What Does a Video Game Designer Do?

Short answer

• A video game designer designs the player experience. That means the rules, goals, mechanics, levels, systems, progression, difficulty, story structure, and interface flow that shape what a player does and how the game responds.
• Designers rarely work alone. They collaborate through the whole project with programmers, artists, writers, audio designers, quality assurance testers, and producers, and they revise their work again and again based on playtests and feedback.
• The job is not the same as programming a game or drawing its art. Programmers build the code that makes the game run, artists create what the player sees, and designers decide what the player does and why it is engaging. Our guide to [what software developers do](/technology/what-do-software-developers-do/) explains the programming side of that split.
• At a large studio, designers usually specialize, for example in systems, levels, narrative, or balance. At a small indie studio, one designer may handle several of those areas at once.
• The core skills are creativity, systems thinking, communication, player empathy, and clear documentation, plus enough technical literacy to prototype ideas in a game engine such as Unity, Unreal Engine, or Godot.
• There is no single required route into the work. Common routes combine study, a portfolio of playable work, game jams, internships, and entry level roles, and a degree is one option among several, not a guarantee of a job.
• The US Bureau of Labor Statistics does not publish a separate occupation for video game designers, so there is no official designer pay or job growth figure to quote. Pay figures for game roles are discussed, with their sources and limits, in our guide to [how much game developers make](/technology/how-much-do-game-developers-make/).

What a Video Game Designer Is

A video game designer is a creative professional who develops the rules, mechanics, systems, and interactions that define how a video game works. That description, from Vancouver Film School, captures the heart of the job: the designer decides how the game plays, not only how it looks or how its code is written. A designer asks questions a player never sees but feels in every minute of play. What is the player trying to do? What choices do they have? What stands in their way? What tells them they are succeeding? What makes them want to keep playing, and what makes them stop?

Into Games, a UK charity that supports people entering the games industry, puts it in similar terms: a game designer creates the rules, mechanics, and systems that shape how a game is played, and is responsible for crafting the player experience so that it is fun, challenging, and engaging. The emphasis on experience matters. Two games can share a genre, a setting, and a budget, and still feel completely different, because their designers made different choices about pacing, challenge, reward, and control.

Designers work throughout the development cycle, not only at the start. They shape the core mechanics and systems early, then stay involved while the game is built, tested, and revised, and often after release, when live games need new content, rebalancing, and fixes. Western Governors University describes designers as working in many stages of development, from brainstorming ideas and outlining core concepts to responding to player feedback and quality assurance concerns and supporting patches and bug fixes before and after release.

It helps to think of the designer as the person responsible for the game as a played experience, while other roles are responsible for the parts that make that experience possible. The programmer writes the code. The artist draws and models the world. The writer writes dialogue and story text. The audio designer creates sound and music. The designer connects those parts into something a player can pick up, understand, and enjoy, and keeps adjusting the connections until the game works.

Designer, Developer, Artist, and Programmer: How the Roles Differ

The titles around game making overlap in everyday speech, and that overlap causes most of the confusion about this role. In casual conversation, “game developer” can mean anyone who works on a game. Inside a studio, it usually means something narrower, and “designer” means something narrower still. The table below sets out the usual split at a studio large enough to have separate roles. At a small team, one person may cover two or three of these rows.

The designer and the programmer work closest together, and their boundary is the one most often misunderstood. A designer may write scripts, adjust values in an engine, or build a simple prototype, and some designers code regularly. But the designer’s job is to decide what the game should do, while the programmer’s job is to build the systems that make it do that reliably. Western Governors University draws the line the same way: the designer imagines and plans the game, and the developer programs the coding and makes sure the technical parts are implemented correctly.

The designer and the artist have a similar partnership. The artist creates the look of a world, a character, or an effect. The designer decides where the player goes in that world, what they can do there, and what the art needs to communicate, such as which ledge can be climbed, which enemy is dangerous, or which path leads forward. The US Bureau of Labor Statistics notes that video game artists may focus on level design, described as creating the look, feel, and layout for the levels of a game, which shows how closely art and design meet in a level, even though they remain different jobs.

What a Video Game Designer Does Day to Day

No two days are identical, because the work changes with the stage of the project. Early in development, a designer spends more time on ideas, documents, and prototypes. Later, the work shifts toward testing, tuning, and fixing. Vancouver Film School describes a typical day as starting with a short team meeting to align priorities, followed by refining mechanics, reviewing a new build, or working with programmers and artists to resolve issues, with afternoons often spent on playtests, analysis, adjustments to mechanics or level layouts, documentation, and updates to the production team.

