Tuesday, August 3, 2010

Thoughts on Development


A former colleague of mine recently asked me some questions based on my experience running a team.  I thought the answers might be useful for somebody else so I'm posting here.

-What are some of the key pitfalls that you have learned from creating original IP as part of a large company?

It’s always a challenge creating something original within a large organization. Large companies are inherently risk averse, creating new IP is inherently risky. Attempts to mitigate risk (focus testing, market analysis, creating rigid processes for the creative process) can often strangle the creative process. This is why being small, hungry and far away from the mothership is preferable.

Another challenge is assembling a team that can be comfortable with the loose, organic flow of early development. I have seen people who are great in early concept development and people who are fantastic in a well defined production phase but its tough to find people that can be a part of the whole phase.

Don’t scale the team too fast, keep the team as small as possible in the early stages to give yourself time to really figure out the foundation of the concept.

-In your opinion, what creates success when creating and executing on original IP?

Think of the old adage ‘plant a seed watch it grow’. There was a great talk on NPR last year about creativity. The guy discussing this question said something I really took to heart ‘when you plant a seed, you don’t dig it up every week to see how it is growing’. Creativity gets nurtured at the early stages by putting together a key group of talented people, have them work on something they are TRULY passionate about, provide them with the time & resources they need, and then being there to SUPPORT them, not impede them. When this basic foundation is set, magic will happen. Autonomy and ownership of what is being created is key. See Dan Pink’s TED talk on the science of motivation.

-From a production standpoint, I know creating original IP can get out of hand, what production constraints would you set up front? The scope of original IP can get so out of hand, that I feel it is important to take it one step at a time while ensuring that key stakeholders understand that this process is iterative.

Keep the team as small as possible for as long as possible. Make sure you are doing gameplay prototyping and using that as your ‘design exploration’ Don’t focus too heavily on documentation. Use wikis, basecamp, google docs or anything that can live ‘in the cloud’ so that it’s easily accessible to the whole team. I think it’s key that the partners (publisher, investor) understand that the early phase is for exploration and not expect you to make long term project commitments at this stage, you need to discover what the project is going to be.

Do regular playthroughs, make sure the whole (small team) sits down regularly and reviews the work that they are each doing, sharing ideas to improve. Work needs to be exposed as much as possible not stay hidden on someone’s machine. On my team we had daily standups, 2 week sprints and the team themselves really owned the work they were doing.

Plan the project so that you have a minimum set of features that you can ship with and an optimum set. Make sure that you clearly know what the goal is of the project, time, budget or quality. If it’s time/budget, schedule by prioritizing and delivering the core feature set earlier in development than the gravy, and be prepared to cut judiciously early so you have time to make sure that core set is awesome. You don’t want to ship a wide feature set where everything is mediocre. If it’s quality, then stakeholders need to know that scheduling is not exact and build in margins of error (i.e. 15% contingency) within the time & budget. If the stakeholder wants all 3 to be equally important...look out!

-What kind of milestones would you setup to ensure the success of creating original IP?

I think there are 2 phases that typically get stripped out of development that are critical for new IP.
  • Early stage world & character development plus gameplay prototyping.
  • Polish (true dedicated polish, not bug fixing)
Also, schedule lots of playtesting of the levels and integrate it into the level creation schedule. Make sure you have iteration pass time allocated for after each focus test.

Friday, July 30, 2010

Limbo has a Roy Lichtenstein moment.



Great example of creative appropriation.  Love this Little Big Planet take on Limbo.  There is true art in this...

Monday, July 26, 2010

Comic Con 2010

Tron bike on the showfloor
 I spent a great 2 days down at Comic-Con last week.  It's always really inspiring to see the amazing amount of creativity and passion that fans put into the creation of their costumes.  I also get super charged after spending a day browsing artist's alley and meeting fellow creative's working in the medium of TV, comics and feature animation.  It's a nice reminder of how much common ground we all have, even though the mediums may seem so different.

I didn't take a lot of photos so I've appropriated some from various sources (attributed) to help illustrate my time there.

Pascal Campion: photo from parkablogs
My friend Pascal was doing a brisk trade on Artist's Alley.  Check out his work and you can order prints here.

Next up, Brandon Ragnar Johnson, creator of one of my favorite books, Big City.
Eponymonstrous: check his blog
As a huge Ragnar fan, it was great to meet and chat with the man himself.  I purchased his new book Eponymonstrous, which I recommend and you can purchase it here.

Darth Javi
Had a great meetup with Javier Grillo-Marxuach, the amazing creator of The Middleman comic and TV series, who very graciously gave me some supportive advice about my own writing goals.

Went sneaker shopping with my old buddy Jesse Alexander, who as always was on point about where transmedia and entertainment is headed.  Jesse is one of the rare people working in TV and film that knows videogames intuitively, not just as a fan but as someone that is able to deconstruct what does and doesn't work for the medium.  I hope one day to see him contribute to the field!

I had the good fortune to work with both Javi and Jesse on a secret project a couple of years ago, in which we emulated a writers room as a way to break story for a videogame I was working on.  This was a fantastic experience and I highly recommend the collaborative writers room approach to anyone creating a narrative structure for a videogame.
l-r: Haden Blackman, Me, Dave Filoni
I also got to reunite with good friends from LucasArts, including Haden Blackman, he of The Force Unleashed fame, and Dave Filoni, director of the Clone Wars animated series, I remain inspired by the work they are doing and excited to see what there future work will be.  Two of the nicest and most creative people I had the good fortune to know during my time there, I learned a lot from just being around these guys.

Finally, shout out to one of my old Lead Designers, Aidan Scanlan, who I ran into and is now back at Bioware working on a very cool looking project he was demoing called Dragon Age 2!



See you next year!

Wednesday, July 21, 2010

Buy this game - LIMBO


Limbo was released today. I picked it up for XBLA for 1200 points. The game is a true masterpiece. Elegant in its design simplicity and a masterclass in how to deliver graphics, audio and game flow as an integrated experience to convey storytelling.



If you are a fan of artistic games you owe it to yourself to support this game. The commercial success of games like this, along with games like Heavy Rain, show there is room in our industry for a broader range of emotional journeys than the traditional 'summer blockbuster' fare.

More evidence, if any is needed, that our industry is really evolving as an art form. What a great time to be creating games!

Check the PlayDead website for more details.

Friday, June 4, 2010

Puppy Games - Revenge of the Titans



This game looks amazing

Go to the Puppy Games website to download the beta.

Love the pixel art!

Tuesday, June 1, 2010

Ed Catmull pt 2

I've covered Ed Catmull before but as a student of Pixar you can never stop learning.


Voice Synthesis for Added Realism

Impossible Mission came out in 1983.  The moment I saw this running in my local computer store was a watershed moment in my life, akin to seeing Star Wars for the first time.

The fluidity of the main character animation was amazing.  It was the first time rotoscoping had been used to give the character realistic movement (Jordan Mechner's Prince of Persia came out 5 years later).  Before that most games I had played had 2-3 frames of animation.

Another great aspect of the game was the storytelling.  The game had an evil protagonist and you were working against time to infiltrate the computers in his base, piece together puzzles and confront the evil scientist at the end.  It was a simple but effective construct that was an example of character driven storytelling that worked.

Another huge innovation was the use of speech in the game.  Who could forget the evil genius challenge at the beginning of the game.

"Stay awhile...Stay forever!!!"



[UPDATE] cool interview with Dennis Caswell on the making of the game.