Who are the lucky 4?

http://www.gamesindustry.biz/articles/eidos-clarifies-pivotal-redundancies

In a story posted on Gamesindustry.biz, UK publisher Eidos has corrected some inaccuracies regarding the announced redundancies at the company’s Bath, UK based development studio Pivotal Games http://www.pivotalgames.com/

Eidos has issued a statement to GamesIndustry.biz to clarify the number of staff made redundant at UK developer Pivotal Games.

A maximum of 95 staff are to be axed, while the remaining “ between 10 and 12 artists “ will stay with the publisher long-term.

“The number of jobs which will be made redundant at Pivotal Games will be between 93 and 95, not the rumoured 99 which has been mentioned by some websites,” said the company.

Yep you read that right. Eidos went to the trouble of issuing a press statement to clarify that only 95 people are being made redundant instead of the 99 reported by some sites. I wonder who the lucky 4 are who get to stay while 90% of their colleagues are losing their jobs.

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The level designers were right…

Game reviewers are always complaining about unrealistic level design in First Person Shooter games set in military bases. How can it be, they ask, that these military installations are littered with crates, barrels and gas tanks that a games hero can climb on, throw, stack up or blow up. Do these level designers think we are stupid? Don’t they do any research at all? Shouldn’t they make just a little effort to create believable game levels?

Geon emotions Well it seems that the level designers were right all along – as shown by this photograph (click for a larger version). It was taken on a recent trip to a UK military base and sure enough the place was littered with barrels (conveniently close to larger containers), crates, pallets and, yes, even gas tanks.

I can assure you that, had I thought to take along my gravity gun, I would have had no trouble at all stacking up an assortment of containers in order to gain entry to any window or ventilation shaft and from there make my way to the secret research labs that I’m sure existed somewhere on the base. Not only that but the level designers are spot on with their architecture too. The buildings do all look like ugly square blocks with doors and windows cut into them and they are all bump mapped too.

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Poker vs Blackjack

Poker cardsWhile catching up on my reading I came upon a post entitled Bluff on Pierre-Alexandre Garneau’s blog. The topic was the concept of bluffing in games with a mention of one of my favorite games of the moment, Texas Hold ‘em Poker. Now oddly I used to hate Poker, almost as much as I hated negotiating Publishing contracts. In Texas Hold ‘em Poker you can’t see all the cards the other players have in their hand. I always preferred Blackjack because you got to see the cards you were playing against.

Then one day something strange happened. I suddenly started to enjoy negotiating contracts and playing Poker, exactly because I couldn’t see all the cards. I realised that when negotiating a contract you aren’t the only person who can’t see all the cards and, just as in Poker, it’s far easier to negotiate on a set of weak cards if people can’t see them. Of course that isn’t much use to you unless you also realise that Publishers actually want developers to negotiate. Sure, the first draft contract that a publisher sends out come from the draw marker “for idiots” – but that only applies if you actually sign it. Publishers are in business to grow their business and if that means taking advantage of a developer that doesn’t know better then that is what they will do. It’s nothing personal, just business. However Publishers are also smart enough to know that their business will do better in the long run if they don’t work with too many idiots.

A developer who negotiates a better deal for themselves (better than the “idiots” contract at least) will be less likely to make stupid mistakes, hopefully more financially stable and at least stay in business long enough to finish developing their game. So, if you want to do well in the development business, better break out the cards and start practicing your Poker.

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Scott Miller incubates

Scott Miller photoVideo Game news site Gamedaily.com has a story up here about an apparent new IP incubator company to be founded by Scott Miller of 3DRealms and Jim Perkins, a former SVP of GT Interactive. The story is based on the brief existence of a web site (now showing just a logo) for a company called Radar Group. The story states that “Radar Group is an original IP incubator that will aim to take video game projects into cross-media properties such as films, TV shows, novels and toys.” The story goes on to quote more from the site regarding the company’s plans with “We build into our original, co-created IP the hooks to make for both a great game and a great film.”

Hmmmm now Scott Miller is obviously a smart guy and thinks this is the way to go but personally I can’t remember a “cross media” project that has been a meaningful success. By that I mean a project designed to be successful across multiple media, instead of taking a success from one media and moving it to another. It takes a lot of passion, dedication and hard work to make a great creative product, be it a film, comic, game or book. Trying to make a game, which is also suitable for a film (or vice-versa) is adding an extra level of complexity to an already difficult creative process. Designing a game to include elements because they are suitable “hooks to make for both a great game and a great film” is a quick way to dilute creative vision and make the creative process harder. In the 20 years I have been in the industry I have been pitched a multitude of cross media projects designed to be a great game/comic/film. None of them ever succeeded.

Cross media products are a bad way to make creative products…. of course as business people love the media convergence concept such a business model is are a great way to attract investment.

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Polygons reaches double figures

NMTP header image Lively industry Networking event Never Mind the Polygons reached double figures this week as Polygons #10 took place on Thursday the 13th of March, in the Union bar at the University of Derby. The event was hosted as usual by Toby Barnes of Pixel-Labs and I was joined on the good team by George Bray, International Business Development Manager for Mumbo Jumbo. My normal sparing partner Iain Simmons (captain of the bad team) was absent this time and stepping into his shoes was Nick Burton (Rare/ MGS), partnered by Craig Albeck (Games Republic).

