Now let's talk about aesthetic and gameplay. Two sides of the same coin, basically. Things that are going all the way together in video game design. So how do you make your gameplay and your aesthetic really complimentary? Well, when the world is gameplay itself, like in a recent game, Limbo. In Limbo, the whole world is in black and white, everything you see is really minimal, is really creepy, scary and terrifying. That's the purpose of it. You never really know if you're gonna get close to something, if it's not gonna be the leg of a giant spider, who will just kill you right away. It's tricky because it tricks your eyes and tricks you in terms of gameplay. Well then, you can also think about games where the world is color coded. Another example, like in Mirror's Edge. In Mirror's Edge you play in the first person and you do this sort of parkour on top of buildings. The aesthetic was praised at the time for it's really minimal, clear, and clean aesthetic. And, one thing in Mirror's Edge is that everything you could do, everything you knew you could interact with, at different color. Everything was becoming pure red and white. Something that is actually creating not only an interesting gameplay idea of trying to find your way, not by throwing giant arrows, but just by looking at the colors in the world. But also really distinct, a really unique aesthetic. Then again, if we think about Tear Away and the way it feels, the ways it looks, the paper properties in Tear Away. How you can use different papers, different texture and materials. And now you can try to emulate that and see that in the game. Video games are tactile. No matter how you think about it. Not only because you touch a screen. They're tactile because there's a feedback. You're to think about how you interact with the world. If you give the world a look where it's clay, wool, you have to think about how you can use these properties in the gameplay. If it's all in clay, will you be able to remodel, to change, and use this clay property? Same with wool. Is it gonna be soft? Are you gonna be able to unravel the world? And then, give a really distinct look to your game is really important. As important as giving it, a unique feel. It's the case with Katamari Damacy game by Keita Takahashi. A sculpture. In Katamari Damacy you're rolling this giant ball that is gathering, sticking with a lot of objects, items, people, houses, then planets. And this ball created by keeping and combining all these aspects and objects, is really happening, there's a feel to it. The way the controler is used, by pressing the analog sticks to forward - You would push this ball with your hands. also plays a really important part in Katamari Damacy and the way you feel, moving, rolling actually in that world. And if everything looks chaotic and seemingly really unordered, everything is actually really simple and really clear, really visually perfectly defined.