The core responsibilities below appear in some form at most studios. The exact mix depends on the game, the team size, and the designer’s specialization.

Designing mechanics and systems

Mechanics are the actions and rules a player uses: move, jump, attack, collect, craft, trade, hide, solve, or build. Systems are the larger sets of rules that connect those actions: health, inventory, character progression, in game economies, difficulty, and rewards. A designer defines how each mechanic works, how systems interact, and what happens when the player succeeds or fails. A small change here can ripple through the whole game, so designers think in systems, asking how a faster movement speed, a cheaper item, or a tougher enemy changes everything else.

Designing levels and spaces

Level design is the design of the spaces where play happens: layouts, pacing, sight lines, cover, routes, secrets, enemy placement, checkpoints, and difficulty curves. A level designer reads a space from the player’s point of view, asking what the player can see, where they might get lost, what they expect to find, and where the game needs to teach them something new without stopping the action for a lecture. At large studios this is often a separate specialization. At small studios the same designer may design both the systems and the levels that use them.

Writing design documents

Ideas in a designer’s head are not useful to a team until they are written down clearly enough for other people to build from. Designers write game design documents, feature briefs, user stories, flowcharts, system diagrams, level maps, and balance spreadsheets. These documents explain the purpose of a feature, how it works, which inputs it needs, and what the player should experience. Documentation changes throughout development, and keeping it current is part of the job, because an out of date document can send a programmer or artist in the wrong direction.

Prototyping ideas

A prototype is a rough, playable version of an idea built quickly so it can be tested before much time is invested. It does not need polished art, animation, or sound. It only needs to show whether the central idea works. Designers often build greybox or blockout levels from simple shapes and temporary assets to test dimensions, movement, navigation, encounter placement, sight lines, pacing, and flow. If a prototype shows that a rule is confusing or that one strategy beats every other strategy, the designer learns that in days rather than months.

Playtesting and iteration

Playtesting is watching real players try the game and learning from what they actually do, rather than from what the designer intended. Designers observe where players become lost, which instructions are misunderstood, which mechanics are ignored, where difficulty jumps unexpectedly, and whether the controls feel responsive. Then they revise and test again. Vancouver Film School describes this loop plainly: ideas are rarely implemented perfectly on the first attempt, and designers repeatedly test and adjust systems as the project develops. Iteration, meaning this cycle of make, test, and revise, is the core habit of the job.

Balancing difficulty and progression

Balance is the work of making a game fair, challenging, and rewarding without making it frustrating or trivial. Designers adjust enemy health, damage values, resource availability, reward rates, and difficulty curves, then check the results against playtest data and player feedback. They may look at measurements such as player retention, level completion rates, session length, failure rates, and common exit points, but the numbers support design judgment rather than replacing it. A level that half the players abandon may be too hard, badly explained, or simply boring, and only watching players can tell which.

Shaping story, interface, and player experience

In story driven games, designers work with writers on quests, dialogue systems, character arcs, branching choices, and environmental storytelling, meaning the story told by the world itself rather than by cutscenes alone. In every game, designers think about the interface: menus, controls, tutorials, feedback, and the heads up display that shows health, objectives, and resources. The goal is that a new player can understand what to do without a manual, and that an experienced player can act quickly without fighting the controls.

Collaborating with the whole team

Collaboration is constant. Designers coordinate with art, programming, audio, and production teams to make sure each feature works as intended, and they respond to feedback from quality assurance testers and, after release, from players. That means meetings, reviews, written feedback, and negotiation: a designer may need to explain why a requested feature would unbalance the game, or accept that a favorite idea does not survive contact with real players. Clear communication matters as much as creativity, because a design that cannot be explained cannot be built.

Specializations Inside Game Design

“Video game designer” is a job family as well as a single title. At a large studio, a designer usually specializes, and job listings use the specialist title. At a small studio, one designer may cover several of these areas. Into Games lists the main design roles, and the table below summarizes them.

A few of these deserve a closer look, because their names are easily confused.