Crayon Physics indie gameBoth teams were once again soundly beaten in the evenings quiz/discussion section by an enthusiastic audience (in excess of 70 strong) as topics as diverse as Indie Gaming, Atari and Haircuts (you had to be there) were discussed and debated at length. Following on from the discussions the evening moved on to drink and networking as students mingled with developers from Rare, Eurocom and Monumental Games before making their way off into the night to finally head home.

NMTP #11 is scheduled for Thurs May 8th with the venue TBC (most likely Derby) so do come and join us if you are in the area.

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Take-Two’s poisoned power pill.

Poisoned power pill

According to a Reuters’ report here the computer games publisher Take-Two has instituted a severance plan for employees (both executive and non-executive level), which would be activated in the event of them being fired following any purchase of the company. Obviously Take-Two are a caring company with their employees best interests at heart and the fact that this “poison pill” would make the company more expensive to purchase is just a convenient bonus. The plan would give all non-executive employees the equivalent of six months salary as severance… with the executive staff getting up to 1.5 times salary and bonuses for 18 months and all at zero cost to Take-Two.

The plan is part of Take-Two’s attempt to avoid being gobbled up by the ever hungry Electronic Arts (EA) following the latter’s February 25th announcement of a $2 Billion bid for the Grand Theft Auto publisher. Further steps include an attempt to bolster share-holder confidence (and push up the share price) by publicising the companies successes, with an announcement of historical sales to date for a host of Take-Two’s top titles (see gi.biz story).

Of course no corporate take over these days would be complete without a few stockholders suing someone or other. Regardless of how the takeover plays out someone somewhere is bound to think they haven’t earned as much as they should from their shares and sue someone…. anyone… in an attempt to get more. This is more fun than any soap currently showing on TV so we can only hope it will make it to a second season.

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Game Industry Links ++

links

Veteran games marketing man Bruce Everiss has posted a fairly exhaustive list of Game Development related web sites. Below is Bruce’s original list (which he has kindly given permission for anyone to repost) plus some additional sites I use on a regular basis. Please share and enjoy.

Here I will list a whole pile of websites that are useful to the game industry professional. Some I have mentioned before, but putting them all in one place is pretty convenient. This is information overload.

There is enough information there for even the keenest budding game industry professional. Please add any great industry sites you may know using comments. Bloggers and journalists feel free to copy this anywhere you want.

My additional sites include

  • Gamedev.net a website dedicated to game development with an excellent forum.
  • Indiegamer forums A great place to discuss issues relating to indie game dev/publishing.
  • TIGA UK game developers trade body.
  • ANGILS For those interested in serious games.
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Holocaust game shocker? … no New York Times are rubbish so no shock there then.

Imagination is the only escape, screenshotThe New York Times web site media section posted a story (nytimes story) yesterday about Holocaust themed game Imagination Is the Only Escape, claiming that there had been disgust following the announcement of the game and that the game would not be coming to shop shelves in the USA as Nintendo of America had stated that “At this time, there are no plans for this game to be released for any Nintendo platforms in North America.”

The clear implication in the story is that there has been widespread criticism and that Nintendo won’t be allowing the game on their systems. The truth (a depressingly alien concept to many in the media) is nothing of the sort. What Nintendo actually meant was that the product isn’t on any release schedule yet. Hardly surprising for the simple reason that it isn’t far enough into development by the UK developer/publisher Alten8 (www.alten8.com).

With depressing predictability the story was then picked up by other sites such such as Videogaming247 (incorrect story) but posted with the even more misleading title “Nintendo refuses to release Holocaust DS game in US“. Thankfully Eurogamer (Eurogamer story) checked with Alten8 who confirmed that Nintendo were in no way blocking the release of the game. In a statement to Eurogamer they stated stated “Imagination is the Only Escape is only in its early stages. No one has blocked it, and it has no definitive time scale for release.”

So, no one has banned anything or even made anything yet for that matter… guess I’ll post a review of the game tomorrow then.

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This month I have mostly been….

Travelling.

As I post this I am sitting in Vancouver airport at the end of a record breaking month for me – When I get back to London tomorrow I will have travelled a total of 23,000 miles by plane and train. In there somewhere was a trip to The Digital City (Tesside University) to do a workshop on “Managing your clients”, a talk at Games Republic in Sheffield and a panel discussion on “Bite Size Entertainment” at Vidfest in Canada. Add in a trip to Hong Kong for a couple of meetings and a visit to friends and I think it amounts to a pretty full month.

In October I will mostly be…. sleeping.

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Stupid reason #4 – “Most of the games today are rubbish – I’m sure I can do better”

Of all the stupid reasons to set up a development company (or even to just try and get a job in the industry) #4 is one which crops up far too often. The logic behind it seems to be that a huge percentage of games that reach the market are badly made, unoriginal, poorly tuned rubbish and so there is a space in the market for a start-up dedicated to making good games. The assumption seems to be that there are a huge number of developers out there who make games based on bad ideas or simply don’t care if their game is good and thus it will be easy for a new team to come in and do well.

