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The students not only wondered if this was intentional or not, but also had a really wonderful discussion about how it could be read given the gameвЂ™s portrayal of passing and loneliness.Д«eyond that, though, I was fortunate to have a number of guest speakers talk with my students over Skype, and when the class was done everyone agreed the chance to talk with creators directly about their work was really helpful and interesting. I remember one really fruitful discussion about вЂњLim,вЂќ specifically a bug in the game that can eject the player from the maze entirely. The idea was to present games which exemplified an approach to creating a personal game, and then discuss with students what the game appeared to be saying and what design techniques - mechanics, presentation, etc. We played a range of titles - Anna AnthropyвЂ™s вЂњdys4ia,вЂќ Merritt KopasвЂ™s вЂњLim,вЂќ Mattie BriceвЂ™s вЂњMainichi,вЂќ and Zoe QuinnвЂ™s вЂњDepression QuestвЂќ are just a handful. With the class meeting once a week, I had to make some tough choices on what I had students play, and I admit I went out of my way to try and feature queer creators as much as possible. The first half of the class focused on playing and discussing games.

The games that came out of this class were all quite personal and drew heavily on the studentsвЂ™ life experience in the end. With a larger group, individual projects would have necessitated moving to group work, and IвЂ™m not sure that would have been as successful. This approach worked mostly because the class was relatively small: fewer than 10 students. While the workshopping started later, around week 7 of the semester, a number of small assignments were due in the first half of the course to help students prepare for their eventual final project. The second half of the course was almost entirely about workshopping student projects - getting them to play each othersвЂ™ work, comment on it, and iterate until they presented the final result in December. The first half of the course focused on exposing students to readings and games by creators I felt had been working in that domain. Could I teach a course about making personally-expressive small games?ДЄnd thus was CMS.S60, вЂњGame Design for Expression,вЂќ born.ДЇor the courseвЂ™s structure, I drew on my own experience as a student with creative writing workshops, which was how I expected a small course on creative work to run. Perhaps most importantly, I had a lot of contacts with developers who had made those games.

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IвЂ™d even had exposure to some of those free tools, like Twine and Stencyl, myself - they were things I felt I could teach students. A lot of my work focuses on LGBTQ identity in games, and I wondered to what extent that would be useful, when it hit me: what have a lot of queer game devs been advocating for? Making small-scale, personally-meaningful games using free tools. The question became: what kind of design class could I offer? WeвЂ™ve already got excellent courses taught by others in the lab on game design, digital and not, so I didnвЂ™t want to try and retread that territory. So I decided that I wanted to try and teach a design class that leveraged what I knew. One of the best things about working at this lab, however, has been a chance to engage with design as a process, to talk with students doing that work, and even be part of making a game or two.

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I come from a mass communication and cultural studies background, so my work tends to be sociological in nature and more about players and games as cultural artifacts than about how to вЂњmakeвЂќ them. Now, for those of you who donвЂ™t know, while I work in the games domain, my background isnвЂ™t in design, primarily.

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However, you can download Azure architecture icons, which enables you to create your own Azure diagrams with symbols and icons to represent your cloud system.So last fall, I decided to step outside of my comfort zone - a statement that will be especially relevant later in this post - and teach a game design class. If you have a non-subscription or older version of Visio, there are no Azure diagram (or Cloud and Enterprise) templates available. The following table summarizes the stencils with sample shapes to help you see the extensive scope of whatвЂ™s available.ДЄzure diagram templates for Visio 2019, 2016, and older versions Use the many sample diagrams in the Azure solution architectures site to help you decide what you want to do and model your designs. Select File > New > Microsoft Azure Diagrams. See the section Azure diagram templates for Visio 2019, 2016, and older versions below for more info on how to get these diagrams if you're not subscribed to Visio. Note:В Azure diagram templates were renamed from Cloud and Enterprise templates in the subscription versions of Visio.

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