class introduces students to the myriad of players who help bring a game to life: creative director, project manager, gameplay designer, writer, character designer, environment artist, tools programmer, animation artist, game engine engineer, publicity and advertising, etc. Special topics such as the film - video game connection and “how to take a successful meeting” are also covered.
SEMESTER TWO COURSE DESCRIPTIONS
Narrative Design Workshop IIA further in-depth look at the theory, practice and creation of brilliant narrative design. With an overview of classic 3-act structure covered in the first semester, we will go further to explore tricks, trades, and tips to execute effective narrative scripts in a timely fashion for a studio/publisher/rep. Our focus will deepen on gaining representation, pitching, refining and developing ideas. More than a concept lab, students will be pushed to see and present themselves as professionals. This class is a complement to Business of Game Design, with an applicable survey of the different modalities and scales of games. The most cutting-edge tools are constantly reviewed: a special look at emerging game technology, the loss of the controller/ joystick, location-based and physical games, infrared, brush table, filament glove, sensor, hands-only, and even neurologically controlled games. At every turn, students will be encouraged and directed to respect their own ideas, work in teams, and think critically to devise thrilling narratives in new formats. We will review and play blockbusters such as GOD OF WAR, PRINCE OF PERSIA, HALF LIFE and TOMB RAIDER, along with non-narrative successful game titles such as ENDLESS OCEAN, Wii sports, social games, and emerging platforms. We will consider the formats of deep narrative games v. immersive sensory environments (such as Wii games). We will constantly consider the changing role of Transmedia (TM), the critically merging worlds of traditional film, TV, internet, mobile apps, social networking media, art installations, and all forms of new media. Includes pitching, role playing, and devising a GDD with a team for final presentation, which may be pitched and critiqued by professionals.
The Art of Game Design II
This course builds off the broad games survey and basic GDD developed in The Art of Game Design I. The class culminates in a team-driven project designing an in-depth GDD, basic iPad game, app, or transmedia project (that may combine all three and other modalities such as short films, multimedia, video segments, art installations, augmented reality, etc). This is a 15-week lab designing either a written level of a console game, written node of MMO, or an iPad game or app in iOS SDK 4 and iterations.
Also part of this class is a brief unit in SOCIOLOGY OF GAMES: RULES OF PLAY. Why Games Matter. A cross-cultural survey of importance of games in learning, socialization, military strategy, competition, economics. Studying the history of cross-cultural games to understand, conceptualize and develop universally appealing, breakthrough games. A look at the work of various Game Sociologists, a decades-old field with new applications. Covers politics, ethics, sexuality in game narrative. (One case study: the media storm when WORLD OF WARCRAFT allowed gay characters and the aftermath).
The Great Video Games II
This is the second semester of game analysis class. As with last semester, each week focuses on one game, ranging from early titles like PONG to the biggest hit games of the past few years. The game is played in class, with the instructor leading a discussion about what works and what doesn’t work. Every game genre is deconstructed: first person shooter, role playing game, massively multiplayer online game, etc. Video game franchises like Super Mario Brothers and Grand Theft Auto are also discussed, with special attention paid to franchises that exist in multiple mediums (Chronicles of Riddick, Lara Croft, etc.) The goal of this course is to give students a core understanding of what makes interactive electronic games entertaining and compelling by forcing them to deconstruct every element of the gameplay experience.
Introduction to Game Animation
This course is a lecture exploring animation techniques, materials and concepts while addressing historical and contemporary issues as they pertain to animation production. Emphasis will be upon principles that support character development and animation that show cause and effect. Students will apply these principles to create animations that reflect movement and character appropriate for different uses and environments.
