3/16/11

GDC 2011: 10 Lessons from 20 Years as an Entrepreneur


Don Daglow – Daglow Entertainment

-          Background:
o   Playwriting major in college
o   1971-80 wrote mainframe games
o   1983 worked on first EA Sports games
o   Last summer started social/mobile studios, Daglow Entertainment (announced 10 days before GDC)
o   Came up with idea for talk because had been thinking a lot while starting new studio
-          Item One: Money
o   It’s important that people take you seriously, but don’t waste your money on granite countertops
o   From the beginning, you should act as though you are about to run out of money
o   No personal guarantees or 2nd mortgages
§  You hear the success stories, but you don’t hear about all of the failures! There is always another way (consider your lifepartners, don’t lose your marriage over it)
o   “Even If it seems like everyone else is spending that much…it may still be stupid”
§  Example, a studio started in the area overpaying everyone by 20%. Dom’s studio decided to not respond, and wait and see what happened – the new studio only lasted 13 months
§  Example: Bought Silicon Graphics hardware for $175k (one machine), never shipped one pixel created on it
o   Publishing = financing + development + testing + distributing + marketing
§  There used to be a sense that there was this mountain that you had to climb, and at the top in a temple sat the publishers and you knelt before them. But really, publishing is just these 5 things!
§  All of those things used to happen “in the temple” but now things are much more flexible
-          Item Two: Get Your Game Out There
o   It’s better to have 10% of something than 100% of nothing.
o   More practical: A partner at 10% is better than a whole seller at 20%
§  There are lots of cases where people hold out for a deal because they have to sell 90% of their idea – but in the end they get a deal with more ownership but far less distribution.
§  In the end, think about the best way to get your game out there, even if it means you may own less of it
-          Item Three: Decide, Don’t Accept
o   When you’re starting a company, you need to think through the big decisions
§  Who’s in charge? Cubes or doors? What is the exit strategy? Who owns how much? Salary or equity (can’t be both)?
o   It’s critical to make a decision and stick to it – don’t get swept along by circumstance
o   What’s the victory condition? Need to figure it out with your partners, because you might find that you actually want different things out of it
-          Item Four: Culture Matters
o   The first 10 people you hire will define the first 100, then 1000.
o   Who you hire first is the single biggest factor in determining your company culture
o   Don’t be tempted into hiring warm bodies! Warm bodies only help a failing project fail faster, and will destroy your company culture
-          Item Five: Dealing with Change
o   If you think you need to change course with your company within a year, do it within 6 months
o   Change hurts, but radical change hurts more (and if you wait, you’ll often find this is the case)
§  Example: While running Stormfront Games, Don recognized that the industry was changing and the company would need to change, but he hesitated because he thought his studio would be resistant. After a while, they started doing more (working on the Wii, for example). Unfortunately, in the course of 10 days they lost both of their projects because both of their clients changed dramatically. They also lost $20M.
·         Waited too long to change, cost them a lot of opportunities that may have worked out differently
·         Another lesson: made a big mistake in the assumption that his studio wouldn’t want to change (when in fact they were very open to it). He tried to protect them, and it cost them
o   Sometimes there aren’t good choices
-          Item Six: Different Strategies
o   Options:
§  You can build something you’ll love and treasure as a player. This is a pretty good strategy, although there is the chance that maybe there aren’t a lot of people like you
§  You can build something someone else will love. This doesn’t usually work as a good strategy. (Going where the gold is)
o   Think about if you’re in Philadelphia 20 years later and someone says “I played your game 20 years ago and I loved it.”
§  This is satisfying! It’s what drives Don. You affected them in a way that mattered.
§  Try and maximize the likelihood for this conversation
-          Item Seven: (Same thing as Item Six)
o   Sometimes you get the directive to “Show off the technology!”
o   This can work, you are pursuing an audience
§  Example of THQ – offered to pick up a lot of games that publishers thought wouldn’t sell, appealed to an audience that wasn’t getting the games they wanted
o   But really, it sounds pretty empty to choose to chase opportunities in comparison to trying to touch someone’s heart
-          Item Eight: Excuses
o   You hear a lot of excuses:
§  “My friend was going to leave such and such game company to come help but…” – this translates to: “I’m afraid of failing, so I didn’t start and I blame it on my friend”
§  “I couldn’t get funding” = “I’m afraid to ask for money”
§  “No one will want to hear my pitch” = “I’m afraid I’ll be humiliated by publishers, so I didn’t pitch”
o   Important: It’s not cowardice or weakness, this is just people being people – it makes you normal!
o   When you have these fears, you need to realize that you’re not alone in having them, and then you need to get past them
-          Item Nine: Think Before You Commit 
o   Example: Think of the legend of the dog that chased the car and caught it, and then didn’t know what to do.
o   Be careful of what you’re doing before you fully and totally commit
o   Try to have one, main thing which you are committed to
o   If you asked your team right now what your goal was, what would they say?
-          Item Ten: Do What You Love
o   Always ask yourself what you can do to move towards what you love
o   Maybe sometimes you aren’t in a situation where you can do it every single day, but you can be moving towards it – have a single-mindedness in pursuing your goals
o   We can change people’s lives - Don’t waste this opportunity!

