Later, legendary designer Sean Dabilli, one of the three production directors of World of Warcraft, first laughed when he recalled the day, and then a rare reverence of his designer, who is known for his arrogance, appeared on his face.

His words changed before and suddenly became very respectful: "Yes, that was the first time I met Tyrant, and it was so unforgettable to think about it now. Do you know? He was only nineteen years old when he made "American Cubes". He was a student of UCLA at the time. We all were a little disbelief! You know, all of us were his fans at that time!"

"Tyrant? Yes, we gave Jester a nickname. He was easy to get along when he was not working and spoke kindly... But he was very domineering in design games. He basically did his own thing. When discussing design before development, anyone could speak freely. He listened very seriously. But after confirming the design plan, he absolutely did not allow any individual to make different opinions, nor allowed anyone to say, 'Sorry, I can't do it.' If you do this, he would let you get out without hesitation... He is a tyrant and a dictator in this regard!"

"Arbitrary? No no, no, in fact, although we call him a tyrant, this is just a joke in private. In fact, he has a real extravagant in our Mars Entertainment - you know, he is a very special designer, and he seems to have countless wonderful ideas in his mind. He can even be said to be the most special one. Mark Seni called him 'ALL-THE-BEST', and later this became the name we all call him - this is not a smooth journey, it is just a literal meaning: he is the best, the best among all!"

"Yes! I was greatly influenced by him. He is my life mentor. All my understanding of how to design a game comes from him. He understood the essence of the game when he was nineteen years old. I still remember the scene at that time. His speech was simply deafening to me, and it was simply the Bible of the game designer."

"I can say without any hesitation that I, even every designer who came out of Mars Entertainment, is his student, and every one is no exception!"

Let's bring our time back to this early summer of 1984.

Jester and Mark Seney play "Mario Bros.", a still-screen pass game, somewhat similar to "Donkey Kong".

This is a great game. Although the gameplay has not yet broken away from the stubbornness of the still-shot game defined by Donkey Kong, it still attracted considerable attention in Japan with its top-notch graphics, smooth operation and various joyful elements in this era.

I said earlier that this game is not very clichéd, but it is actually wrong.

"Mario Brothers" did not make any revolutionary innovations. It may be okay to say that it is cliché, but it is not hot... Well, it can be said that in the United States, but in Japan, this game caused a sales frenzy.

Because FC was so popular after the release, many stores sold out, and many crazy players settled for the second best to buy the game "Mario Brothers" to masturbate.

Hypnosis myself, I have FC too!

This also caused a strange phenomenon at that time. At that time, FC only shipped more than one million sets, but the game "Mario Brothers" sold a total of one.6 million sets, resulting in an event unique in the history of the game - the game actually sold more than game consoles.

So this game is still playable.

Some games you think are not interesting when you play by yourself, but you think they are particularly interesting when you watch others play.

When Jester and Mark Seney were playing Mario Bros., these 30 new employees surrounded them and rushed to watch.

He even made his own suggestions, how to pass the test here.

For most of them, FC is still very rare.

"This game is good, it has the style of Donkey Kong."

"Well, it has many similarities with Donkey Kong, but it seems to be more fun than Donkey Kong."

"I just saw the Japanese at the beginning. This is the game of Ren Hell. Their games are all in this style. They are fun, playable and interesting!"

"What! It's just that "Donkey Kong" has changed its sub-skin. I've played "Donkey Kong". What's the point of this game? Let's Hell know how to stir up the cold rice. One day, I'll end up with Atari."

Comments like this are endless.

Until the end of the sixth level, after the death of Mario, controlled by Jester, was killed, he laughed at Mark Seney, and immediately closed the game.

Mark Seney saw that Jester was so shameless and his eyelids were even more overwhelmed. His 2P could still play Louis!

At this time, just as someone was curious about why he didn't play, Mark Seni spoke first.

"This is the designer of "American Cubes" and your boss, Jester Lee." Then he paused a little, revealing a malicious look. "He is only nineteen years old this year and is still studying at UCLA."

Then there were many audacity sounds one after another, and many people even looked at Jester Lee with suspicion.

They kind of don't believe that a game as great as American Cubes was just completed by a nineteen-year-old college student.

