Work for Play: Careers in Video Game Development Ideo Games Aren’T Only for Play; They Full-Featured Games, Such As Those Made Also Provide Work
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Work for play: Careers in video game development ideo games aren’t only for play; they Full-featured games, such as those made also provide work. The workers, for consoles, have more complex program- V known as game developers, make a ming and, therefore, take longer to develop— living creating the games you enjoy playing. usually between 18 and 30 months. By com- Making video games is a serious—and parison, most games that are played on social big—business. According to the Entertain- media and mobile devices require simpler ment Software Association, in 2009, the video technology, which results in a quicker devel- game industry had sales in excess of $10 bil- opment process of a few months. lion and employed more than 32,000 people in 34 states. Preproduction Creating these games is complex and Work completed during preproduction lays requires the collaboration of many developers, the foundation upon which a game is built. In who perform a variety of tasks, from produc- this phase, the lead designers outline a game tion to programming. They work for both concept with the help of lead artists and pro- small and large game studios to create games grammers. Lead designers also might select that can be played on many different devices, a feature, such as an innovative gameplay including console systems, computers, and element or powerful graphics, that makes the Drew Liming cell phones. game unique. This article covers career options in video and The different design teams flesh out a game development. The first section provides specific part of the game, such as its mechan- Dennis Vilorio an overview of the development process. The ics and storyline. The designers then compile second section describes four groups of video their ideas in a game design document, which game occupations: designers, programmers, describes the game and its features in detail. artists, and others. The third section covers the skills and training workers need for these From this document, programmers create Drew Liming is jobs. The fourth section discusses the benefits a prototype game. Designers use feedback an economist and challenges of working in the video game on the prototype to revise game features. in the Office of industry. And the fifth section provides job- Many game studios also use the prototype to Occupational seeking tips for a career in video game devel- secure financing from publishers, allowing the Statistics and opment. Suggested resources for additional designers to continue developing the game. Employment information are at the end of the article. Once the game receives funding, pro- Projections, BLS. grammers begin building its technological He is available at framework. Meanwhile, artists create concept (202) 691-5262 art, such as character illustrations, that helps Lifecycle of a video game or liming.drew@ designers visualize the game. Completion of The concept for a video game can come from bls.gov. a variety of sources. Many games start as a the prototype signals the start of the produc- tion phase of development. new idea for a story or technology the devel- Dennis Vilorio opment team would like to explore. Others is an economist come from an established property, such as a Production in the Office of novel or film. Still others attempt to perfect In the production phase, teams of designers, a style or formula found in another genre or artists, and programmers use the design docu- Occupational game. ment as a guide to create the game. The teams Statistics and But whatever the impetus for its creation, collaborate to make the most of each other’s Employment almost every game follows a similar develop- expertise. “Art isn’t displayed correctly until Projections, BLS. ment process: preproduction, production, and an engineer makes it work, and it doesn’t work He is available at postproduction. The length of this process until a designer defines how it should work,” (202) 691-5711 or is often determined at the beginning of the says Louis Catanzaro, creative director for vilorio.dennis@ preproduction phase and depends on a game’s BeachCooler Games in Waltham, Massachu- bls.gov. size and programming needs. setts. Fall 2011 • Occupational Outlook Quarterly 3 Postproduction and beyond Postproduction focuses on playing the game to test it for errors, called bugs, and on tweaking it to eliminate unwanted elements. The quality assurance staff tests the game by playing it and attempting to do things the development staff never considered. As the game testers find bugs, they document the errors and assign them to a programmer, designer, or artist to fix. Testers might also find that parts of the game are inconsistent or imbalanced. Fixing these issues might require tweaks to existing features and content. Dealing with bugs and tweaks can make postproduction time-consuming. The process may take as long as production, especially for more complex games that have bigger budgets. When a game is released, it is distributed for sale to players. However, the work does not end there. Games often need patches, which are frequent updates that might include bug Artists use concept art to create textures, fixes, tweaks to the game’s balance, and new Video game developers models, and animations for the characters, content. And a game’s success might persuade carry a concept from levels, objects, and environments that will the studio to develop an expansion—a large preproduction through populate the game world. Programmers final- content and feature update that usually is sold postproduction. ize the game engine—a video game’s physics separately as an addition to the original game. and graphics systems—and tools. They also write the code that dictates everything from the game’s rules to how its visual elements are Occupations in video displayed on the screen. Designers meet with workers from the game development other departments to ensure that the game’s Making a video game requires many different design document is being followed. Feedback workers. Developers have diverse specialties, during production helps the designers revise including game design, programming, and the document as needed—for example, to art. Depending on the size of the studio in improve a game’s mechanics or remove an which they work, developers may have varied unfeasible feature. roles; smaller studios might have one worker Throughout production, developers con- performing multiple tasks, and larger studios tinually build improved versions of the game. might have multiple workers for each task. “The goal is to add more dimensions to the Game developers make the most of their game,” says David Sirlin, lead designer for different skills to collaborate on a shared goal: Sirlin Games in Emeryville, California. “That creating the best game possible. is, to create more content that is better looking within a design that is more refined.” Designers At the conclusion of the production phase, Designers are video game dreamers. They the fully playable game includes art, music, imagine almost everything about and in a and sound effects. This milestone is referred game. To develop a game, teams of designers to as “content complete.” write detailed descriptions of their ideas for 4 Occupational Outlook Quarterly • Fall 2011 all of its parts, including plot, characters, and Creativity is important for these designers, but gameplay. The teams hold regular meetings their work must fit within a game’s world. For and select the best concepts. example, when writing for a realistic strategy When a game is in production, designers game set in the Medieval Age, content design- work closely with programmers and artists to ers ensure that no anachronistic objects or ensure that their designs are being followed. references are included. Content designers Designers frequently use scripting languages, do much of their writing when the game is in a type of programming language that controls preproduction, but changes during develop- applications, to view their ideas within the ment require them to edit their work to match prototype game. Scripting languages do not the altered product. require extensive coding and allow design- Game mechanic designer. Game ers to test various concepts as they arise in mechanic designers focus on specific, vital gameplay. Then, designers choose the concept pieces of gameplay. Consequently, their they like best. If issues arise during produc- tasks—and job titles—depend on the genre of tion, designers might have to go back and edit the video game on which they’re working. For or review the game design document. example, when working on a fighting game, The different design teams focus on dif- these designers are called combat designers; ferent parts of the game, under the direction of they plan and document how the combat sys- a lead designer. Some designers craft engross- tem should function. ing plots and characters. Other designers work Level designer. Level designers create on the mechanics of the game. the game’s fantastic or realistic environments, Lead designer. Lead designers collect selecting the objects and characters that and organize the design teams’ ideas into a inhabit them. To immerse players in the game, cohesive game design document. They also these designers choose the most appropriate manage the teams’ work tasks, schedules, and settings for the type of game. For example, documentation. Lead designers meet with level designers for a horror game create dark, their staff and other departments to discuss shadowy environments to make players feel new ideas, solve problems, and ensure that a apprehensive as they explore the levels. Level game is built according to the design docu- designers also map the location of objects and ment. opponents in a level. Content designer. Content designers Writer. Writers create the text and dia- develop the game’s plot and its characters. logue that immerse players in the game.