GDC 2011: Faster, Better, Cheaper: Pushing the Artistic Bar in Portable Game Development


Nathan Phail-Liff – Art Director
Ready at Dawn Studios

-          Introduction
o   This talk is about doing more with less - finding a passion for creativity born out of technical limitations (instead of lamenting what you couldn’t do)
o   Think of classic VFX in Hollywood. Creative people used creative ways to defy the expectations of the time
-          Studio Background
o   Company was founded in 2003 by former members of Blizzard & Naughty Dog Studios
o   38 people, Located in Irvine
o   Games: Daxter, God of War: Chains of Olympus, God of War: Ghost of Sparta (all PSP)
-          This presentation is not about this particular project, it’s about embracing limitations! (This is not an instruction manual)
-          Art Goals:
o   Wanted a more impressive atmosphere
§  Effects and weather systems
§  Making the world more alive – making the background more of a character
§  50% more Michael Bay
o   Higher quality materials and lighting
§  Specular lighting
§  Environment mapping
§  Ambient occlusion
o   Sprawling vistas and depth of field effects
§  Went with cinematic goals
-          Technical Limitations
o   At start of project, were informed that they could not make any new engine tools or tech
§  All resources not going into art were going into gameplay, as well as creating a real time editor
o   No loading screens
§  Any 2 adjacent packfiles must come in under 9.5MB combined (everything but Kratos for 2 levels = 9.5MB)
o   CPU Board
§  Avoid simulation cost (no particles)
§  Avoid any software rendering processes
-          Walkthrough of a level setup: Boat on a stormy sea
o   Stationary boat, everything else moves
o   Materials:
§  Faked it with vertex lighting – they built “glints” into parts of the environment (gold, metal)
§  Level uses 8 textures. Each was 16 colors, 128X128 pixels
§  Sense of wear and character to everything
·         Shader layer tool. One layer was ‘clean’ the other was worn, painted a blend between them (uses existing vertex alpha channel)
o   Skydome
§  Much easier to keep the boat stationary and move everything else
§  Added joint to tumble the horizon
·         One joint pins the innermost vertex ring of skydome so no clipping
§  Atmosphere: used geometry planes to fake atmospheric perspective
§  Sky: can’t do matte painting because it’s too big. Used 32 X 16 gradient for sky, and then hand painted vertex color of geometry
o   Lightning
§  Modeled ribbon strips of the path that the lightning would take
§  Shelled geometry around area that you wanted the lightning to illuminate
§  One single texture
·         Black with white blips on it
·         Used idea of a player piano, or music box – put those blips in a sequence and then animated the UVs. This way the lighting could have a more natural rhythm to it (as opposed to flashing regularly)
o   Ocean
§  For area where boat meets the water – geometry with vertex alpha and vertex lighting
§  Motion: It takes 4 joints to make an infinitely tiled ocean.
·         Think of 2 people holding a blanket.
·         Painted weights with no relation to joint position, then animated joints up and down
o   Rain
§  All scrolling texture!
§  Foreground rain
·         Same as lighting
·         Game draws 2-3 of these only around the camera
·         32X64 texture for the rain and the splashes where they hit the ground
§  Background rain
·         Big plane with texture
·         Also made depth of field happen through this sheet
§  Rain running down parts of ship
·         Geometry built for rain to travel down sides of ship
§  UVs spread out for acceleration and deceleration (as the water crests over the sides)
o   In general, try to come up with techniques before asking for new features!
-          Art and tech production philosophies
o   Avoid digital ego trips
§  Everything we add needs to serve the player
§  Philosophy was the same as Dead Space 2 – put the right details where they get the most bang for your buck
·         In the opening cinematic, Kratos has water running down him
·         As the camera pulls back, the water POPS off of him
·         He doesn’t have water running off of him in the rest of the level, but you show it in the start and then the impression has already been made
·         Since you see it at the start, the player’s mind fills in the details
o   Iteration is king!
§  Would much rather have low tech than one-off show pieces (example: don’t let an engineer do a full on ocean simulation for something that won’t be in the rest of the  game, have him work on something more useful)
§  Created real-time editor for lighting and camera
·         What engineers made instead of ocean sim J
·         Eliminates build process entirely. Removes frustration barrier for iteration
·         Lets you make tweaks – if something is going to take you 2-5min, you will hesitate (this system worked with lighting and cameras)
o   Instantiate data wherever possible
§  Template everything! (Art and design)
§  This lets a smaller team maintain a larger amount of content
§  Example: had an icy cavern level, the torchlights throughout the whole level were too bright. Could change the one master light to fix the content of the entire level
§  Can make global fixes safely
§  Last minute changes far less costly and risky
§  The entire game benefits from lessons learned late
o   UI – Markup driven tools
§  Self maintaining: programmers could focus on more important stuff
§  Programmers don’t have to do UI
§  Standardization of UI and editing paradigms, features and fixes always global
§  UI markup files parsed at build stage
§  Default values across game can be edited with a single text entry
o   Designers can edit one number – as opposed to going into all maya files
-          Q&A
o   Did you run into issues with the number of transparency levels? Yes! Couldn’t get away with very levels before taking a big performance hit. Had to count and be conservative
o   Impressions of the NGP? Can’t say. J
o   How did you handle fire? All the same techniques already mentioned. No particles, all scrolling undulating hand painted textures and pieces
o   How many lights could you use per level? 4 light limit for hardware. 3 static lights, 1 dynamic light reserved for Kratos’s blade. (Daxter was 100% dynamic lighting)

