Kyushu Designer Gakuin – Part 2

This is the follow-up to our previous post with our thoughts on our visit to KDG. What impressed all of us without doubt is the “analogue” modeling lecture. In case of video games digital is default so it is a refreshing experience to see students honing their manual craftsmanship. Here are our reflections on the curriculum, “getting dirty with clay” and selected works.

O-moti

“How to study is important” (Mr. Hatae)

“We start with the obvious…….so we start with fundamentals by “reforming the minds” (Mr. Matsuo)

As most important elements of the curriculum, these are surprising as well as understandable. I had a solid perception that vocational schools are about training technical skills. That is to say I thought education there would almost completely focus on technique, for instance in the case of game creator course: CG software, programming.

I think the concept to change students’ mindset from the basics is in a way quite a detour. There are “analogue” classes at the game creator course, where students make human bodies of clay and wire: this can come only from such a fundamental approach.

“…I was not a big reader but I have read many books on various topics since I started studying here…. To broaden my horizon is bigger than learning programming….” (Takase)

“To deal with fundamentals”. I pay more attention to things I did not think about before. (Yoshida)

These words indicate that the concept of the curriculum works. I think this spirit of “absorbing as much as one can” makes it possible to acquire that bulk of skills and knowledge in the short period of two years (actually one, if we take job hunting into account).

Even with few detours, this is straightforward education.

Watanabe Carcass

It is not well-known that sometimes getting perception of a digital environment actually starts with “getting dirty”, like working with clay. So, what we saw is similar to what ILM and Pixar do. For instance, when making Jurassic Park, the animators spent a couple of months in a zoo just studying elephants (their movement, actions). Of course, elephants are not dinosaurs but their body mass and structure, the way they walk are alike. Another example is when Pixar made Cars, they spent weeks at a desert highway very similar to the environment seen in the movie. The guys had a real perception of what they digitally recreated. It is a very good thing that at Kyushu Designer Gakuin they “go not digital only”.

Another thing is the down-to-earth approach of the teachers.

It is in a way very gratifying that they prepare students for real life: what they need to succeed in business, how to make a presentation, job hunting. I studied at the prestigious Kyushu University. The approach is very different there: professors are more concerned with theory, research. There are abstract ideas, things that are less practical in real life. It might take years to get our hands on their research results in everyday life.

Torizo

It was the first time for me to visit an institution like KDG. Unlike my fellow ZM members, I have no background in design, computing or video games (except for the love of them). My interest in technology is marginal. I am more into concept and character design, artwork when it comes to producing games. That’s why I enjoyed the most said modeling lecture and the browsing of pamphlets with the students’ work. I write about those that are showcased online. Out of the accessible collections (2008, 2009) I prefer the latter.

The former has more contributors thus there is more variety, however some works are more “common” (cute fashion) or less appealing to me (cars) regarding their subject.    In addition, at times works seem less polished. That is not to say that the compilation is without highlights (Inoue pp.10-11), and they testify solid sketching (Akahoshi pp.36-46), painting and software skills.

In the 2009 collection a big bulk of the works is fantasy themed. Overall, they are more imaginative than works of 2008 of the same genre, show more artistry (and some influence of a certain movie about a ring). The portfolio of Keisuke Yoshida, one of the students we interviewed is particularly remarkable. The subject of his works is a mixture of real locations he has visited on his pilgrimage (see Part 1.) and fantasy motifs with their dreamy, solitary atmosphere. But my personal favorite of all works is the concept design in the Saito portfolio pp.10-11 for its ethereal beauty. And I am a biased fantasy fan (sorry).

The fourth portfolio’s creator is Akihiro Takase (see Part 1.). His works among other things will be displayed at The Tokyo Game Show this year. We hope that the event will help students to find their ways to the industry. Also, let us share some related info on employment and KDG.

: Are there successful games your former students made or participated in producing?

KDG: Unfortunately, I can not mention titles because of licensing problems. Our former students work at various members of GFF (local association of game makers) and several companies in Tokyo. Among them there is a company executive who has been in the business for over 15 years.

: Are students looking for positions here in Fukuoka or do they prefer Tokyo or Osaka?

KDG: The truth is at the moment few students want to work in Tokyo or Osaka. More of them wish to find a position in Kyushu (it can be up to the parents too).

: What are the top three companies students apply to?

KDG: Locally: LEVEL5, Cyberconnect 2, Ganbarion Overall: Capcom, Square-Enix

: What ratio of your students gets a job in the game industry?

KDG: 10 to 20 percent of all students. The rest of them work at various print design, Web design, CG producing companies.

: What are the strong points of your curriculum?

KDG: There are nine courses at KDG each aiding to find employment in the respective industries. The emphasis is on the necessary skills. For instance, at the Game Creator and Visual Design courses it is essential to have and to showcase a portfolio in order to get a job. As KDG has two years courses and after one year students start job hunting we must train students from zero to come up with their own portfolios in a short time. In order to do that, there is the guidance of the lecturers along with the curriculum compiled to master efficiently the skills. Also, we teach business manners and communication so the students can better “market themselves” with the companies they wish to work at.  KDG has a unique system: students in their free time can take other lectures in our network of 29 schools with 72 specialties, without extra charge. For instance, if a student at the Game Creator course is interested in Sound Design it is possible to attend an Audio lecture at DTM. Those who make use of this opportunity can skill up even more.

: What is your mission?

KDG: To train students so they can find their way into the industry, to connect students and businesses. To help everybody’s dream come true.

Finally, we would like to thank the teachers, students and staff at KDG for their help.

:学生の方達は福岡、つまりローカルで働きたい人が多いのでしょうか？それとも東京や大阪で働きたいと考えるのでしょうか？ 

KDG:東京や大阪で働きたいと考えている学生は正直少ないのが現状です。九州圏内を希望する学生の方が多いです。（保護者様の意向による場合もあります）。

:学生が就職したいトップ3のゲーム会社はどこでしょうか？

KDG:福岡３社（株）レベルファイブ　（株）サイバーコネクトツー　（株）ガンバリオン

　（株）カプコン　（株）スクウェア・エニックス 

:ゲームクリエイター学科の中で、実際にゲーム業界で働く生徒というのは全体の何割ほどでしょうか？ 

KDG:全体の１割から２割程度です。

: KDGのカリキュラム の強みは何でしょうか？ 

　KDGには９学科ありますが、それぞれに業界就職を目標としており、カリキュラムも各業界で必 要とされているスキルを身につけることに重点をお いていま す。例えばゲームクリエイター学科やビジュアルデザイン学科が業界就職をするには自分のスキルを客観的に示すための作品集が不可欠です。KDGは 全学科２年制となっており、就職活動をスタートさせる１年生の終盤までの短期間で学生を ゼロから作品集が制作できるまで、レベルを引き上げていかなければ なりません。そのために、講師陣の協議の上、効率的に技術を身につけられるようなカリキュラムを組んでいます。また、身につけた技術 や能力をそれぞれの志望する会社に就職試験でしっかりと自己PRするための就職対策、ビジネスマナーやコミュニケーション能力の授業も備えています。自分が履修している 専門学科とは別に空き時間に無料で姉妹校や他学科の授業を受講できるFAシステム（自由選択制度）で、29学科72専攻から 自由に授業を選択することができるのも、KDGのユニークなカリキュラムです。例えばゲームクリエイター学科の学生がゲームサウンドに興 味をもち、音響学 科のDTMの授業を受講することが可能 です。FAシステムを積極的に利用する学生はさらにスキルを伸ばすことができます。