A systems designer works on the big picture rules that apply across the whole game, such as how character progression, combat, or an in game economy works. A level designer works on one space at a time, shaping how a player moves through it and what they encounter there. A gameplay designer sits between the two, focused on how the game feels while it is being played: whether movement is responsive, combat is readable, and controls are comfortable. A narrative designer is concerned with the gameplay elements that let a player interact with the story, such as branching choices and quest structure, which is different from a writer, who writes the actual dialogue and story text.

Senior roles add leadership to design work. A lead designer or design manager oversees a team of designers, holds the creative vision for the game, and makes calls when specialists disagree. A creative director or game director sits above that, with responsibility for the whole game, including bigger picture elements such as marketing, budget, and technology choices. Those senior titles are not entry points. They are roles designers grow into after years of shipping games, and this article makes no claim about how quickly that happens.

The Stages of a Game, and Where the Designer Fits

Games are usually described in stages, and the designer’s work changes at each one. The exact stage names vary by studio, but the pattern below is widely used.

In concept and pre-production, designers define the game idea, the core player experience, the genre, the audience, the setting, and the central mechanics. They write the first design documents and build early prototypes to test whether the idea is fun, clear, and feasible. This is the stage where the hardest questions get asked, because changing direction is still cheap.

In production, the full game is built. Designers write detailed feature specifications, design levels, tune systems, review builds, and work daily with programmers and artists to resolve problems. This is usually the longest stage, and the designer’s calendar fills with reviews, playtests, and revisions.

In testing and polish, the game is played systematically by quality assurance testers and by fresh playtesters who have never seen it. Designers fix balance problems, clarify confusing sections, adjust difficulty, and respond to bug reports that turn out to be design problems rather than code problems, such as a puzzle with no readable solution.

After release, many games keep changing. Designers support patches and bug fixes, design new content, rebalance systems based on how players actually behave, and adjust live service games over months or years. A designer on a live game may spend more time reading player data and feedback than designing new levels, and that is a normal part of the role rather than a sign that the creative work is over.

Where Video Game Designers Work

Most designers work as part of collaborative, multidisciplinary teams that include artists, programmers, writers, sound engineers, and producers. Western Governors University describes work environments ranging from major studios to small, independent teams, and notes that some designers specialize in making games for training purposes in healthcare, education, military, and corporate settings. The main settings are:

Large AAA studios, such as Electronic Arts or Ubisoft, with large budgets, long production timelines, and specialized roles. A designer at a large studio usually owns one system or one set of levels, works inside a design department, and collaborates with many other specialists.

Small indie studios, where teams are small, budgets are tighter, and creative freedom is often greater. A designer at an indie studio may handle systems, levels, interface, and narrative at once, and may also help with production, testing, or community feedback.

Mobile and online game studios, where designers work on games for phones, browsers, and social platforms. The US Bureau of Labor Statistics notes that video game designers also work in a variety of platforms, including mobile gaming and online social networks, and the design problems there, such as short sessions and touch controls, differ from those of a console game.

Serious games and simulation teams, which build games and interactive training for healthcare, education, military, and corporate use. The design skills transfer, but the goal is learning or training rather than entertainment, so the designer works closely with subject experts.

Freelance and contract work, where a designer is hired for one project or one system rather than as a permanent employee. Some designers work alone and try to sell their designs to companies that produce and distribute games, as the career guide republished by Swarthmore College describes. Freelance work can offer variety, but it also means finding the next project, which is a different kind of work from designing.

Many designers work in offices, and some work from home. The Bureau of Labor Statistics, writing about the neighboring occupation of special effects artists and animators, notes that many artists and animators work in offices while others work from home, and that schedules are usually regular but can extend to nights and weekends when deadlines approach. That pattern is familiar across game development, though it varies by studio and by project stage, and no article can promise a particular schedule.

Skills a Video Game Designer Needs

Designers need a blend of creative, analytical, and social skills. Vancouver Film School lists communication, critical thinking, problem solving, collaboration, systems thinking, player empathy, technical literacy, written documentation, research and analysis, and iterative design. Western Governors University adds creativity and artistic vision, time management, and programming fundamentals. The skills below are the ones that recur most often in career guides and job descriptions.

Creativity and imagination come first, because the job starts with inventing experiences that do not exist yet. But creativity alone is not enough. A designer must also think analytically about systems: how rules interact, where a design breaks, and why players behave as they do. Systems thinking is the habit of tracing a small change through the whole game before making it.

Player empathy is the ability to see the game from the player’s side rather than the designer’s side. A designer who knows a level by heart cannot tell whether a new player will understand it. Good designers watch new players, listen to confusion without arguing, and treat a misunderstood instruction as a design problem, not a player failure.

