No B.S.: The Contemporary Practice of Game Education, Design, and Development

This document is an interview excerpt from the 2010 journal Eludamos, in which the authors speak with Quentin Rezin, a scripter and level designer at inXile Entertainment, about the paths into and realities of game development. Its central aim is to examine how game designers are educated and trained, how they fit into small studio structures, and whether games should be understood as art or as business. Rezin's account is a single professional perspective rather than a broad survey, so its conclusions reflect one designer's experience at a relatively small developer working on both large-budget and casual projects.

On education, Rezin pursued a B.A. in Computer Science at the University of Arkansas because no game-specific degree was available, using electives in arts, philosophy, and science to build a broad skill set. He concludes that formal university training left him well prepared, while noting that most universities provide little project-based or team-based experience, a gap typically filled on the job. Industry practice at his studio emphasized flexibility, with designers frequently reassigned across tasks such as writing, tutorials, and programming support, reflecting the realities of a smaller company that cannot afford extensive specialization.

The discussion also addresses inXile's hybrid business model, in which a dedicated team works on a major project while other teams produce mobile and small-footprint games to stabilize income. Rezin observes that a stigma persists around casual development, though it offers opportunities for experimentation and low-risk returns. On the question of games as art, he argues that commercial pressure and creative ambition coexist and that the industry is driven by developers' desire to deliver enjoyable experiences, while acknowledging tensions with assembly-line production.