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ROBIN SEIGNOLLES
Game designer
Who am I ?
I'm a game designer who graduated from Rubika's school in 2021. I'm french, and grew up in southern France near Marseille.
Since I was a child, I've loved playing video games and creating my own games made me realised the strentgh of this media. I'm fascinated by how artistic and technical means interact to convey emotions and build unforgettable moments.
How do I work ?
As a designer, I'm usually trying to be the middle-man between development poles. I like to communicate with artists or programmers and translate the game design intentions with adapted vocabulary. I try to broaden my knowledge of each role of a development team to be as consistent as possible when I'm suggesting ideas.
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To ensure my ideas are well understood by the whole team, I try to use the most adapted format to convey my thoughts, whether it be by prototyping, documentation or schemes.
What do I like to design ?
I like making games with a simple design, that doesn't need a lot of information to introduce to players. Reducing the amount of features to build a robust system is to me the best way to iterate correctly. Create solid foundations to add, later, the additional features that will make the game more interesting.
Teamworking
Creating with a team is one of my strongest motivations, I'm really comfortable with talking to people, exchanging points of view and arguing to shape the best ideas.
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I'm open to criticism about my work, I like to be challenged on my ideas and receiving feedback to improve them. This is a great way for me to iterate quickly and remaining proactive.
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As a part of a team, I always try to communicate my energy and my passion for video games. Keeping a positive ambient within the team I'm working with is really important to me, as I'm putting a lot of heart in my work.
My references
JET SET RADIO
Strong ambient & universe
What make this game unforgettable are its graphics and soundtrack. In each part of the game, the fantasized street ambient of 'Tokyo-To' hits the player. Bouncing UI, frenetic music, dancing characters and exaggerated shapes on inline skates have made of me one of the greatest fans of this game.
Simple design
As the game was released in the early 2000's, its design remains simple, with basic 3D platforming and interactions. However, keeping the game as simple as possible let more space for the player to enjoy the crazy universe and soundtrack of the game.
SEKIRO : SHADOWS DIE TWICE
Rhythmic battles & Animation reading
What I learned playing Sekiro, was that its difficulty comes more from a different way of diving into battles, rather than simply high damages values. It forces the player to be patient, and to analyse who he's about to fight to defeat the enemy.
This game has its own difficulty curve, which appears to be, once fighting is mastered, not that high. Fighting becomes really responsive, aggressive and conveys this duel intention From Software wanted us to feel.
The real challenge is about analysis, animation reading with a huge bestiary and lots of knowledge to earn to be a great fighter.
KATANA ZERO
More than expected
Before playing the game, I was teased by the cyber-noir and violent ambient, with a techno soundtrack. Throughout the experience, I've been surprised by the cleverness of the narration, and how by animated texts or contextual animations the storytelling was credible.
If I came for fighting and music, I'll remember this game as a great narrative experience.
Also, Katana Zero is for me an example of a well designed game : from design to art, narration and music with the perfect duration for an indie game.
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