In my experience that is almost never the case. I have worked with a many, many different teams on a wide variety of product types including original games, conversions and licensed games and in almost every case the developers care deeply about the game they are making. So, if developers start out with the best intentions for the games they make, how come so many games end up being lackluster? Could it be that making great games is actually rather hard? Could there be a reason for all the poor games out there beyond just “the design was poor”? Actually I can think of 10 reasons just for starters….

The following are all problems I have seen first hand:

  1. The publisher doesn’t pay on time. This results in the developer being unable to hire/buy on time. If this happens once you can usually get away with it but all to often it can be a repeating problem. The resulting delays from this mean that the final product isn’t as good as it should be. – The usual solution to this is to make the team crunch to catch up but crunch doesn’t actually improve the game as fatigue and low morale just create new problems. The correct solution (which is seldom if ever done) is to negotiate for more time/money on the project in order to undo the damage.
  2. Business dictates deadlines. If you are making a game in your spare time (or you are a multi-millionaire) you don’t need to worry about deadlines. If you are expecting an investor/publisher to pay you to develop a game then it is a business and there will be deadlines. Being creative on a deadline is difficult because something that seems like a great idea, once implemented, may not turn out to be as good as expected. If you are fixed to a deadline (either due to limited financial resources or a publishers need for a 4th quarter release) then you have just “wasted” a chunk of your limited time that you will never get back. This is actually one of the most common reasons for less than stellar games. When too many ideas fail to pan out the games quality drops significantly. Unfortunately in the harsh world of business it is actually better for a publisher to ship a bad product, rather than not ship one at all, so the game goes out rather than being held back for improvement.
  3. Design is overly ambitious and there is no editing. It’s a designers job to make the best game possible and that often means that the design has to be overly ambitious. That is fine if you have unlimited resources but, as per point 2 above, that is seldom the case. This means that in order to get the game done within time/budget something must be chopped from the game. Editing out features is a tough process and it takes a disciplined team to do it well. Features need to be prioritised and progress needs to be tracked so that the team know when the remaining work exceeds the remaining time/budget. This normally requires a good producer with a strong relationship with the designer/team. Failure to properly prioritise means that features which should be lower priority get implemented and then time runs out before features that would make the game better (thus should be higher priority) can be implemented.
  4. Changing hardware platforms. The birth of a new console platform or the poor performance of an existing platform can mean that a publisher/developer needs to change horses mid-stream. Jumping from one hardware platform to another will result in at least some work being wasted. If the jump isn’t properly managed (schedule and budget adjusted) then the wasted time will impact on eventual product quality. Worse still….
  5. Unstable/unfinished hardware and tools. New console hardware platforms are often released to developers before the hardware/development tools are final. The on-going changes and instability make development less efficient. The resulting mistakes/problems during early development often snowball to cause more severe problems at the tail end of development and quality suffers.
  6. Learning curve for new console platforms. Regardless of the stability of a hardware platform there is always a learning curve when a developer starts their first project on a new platform. The team need to learn the best way to use the hardware and often need to develop/redevelop tools and technology. This means they will be running at reduced efficiency for part of the development schedule. Unless this delay is balanced by more time/resources it will impact on final quality.
  7. Late delivery of hardware/software. Essential hardware or middleware may be complete but isn’t delivered on time (see point 1 for reasons why)
  8. Lack of ability in critical areas of the dev team. Taking code and art and level design and audio and combining them into a whole is a complex balancing act. A great game needs great code, art, design, audio and production. Finding staff who excel in each of these areas can be tough and if one area of the team isn’t up to the job the end product will suffer
  9. Lack of publisher support for the developers vision. Creativity is a subjective issue and if a publisher doesn’t support a developers vision it can lead to delays in approvals, changed decisions, design U-turns etc. There are a host of reasons why a publisher may not support a developers vision but the results are the same. Indecision and delay, which impact the quality of the final project.
  10. Poor management at the developer. Many developers are started by talented and creative individuals with little or no management ability or business experience. It would be nice if just being good at development was enough to succeed in business but it isn’t the case. When faced with tough decisions it isn’t unheard of for inexperienced managers to make the wrong choice and that can seriously impact on the smooth functioning of the team and the eventual quality of the game.

Conclusion
The above are just the first 10 reasons that I could think of. I know there are many others and many of the above can be broken down into sub-sets (there are many different reasons why a publisher might not pay on time). So, if you are an individual looking to break into the games industry in order to “make a difference” you will find that few, if any, of the causes of poor quality games are solvable by just one person. Likewise, if you are a team of developers looking to strike out on your own and start a company dedicated to great game play; be warned that a large percentage of the problems you will face can’t be solved by writing code or creating great art. Their solutions lie in the fields of person management, contract negotiation, publisher liaison, business planning etc. If your not equally strong in those areas as you are in actual development then chances are you will be one of the many, not one of the few.

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