The Art of Game Producing II
This class will build on the foundation of The Art of Game Producing 1. It is a state-of-the art look at console, PC, online, mobile apps, social media games, interactivity, film and TV-related game projects, and transmedia: an overview of game design and development. A look at workflow, company structuring, console, MMO, mobile and emerging platforms. Also a review of the ever-increasing dialogue and cross-platforming between major games, studio films, comics and graphic novels. The most cutting-edge tools are reviewed: a special look at emerging game technology, the loss of the controller/ joystick, location-based and physical games, infrared, brush table, filament glove, sensor, hands-only, and even neurologically controlled games. We will review blockbusters such as GOD OF WAR, ASSASIN'S CREED and TOMB RAIDER, along with non-narrative successful titles such as ENDLESS OCEAN, Wii Tennis, social games, and emerging platforms. Includes pitching, roleplaying, and much more. This focus of Art of Game Producing II is also on student's career development. It is both a survey and hands-on workshop in developing relationships, networking, financing and understanding the explosive business of games and a career as a game writer / developer. Understanding that Game Writers/Designers are often migrating between games, new and traditional media (ie film, television, the internet). A survey of the studio model of concurrent development of major studio films with major games, apps and online marketing. How to tap into and capitalize on this crucial decade-new reality of the entertainment business. An update on the most recent games technologies, interfaces and controllers.
SEMESTER THREE COURSE DESCRIPTIONS
Advanced Art of Game Design IThis is Advanced Art of Game Design for MFA students. It will continue as part of a year-long track with Advanced Art of Game Design 4 in the following semester. In AAGD 3, students will carefully devise, develop and begin the initial phases of production on a year-long game, app, or Transmedia project, which will be completed in Advanced Art of Game Design 4. The timeline and deliverables of each project will be determined on a project-by-project basis within general guidelines.
This course builds off the broad survey and basic GDD developed in Art of Game Design 2. They will be developing an Advanced Game Design Document, Business Plan, PowerPoint or Keynote Presentation, possible Game level or demo, and Launch Strategy. Game Design studies and research will continue with speakers who are working professionals, field trips to game studios and production facilities, role playing, pitching to professionals, and more. Students' work in other classes, like iPad Programming Workshop, will round out students' experience to provide the tools to build an Advanced Project.
The class culminates in a team-driven project designing the first half of GDD, basic game, app, or transmedia project (that may combine all three and other modalities such as short films, multimedia, video segments, art installations, augmented reality, etc). This is a 15-week advanced workshop and lab on either a written level of a console game, written node of MMO, working iPad app, or basic game designed with iOS SDK for the iPad platform.
iPad Technology Workshop
This class is an overview of programming for all platforms -- PC, console, iPhone, iPad, and others. All students who take this will have enough information to be conversational about programming aspects of games. While they will gain an overview of multiple software platforms from low-level to complex/core games, the only platform they will need to know how to program for is for the iPad.
Advanced Narrative Design Workshop I
This first of two, second year Advanced Narrative courses that will build off the in-depth knowledge of the theory, practice and creation of narrative game design gained during the foundation year. In year two students will now be at an advanced level to design a professional GDD, presentation, understand current industry dynamics, and create an Advanced Project. Focus will continue on executing effective narrative GDDs and game scripts in a timely fashion for a studio/publisher/rep. The class will also look at gaining representation and / or development funds from a publisher, to actually shipping and publishing. Veteran Game Writers and Designers and reps will speak. Students will function in a creative team environment to deeply refine their storylines, character bios, arcs, and world guides. More than a concept lab, students will be pushed further to see and present themselves as professionals. As we are in the most rapidly evolving narrative form in history, we will constantly be reviewing, adjusting, and refining our ideas with a direct focus to take them to market. Awareness of the modes and formats of game narrative, from controllers to sensors to platforms, will influence the games we make. The class with culminate in semester GDD work that may feed into the Advanced Project. This may tie into work from other classes, such as iPad Programming Workshop.
History of Video Games
Although the medium of video games is only 40 years old, it has, nonetheless, a rich history that heavily influences everything that happens in the industry today. An understanding of the history of video games is essential to the would-be game industry employees of the future, not only because of the fact that it serves as a common foundation for everyone who works in the industry, but also because it is only by understanding the mistakes and successes of the past that future game developers can create the next great games of tomorrow.
