Every month or so, Manock and Oyama would present a new iteration based on Jobs's previous criticisms. The latest plaster model would be dramatically unveiled, and all the previous attempts would be lined up next to it. That not only helped them gauge the design's evolution, but it prevented Jobs from insisting that one of his suggestions had been ignored.
Suppose you have a problem to solve. What do you do?
Well, you sit down and think real hard, and after extensive and careful planning you try the well thought out and rigorous solution that you have thought up. Right?
No, wrong! Bad.
The correct thing to do when you have a problem is:
Think for a short amount of time.
Make sure it is safe to try things.
Try something you think will work.
Observe the result. If you succeeded, yay you solved the problem! If it didn't work, think about what that means for the nature of the problem and try again.
How do you make a game that’s fun? ...You have to focus on gameplay. In order for the final product to be fun and exciting, the core game play needs to be fun and exciting. The creator of Mario calls this 手応え (tegotae), which is often translated as “game feel”. To find this game feel, you need to build small prototypes around a single idea, play test them, and then follow the fun. Nintendo does this, indie game devs do this; this is the not-so-secret of the gaming industry.
How do we choose which level of fidelity is appropriate for a project?
I think about it like this: The purpose of making sketches and mockups before coding is to gain confidence in what we plan to do. I’m trying to remove risk from the decision to build something by somehow “previewing” it in a cheaper form. There’s a trade-off here. The higher the fidelity of the mockup, the more confidence it gives me. But the longer it takes to create that mockup, the more time I’ve wasted on an intermediate step before building the real thing.
I like to look at that trade-off economically. Each method reduces risk by letting me preview the outcome at lower fidelity, at the cost of time spent on it. The cost/benefit of each type of mockup is going to vary depending on the fidelity of the simulation and the work involved in building the real thing.
When poet William Blake wrote of "dark satanic mills", he couldn't have been looking at a steel mill because there were none in 1804. Nevertheless, when I visit a steel mill, Blake's phrase always comes to mind. With the heat and the pounding noise, the dust and smoke, and the red glow against the night sky, it's hard not to see these places as infernal. And yet the process of making steel also produces some of the most hauntingly beautiful images found anywhere in the world of industry.