GDC 2011: One Falls for Each of Us: The Prototyping of Tragedy


Brenda Brathwaite
Brenda@lootdrop.com
-          Ian Schriber informed her that she was a “black box designer” (she has a mysterious process)
-          “Mechanic is the Message” series of games (all physical, non-digital games)
o   The New World
§  Game about slavery boat ride
§  Created to teach her daughter about the slave trade
o   Síochán leat (aka “The Irish Game”)
§ Cromwellian invasion  taking of Irish lands by English
§  Inspired a lot by family, background
·         “What’s the point in being Irish if the world doesn’t break your heart”
·         Always this feeling that things will go wrong
§  Grew up Irish Catholic
o   Train
§  Game is to pack a train – turns out to be for the Holocaust
§  The game is about regret, complicity
o   Mexican Kitchen Workers
§  In prototype
§  Kind of broken right now – “maybe it’s done?”
o   Cité Soliel
§  In prototype
§  Same board, 2 games being played
§  During the daytime you make your moves, during the nighttime your people are being used as resources for a gang
o   One Falls for Each of Us
§  About the Trail of Tears/The “Indian Removal Act”
o   Games were never intended to be shown or shared with the world
§  Game design challenges - accidentally released
-          Why tragedy?
o   Inspired by photographer Zig Jackson, who decided not to take a picture of a place where a massacre happened
o   Question of “do you take the picture or not?”
o   So, do you make the game or not?
o   What kinds of games could we make?
o   Tragedy is a topic, it’s not in game
o   Unfortunately she gets comments from her friends like “Brenda likes to make people cry” J This is not the aim!
-          Personal Process
o   Very different to make such personal games by yourself
o   Getting reactions like “BRENDA BRATHWAITE YOU NEED TO STOP MAKING GAMES!!!”
o   The industry is steeped in the idea that games need to be fun
o   She believes that the game already exists, she just has to find it – it will reveal itself
o   Inspiration in process:
§  Richard Serra’s work (large scale sculptures). His sculptures have odd properties,  they change your physical space, which has an effect on you
§  Jackson Pollack’s process of circling the canvas, trying to figure out where to start. She has this with ‘circling the game’
-          Process for this game
o   During a road trip, started thinking: what would it mean to leave my home, my ancestors’ home for someone else?
o   In general, in cases where there is human on human tragedy, there is a system (which can be used to create a game)
o   Started by studying maps
§  How did they try to remove them? How did people respond?
§  Understanding that history/research aren’t accurate
o   Andrew Jackson – architect of act
§  Decided that she wanted players to plays as white men (she has been accused of ‘appropriating other people’s cultures’ for her games – so this was sort of in response to that)
o   Should the board be a map of the USA? Debated for 4 months
o   Her other games make you feel complicit. In this case, she wanted that, as well as wanting you to realize that this act was absurd
-          The game so far
o   4 players, (play as white men) have to remove Indians
o   In the game you have resources, which you can spend on the Indians to help them, or to grow your own country
o   Winner = accumulates the most progress
o   The indian figures: 50,000 figures!!!!
§  Deliberate sense of scale!
§  1 to 1 of how many people were really moved on the Trail of Tears
§  There is no convenient way of moving that many game pieces
·         It shouldn’t be convenient!
-          More process
o   Doesn’t like to make games with anyone around
o   Individually dying the pieces
§  Putting them down on newspaper in the kitchen
§  Haiti in the news, so putting pieces down on terrible photos – sense of interconnectedness
o   Design process: try to feel what they feel
-          Didn’t finish game in time for GDC because had to crunch for project. Feels regret for this
-          Why tragedy?
o   Brenda was personally attacked in 2006
o   Horrific – feels as though brain has been halved
o   Made a game in her imagination to help her cope with it: experienced what happened as a system to come to terms with it
o   The game “The Path” was also helpful in dealing with tragedy, gave great release
§  Games can do anything, they are a magic medium