Communication and collaboration matter because designers work through other people. A design must be explained in writing, in meetings, and in prototypes, and it must survive questions from programmers, artists, producers, and testers. Written documentation is a core skill, not an afterthought: the design document is the tool that turns an idea into a buildable plan.

Technical literacy means understanding enough about engines, scripting, and production pipelines to prototype ideas and to talk sensibly with programmers. Designers do not need to be expert programmers, and the amount of code varies by role and studio, but familiarity with game engines and with languages such as C#, C++, or JavaScript is widely cited as useful. Western Governors University notes that programming often dictates how players interact with the environments a designer creates, which is why even design focused roles benefit from scripting knowledge.

Time management and organization matter because game projects have many moving pieces and hard deadlines. A designer juggles documents, prototypes, reviews, playtests, and feedback, and must deliver work that is both good and on time. Patience helps too: the same feature may be revised many times, and an idea the designer loved may be cut because it does not work in play.

Finally, designers need a deep, practical knowledge of games. That means playing widely, analyzing why games work or fail, and understanding genres, trends, and player expectations. Passion alone does not qualify anyone, but a designer who does not play games, or who only plays one kind, will struggle to design for players whose tastes differ from their own.

Tools and Engines Designers Use

The tools depend on the project, the studio, the platform, and the type of game, but the same names appear again and again.

Unity supports both two dimensional and three dimensional game development and is commonly used for rapid prototyping, mobile games, indie projects, and interactive experiences. Designers use it to build prototypes, create scenes, test mechanics, adjust physics, configure user interfaces, and work with C# scripts.

Unreal Engine is widely used for high fidelity three dimensional games and cinematic interactive experiences. Its Blueprint visual scripting system lets designers prototype gameplay and implement systems without writing every feature in traditional code. Designers use it to build levels, create gameplay interactions, test lighting and environments, configure cameras, and develop prototypes.

Godot is an open source engine that supports both two dimensional and three dimensional development. It is often used by independent developers and smaller teams because of its flexibility, accessible scripting system, and open source structure.

Beyond engines, designers use documentation and diagram tools for design documents, flowcharts, and system diagrams; spreadsheets for balance work, such as tuning damage values, resource costs, and progression curves; and level editors, often built into the engine, for laying out spaces and placing encounters. They also use playtest and analytics tools that show where players struggle, which features they ignore, and where they stop playing. The specific tool matters less than the habit: a designer who can prototype, test, and document clearly can learn a new engine, while a designer who cannot will struggle in any of them.

How People Enter the Field

There is no single required route into video game design, and no route guarantees a job. That needs saying plainly, because career guides sometimes imply a straight line from a course to a studio. The routes below are the ones career guides and industry sources describe most often, and people commonly combine several of them.

Study, with or without a degree

Many designers start with a bachelor’s degree in software engineering or computer science, and some pursue specialized programs in game design, animation, or interactive media that blend art and technology coursework. The Bureau of Labor Statistics, for the neighboring occupation of special effects artists and animators, states that workers typically need a bachelor’s degree in computer graphics, art, or a related field to develop both a portfolio and the technical skills employers prefer, and that employers usually prefer candidates with a good portfolio and strong technical skills. That emphasis on the portfolio carries over into design: a degree can teach design thinking, tools, and teamwork, but it is the work a student produces that employers can judge.

Readers considering the degree route should read our guide to a video game design degree, which explains what those programs typically cover, how they differ from game development and computer science degrees, and what a degree does not guarantee. The choice of program matters: two programs can share almost the same name and teach very different things.

A portfolio of playable work

A portfolio is a designer’s professional calling card, and it should demonstrate more than creativity. Vancouver Film School advises that it show how the designer identifies problems, makes decisions, tests ideas, and improves an experience, with playable prototypes, level demos, game jam projects, system design documents, feature specifications, balance spreadsheets, user flow diagrams, playtesting reports, and before and after design examples. For every project, the designer should explain what the project was, what their role involved, which problem they were trying to solve, which constraints applied, what they designed, how they tested it, what changed after testing, and what they learned. Screenshots or videos without that context tell an employer little about what the designer actually contributed.

Small, finished games matter more than large, unfinished ones. A complete short game with clear rules, a tested difficulty curve, and a short design write up shows more than a sprawling project that was never playable. Game jams, which are short events where small teams build a game in a day or a weekend, are a common way to produce that kind of finished work and to practice working under a deadline.