SEMESTER FOUR COURSE DESCRIPTIONS
Advanced Art of Game Design IIThis is Advanced Art of Game Design II for fourth semester MFA students. It will continue as part of a year-long track building directly from Advanced Art of Game Design III in the previous semester. In AAGD IV, students will continue and deliver the final phases of production on a year-long game, app, or Transmedia project. The timeline and deliverables of each project will be determined on a project-by-project basis within general guidelines.
At this point, students will be delivering an Advanced Game Design Document, Business Plan, PowerPoint or Keynote Presentation, possible Game level or demo and Launch Strategy. Game Design studies and research will continue with speakers who are working professionals, field trips to game studios and production facilities, role playing, pitching to professionals, and more. The focus of AAGD 4 will be on professional exposure and hands-on career development. Students' work in other classes, like Art of Game Producing will round out students' experience to provide the tools to create a refined Advanced Project, and excel as professionals in the video game industry.
The class culminates in a team-driven project designing the final GDD, basic game, app, or Transmedia project (that may combine all three and other modalities such as short films, multimedia, video segments, art installations, augmented reality, etc). This is a 15-week advanced workshop and lab on either a written level of a console game, written node of MMO, app, or basic game designed with iOS SDK 4 for the iPad platform.
Advanced Narrative Design Workshop II
This final of two Year Two Advanced Narrative courses will build off the in-depth knowledge of the theory, practice and creation of narrative game design gained in their foundation year. As we are in the most rapidly evolving narrative form in history, we will constantly be reviewing, adjusting, and refining our ideas with a direct focus to take them to market. In year two students will now be at an advanced level to design a professional GDD, presentation, understand current industry dynamics, and create an Advanced Project within their field of specialization (Art, Writing, Design, Programming). Focus will continue on executing effective narrative GDDs and game scripts in a timely fashion for a studio/publisher/rep. The class will also look at gaining representation and / or development funds from a publisher, to actually shipping and publishing. Veteran Game Writers and Designers and reps will speak. Students will function in a creative team environment to deeply refine their storylines, character bios, arcs, and world guides. More than a concept lab, students will be pushed further to see and present themselves as professionals. Awareness of the modes and formats of game narrative, from controllers to sensors to platforms, will influence the games we make. The class with culminate in a Year Two Advanced Project. This may tie into work from other classes, such as iPad Programming.
Entrepeneurial Game Producing
An in-depth look at creating, publishing and/or shipping games, from the simplest apps to massive titles. Students will be exposed to: a state-of-the art look at console, PC, online, mobile apps, social media games, interactivity, film and TV-related game projects, and transmedia: an overview of game design and development. Addresses the question: "I have a specific game I want to create and ship/publish. How do I do that?" A look at workflow, company structuring, console, MMO, mobile and emerging platforms. A focus on marketing strategies. Also a review of the ever-increasing dialogue and cross-platforming between major games, studio films, comics, graphic novels and web content. All scales of games will be considered. Includes a survey of emerging game technology, the loss of the controller/ joystick, location-based and physical games, infrared, brush table, filament glove, sensor, hands-only, and other games. We will review blockbuster titles, social games, and emerging platforms. Students may work on their projects outside of class time in the NYFA labs as well. Includes pitching, role playing as writers, designers, partners, publishers, studio execs, reps, agencies, managers, film execs, finance partners, press, fans, and much more.
QUICK FACTS:
Start Dates: For Universal Studios:
Sep 14, 2012, Jan 11, 2013, Sep 13, 2013
Program Requirements: Bachelor's Degree
Fees Per Semester:
Tuition: $19,000 (USD) + Equipment Fee: $2000(USD)
Students will also incur additional expenses on their own productions. This varies depending on how much film they shoot and scale of the projects.
You Graduate With: Diploma, DVD Film Reel
Sep 14, 2012, Jan 11, 2013, Sep 13, 2013
Program Requirements: Bachelor's Degree
Fees Per Semester:
Tuition: $19,000 (USD) + Equipment Fee: $2000(USD)
Students will also incur additional expenses on their own productions. This varies depending on how much film they shoot and scale of the projects.
You Graduate With: Diploma, DVD Film Reel