Jester could only look at Mark Seney helplessly and cursed inwardly.

Then he said in person: "I am Jester Lee. As Mark just said, I am the author of "American Cubes". In fact, this is just an idea that arises from an idea. Many of your programming skills are better than me. I believe it can be seen that this game is not very technically difficult."

What he said made these thirty people nodded silently. "American Cube" is indeed not technically difficult.

Many of them, although young, are very experienced game designers. They know that at this time, the gap in technology between each game company is not particularly large - the most important thing about a game is its creativity, that is, its gameplay, not technology.

After all, no one can make high-pixel pictures now, and can only perform limited simulations on two-dimensional planes.

The game "American Cube" is simply perfect in terms of creativity, gameplay, and even the settings of the Easter egg.

It's enough to be a model for these game designers' textbooks.

"Everyone doesn't have to be so reserved. We are a game company, not a professional law firm or financial company. There are not so many rules - just sit there casually. Today I just want to start a brainstorm with everyone and discuss how to make a good game."

Jester looked around and began the topic he had prepared long ago.

His question is not tricky. In fact, since the birth of electronic games, this question has been continuously explored and summarized by all game designers, but so far, no one has been able to come up with a widely accepted conclusion.

After he asked this question, everyone began to speak freely.

There are all kinds of remarks, but Jester didn't hear anything that could point directly to the core, mostly clichés.

He clapped his hands, and the audience calmed down and turned his eyes to him.

"Then I'll just say a few simple words. You just want to think about what I thought when I was doing "American Cubes."

Jester waved his hand and let everyone sit down.

He just finished playing the game and stood up until now.

He then opened his own concluding remarks from Mark Seney's later generations at the DICE (Design, Innovate, Communication, Entertainment) summit held in Las Vegas in 2011.

"I think if the most basic creativity of a game cannot move people, no matter how much energy you spend on it, it cannot become a good game."

Then, Jester continued to speak.

"So, I think a good game has to have something that can touch people - so that things can be anything, characters, plot, gameplay, graphics, and even music. You have to make your game buyers think that it is worth it for me to spend money on this game, rather than letting them have this idea: Oh, I'm like spending fifty dollars to buy a piece of platinum-inlaid shit!"

This made many people fall into deep thought, but there were also some confused expressions on their faces. One of them was a young man with long brown hair and glasses. He was born and asked: "BOSS, my name is Will Wright. I used to be an architectural designer. I want to ask, what you just said is very idealistic. Is there anything more materialistic?"

"Materialism?"

Jester smiled when he heard this, and then looked at the young man named Will Wright carefully, overlapping with the image of someone in his memory. Then he thought for a moment and continued.

"I have a little bit of thought."

Then, Jester began to use his own words to launch shameless plagiarism on the "Senior Theory" proposed by Mark Seni in later generations, which countless game designers regarded as the Bible.

Mark Seni also won the highest honor of the game designer with this theory in the future, the GDC Lifetime Achievement Award.

Of course, this will be called 'Jest Lee's methodology' in the future.

"Before this, I want to ask everyone a very essential question: Are you making a game or designing a game!"

This issue has caused a lot of discussion among these thirty designers. These people understand that production and design have completely different meanings, both superficial and internal, and are completely different.

Production is generally considered industrial products on assembly lines. They may be qualified, but they are the same and lack creativity.

Designs are generally considered to be meticulously crafted works of art. They may be strange in shape, but they are filled with all kinds of wonderful ideas.

In other words, Jester's question is torture these designers, what kind of mentality do you do to make a game?

Seeing that almost everyone was discussing in a low voice, none of them came out to answer their own questions head-on. Even Mark Seni, the original creator of this question, was lowering his head and thinking silently.

Jester was not in a hurry, but just smiled slightly and continued his question.

"Then let me ask another more direct question. If you designed a game and it has been completed by 90%, your feelings or the opinions given by the players who are trying it are 'not bad'. If it is released immediately after the ending is completed, it can earn fans' money, but the evaluation may not be too high. Then the question is - should you remade this game and make this game a classic that can be recorded in history, or just do it directly and earn the R&D expenses first?"

As soon as Jester finished asking this question, the expressions on the designers' faces instantly became dull.
Chapter completed!