Internships and entry level roles

Internships and entry level positions in software design or development can help a newcomer learn the daily tasks of a design role and practice relevant skills before seeking higher level positions. Western Governors University makes that point, and adds that hands on experience can also come from contributing to open source projects or creating small games with tools such as Unity, Godot, Unreal Engine, Construct, or RPG Maker, many of which offer free versions and online tutorials. Quality assurance testing is another entry point some designers use: it teaches how games break, how players misunderstand instructions, and how a studio works, though it is a testing job first and a design job only if the person moves across.

Networking and community

Game design is a collaborative field, and many opportunities come through people rather than job boards. Career guides suggest participating in game development communities, attending industry events and game jams, engaging with other designers, and sharing a portfolio with like minded people and potential employers. That advice is easy to overstate: networking helps, but it does not replace a portfolio, and no connection can make a weak design strong. It is best understood as a way to learn, to get feedback, and to be visible to people who hire, rather than as a shortcut.

Pay, Job Outlook, and the Limits of the Numbers

This article does not quote a salary for video game designers, and the reason is worth understanding, because it explains why the numbers you see online disagree so much.

The US Bureau of Labor Statistics does not publish a separate occupation for video game designers. Instead, it counts the people who make games inside broader occupations: programmers under software developers, artists under special effects artists and animators, and producers under producers and directors. That means there is no official designer median, no official designer job count, and no official designer growth rate to quote. Any article that presents a single “video game designer salary” without naming its source is hiding that gap.

The neighboring figures that do exist should be read with care. For special effects artists and animators, the Bureau reports a median annual wage of 102,030 dollars in May 2025, about 51,900 jobs in 2025, and employment projected to show little or no change from 2025 to 2035, with about 4,200 openings projected each year on average over the decade, mostly from replacement needs. Those figures describe artists and animators across film, television, and games, not designers, so they are context, not a designer salary.

For the wider picture, including the government, industry survey, and job posting figures, what each one measures, and why they disagree, read our guide to how much game developers make. That guide explains that the three kinds of source measure different things, and that none of them is a promise about what any one person will earn. The same caution applies here: role, experience, studio size, specialization, and location move pay more than any other factors, and no article can predict what a particular person will earn.

Common Misconceptions About the Role

Several misunderstandings about video game design recur in career guides, and clearing them up helps readers judge whether the role fits them.

Designers do not only play games all day. Playing is part of the work, especially in playtesting, but most of the day is spent writing, meeting, prototyping, reviewing, and revising. A designer who only played games would never finish a design document.

Designers do not usually draw all the art or write all the code. Some do both, especially at small studios, but at a studio with separate roles, the artist creates the visuals and the programmer writes the code. The designer’s contribution is the design itself: the rules, the levels, the systems, and the experience.

A designer’s favorite idea does not automatically go into the game. Ideas are tested, and many are cut or changed. That can be hard for people who expect creative work to mean total control. In practice, design is a team activity, and a good designer is often the person most willing to cut their own idea when the playtest shows it does not work.

Designers are not only idea people. The job includes documentation, spreadsheets, schedules, and detailed specifications. Creativity matters, but so does the unglamorous work of writing down exactly how a feature should behave, so that someone else can build it.

Finally, loving games is not the same as being suited to designing them. Loving games helps, and most designers do, but the job also needs patience, analysis, communication, and a willingness to watch strangers struggle with something you made and then fix it. People who enjoy that cycle tend to thrive. People who only want to play may find the work surprising.

Is This Role Right for You?

There is no test that can tell you whether to become a video game designer, but a few honest questions help. Do you enjoy thinking about rules and systems, and about why a game is fun rather than only whether it is fun? Do you like watching people use something you made, and changing it based on what you saw? Do you enjoy writing clearly, working in a team, and revising the same work many times? Can you accept that your ideas will be tested and sometimes cut? And do you play a wide range of games, including ones outside your favorite genre, with attention to how they are built?

If the answers are mostly yes, the next step is practical, not theoretical: build something small, watch someone play it, and write down what you learned. A paper prototype of a board game, a short level in a free engine, or a mod for an existing game can teach more about design than months of reading about it. Keep the work, document the decisions and the changes, and start the portfolio early, even if the first projects are rough.

If the answers are mostly no, that is useful information too. The games industry has many other roles, from programming and art to audio, testing, production, and community work, and a person who loves games but not design may fit one of those better. Our guide to what software developers do is a good next read for the programming side.

Frequently Asked Questions

What does a video game designer do?

The role centers on deciding how a game plays from moment to moment: the rules that govern it, the goals that give it direction, the sense of progress that rewards continued play, the difficulty that keeps it engaging, the places and stories that give it shape, the menus and controls that let a player act, and the signals that tell them how they are doing. Those ideas are tested early as rough playable versions, then changed in response to what playtests reveal, so the finished game reflects what players actually understood and enjoyed rather than what looked good on paper. It is a team job. A designer works alongside the people who draw the art, build the code, create the sound, write the dialogue, keep the schedule, and test each build, and that work continues while the game is being built and often carries on after players first get their hands on it.

Is a video game designer the same as a game developer?

Not exactly. In everyday speech, “game developer” can mean anyone who works on a game. Inside a studio, it usually means the programmers who write the code, while “designer” means the person who decides the rules, levels, systems, and player experience. Designers, programmers, artists, writers, audio designers, testers, and producers are all developers in the broad sense, but they hold different job titles and do different work.

Do video game designers need to know how to code?

It depends on the role and the studio. Many designers use scripting and engine tools to prototype ideas, and familiarity with languages such as C#, C++, or JavaScript plus a game engine is widely cited as useful. Designers do not always need to be expert programmers, and the amount of code varies sharply: a systems designer at a large studio may script regularly, while a narrative designer may write little code. Technical literacy, meaning enough knowledge to prototype and to talk sensibly with programmers, matters more than any single language.

What is the difference between a game designer and a level designer?

A game designer defines the underlying rules, systems, objectives, and balance of a game. A level designer creates the spaces in which those mechanics are experienced, using layout, pacing, encounters, environmental storytelling, and visual cues to guide players through the game. At large studios these are separate roles that work closely together. At smaller teams, one designer may do both.

Do you need a degree to become a video game designer?

There is no single required qualification. Many designers hold a bachelor’s degree, in game design, computer science, software engineering, art, or a related field, and some programs teach design directly. But employers judge a portfolio of playable work, prototypes, and design documents at least as much as a transcript, and some designers enter through game jams, internships, testing roles, or self taught projects. Our guide to a video game design degree explains what those programs cover and what they do not guarantee.

How much do video game designers make?

There is no official figure, because the US Bureau of Labor Statistics does not publish a separate occupation for video game designers. Pay varies by role, experience, studio size, specialization, and location, and different sources measure different things. For the figures that do exist, what each one measures, and why they disagree, read our guide to how much game developers make.

What skills do video game designers need most?

The skills cited most often are creativity, systems thinking, communication, collaboration, player empathy, clear written documentation, time management, and technical literacy, including familiarity with a game engine. Designers also need a practical knowledge of games across genres, the patience to revise work many times, and the willingness to learn from playtests, including tests that show an idea does not work.

Where do video game designers work?

Most work in studios, large or small, as part of multidisciplinary teams. Some work on mobile and online games, some on serious games and simulations for training in healthcare, education, military, or corporate settings, and some work freelance or on contract for a single project. Many work in offices and some work from home, and schedules can extend around deadlines, depending on the studio and the project stage.

Sources & references

• US Bureau of Labor Statistics, Occupational Outlook Handbook, "Special Effects Artists and Animators." Accessed 12 Nov 2026. https://www.bls.gov/ooh/arts-and-design/multimedia-artists-and-animators.htm
• Into Games, "Design." Accessed 12 Nov 2026. https://intogames.org/careers/design
• Vancouver Film School, "Game Designer Career Guide: Skills, Tools and Career Path." Accessed 12 Nov 2026. https://vfs.edu/content/game-designer
• Western Governors University, "How to Become a Video Game Designer." Accessed 12 Nov 2026. https://www.wgu.edu/career-guide/information-technology/video-game-designer-career.html
• Swarthmore College Career Center, "At Work With a Video Game Designer," originally published on Vault. Accessed 12 Nov 2026. https://careercenter.swarthmore.edu/blog/2023/02/01/at-work-with-a-video-game-designer/
• TargetJobs, "Video game designer: job description." Accessed 12 Nov 2026. https://targetjobs.co.uk/careers-advice/job-descriptions/video-game-designer-job-description