>> BOOK REVIEW MEL SCRIPTING FOR MAYA

DECEMBER 2005

THE LEADING GAME INDUSTRY MAGAZINE

>>TOO HOT FOR YOU >>FUTURE OF FLOW >>GAIJIN ATTACK COMPARING RATINGS ART PIPELINES FOR BUSINESS SMARTS FOR AS GAMES MATURE NEXT-GEN CONSOLES EASTERN PROMISE

POSTMORTEM: ’s PAC-MAN

DISPLAY UNTIL JANUARY 16, 2006 games

Xbox360 Games Current Gen Games Amped 3 Swat 4 NBA Live 06 Half-Life 2 Condemned: Criminal Origins 2 The Elder Scrolls IV: Oblivion Mercenaries The Outfit Medal of Honor: Pacific Assault Perfect Dark Medal of Honor: European Assault Saint’s Row Max Payne 2 Mortal Kombat: Shaolin Monks and 40+ more next-gen AstroBoy titles in development... Full Spectrum Warrior Brothers in Arms: Road to Hill 30 Brothers in Arms: Earned in Blood Tom Clancy’s Ghost Recon 2 The Matrix: Path of Neo Marvel Nemesis Painkiller FEAR Tom Clancy’s Rainbow 6: Lockdown Darkwatch Destroy All Humans

and the list goes on...

Supposed Competitor Uhhh . . . one PC game. Can you even name it?

The World’s Best Developers

Turn to Havok Stay Ahead of the Game!TM []CONTENTS DECEMBER 2005 VOLUME 12, NUMBER 11

FEATURES

11 RATED AND WILLING As violence turns more and more heads as a hot-button issue, it has become clear that the majority of the anti- video game lobby, and indeed a portion of the development community, is under- informed about just how the ratings systems work for games. In this feature, we dissect the ratings systems across four major territories—the U.S., the U.K., Germany, and Australia—to give a better impression of how the ratings board work to keep games in the right hands. 11 By Paul Hyman

19 ART PIPELINE PHILOSOPHIES FOR THE NEXT GENERATION: A TECHNICAL ART DIRECTOR’S PERSPECTIVE As the next generation of systems unroll, game development will change forever. Fears of bigger budgets, larger teams and dispersed control could run wild, but as with POSTMORTEM any industry, the key for each individual is to work smarter, not harder. Rod Green 26 DESIGNING PAC-MAN outlines some techniques for next Twenty-five years have passed since the dawn of PAC-MAN. Though the generation art pipelines that could save game and its lovable hero represent the first iconic presence in games, time and money as your team takes that big 19 the PAC-MAN symbol continues to emerge on new platforms, offering new step into the next generation. iterations of the original gameplay. Now, 25 years since its birth, seems By Rod Green an appropriate time to catch up with , PAC-MAN’s creator, to get a long-overdue postmortem of the original game. As a bonus, Game Developer’s editors have written a third-party postmortem of the entire franchise, trying to pin down PAC-MAN’s continuing appeal. By Toru Iwatani and Simon Carless

DEPARTMENTS COLUMNS

2 GAME PLAN By Simon Carless 32 BUSINESS By Bill Swartz [BUSINESS] Clyde Says Hi Navigating Japan

4 HEADS UP DISPLAY 33 THE INNER PRODUCT By Mick West [PROGRAMMING] Austin Games Conference, Serious Games Summit, and more Practical Hash IDs

7 SKUNK WORKS By Tom Carroll and Kelby Fuchs 36 PIXEL PUSHER By Steve Theodore [ART] MEL Scripting for Maya Animators, second edition Anatomy for Animators Part II

48 A THOUSAND WORDS 38 AURAL FIXATION By Alexander Brandon [SOUND] ’ JAMES BOND 007: FROM RUSSIA WITH LOVE Minimal Themes

39 GAME SHUI By Noah Falstein [DESIGN] Rules of Interest COVER ART: DEREK YU

WWW.GDMAG.COM 1 GAME PLAN [] www.gdmag.com CMP Media, 600 Harrison St., 6th Fl., San Francisco, CA 94107 t: 415.947.6000 f: 415.947.6090 CMP Media, 600 Harrison St., 6th Fl., San Francisco, CA 94107 t: 415.947.6000 f: 415.947.6090 EDITORIAL EDITOR EDITORIALSimon Carless [email protected] EDITOR MANAGINGSimon Carless [email protected] Jill Duffy [email protected] MANAGING EDITOR ASSISTANTJill Duffy EDITOR [email protected] Brandon Sheffield [email protected] ARTASSISTANT DIRECTOR EDITOR CliffBrandon Scorso Sheffield [email protected] [email protected] CONTRIBUTINGART DIRECTOR EDITORS AlexanderCliff Scorso Brandon [email protected] [email protected] CLYDE SAYS HI CONTRIBUTINGNoah Falstein [email protected] SteveAlexander Theodore Brandon [email protected] [email protected] MickNoah West Falstein [email protected] [email protected] ADVISORYSteve Theodore BOARD [email protected] Mick West [email protected] Hal Barwood Designer-at-Large Dave Pottinger Ensemble Studios ADVISORYEllen Guon BOARD Beeman Monolith George Sanger Big Fat Inc. AndyHal Barwood Gavin Naughty Designer-at-Large Dog HarveyDave Pottinger Smith Midway Ensemble Studios A LITTLE YELLOW PILL-CHOMPING GUY HAS BEEN Second, Mastiff’s “head woof” Bill Swartz, an JobyEllen OteroGuon BeemanLuxoflux Monolith PaulGeorge Steed Sanger Big Fat Inc. Andy Gavin Naughty Dog Harvey Smith Midway featured in video games for an almost unbelievable Japan veteran, takes the opportunity in ADVERTISINGJoby Otero SALES Microsoft NATIONAL SALES MANAGER quarter of a century. As you might have spotted a Business Level column to muse on why many ADVERTISINGAfton Thatcher SALES e: [email protected] t: 415.947.6217 from the cover, this esteemed personage would publishers and businesspeople are SENIORDIRECTOR ACCOUNT OF SALES MANAGER, EAST COAST, & EASTERN CANADA be PAC-MAN, whose immense arcade success in convinced that Japan is an entirely culturally AyrienAfton Thatcher Machiran e: e:[email protected]@cmp.comt:t:415.947.6217415.947.6224 ACCOUNTSENIOR ACCOUNT MANAGER, MANAGER, SO. CALIF., EAST SOUTH COAST, WEST, EUROPE CONTRACTORS, & EASTERN & MARKETPLACE CANADA 1980 helped to kick-start the modern video alien landscape, and how this affects the way SusanAyrien Kirby Machiran e: [email protected] e: [email protected]: 415.947.6226t: 415.947.6224 game craze. business gets done in the East. Swartz does a ACCOUNT MANAGER,MANAGER, NO. SO. CALIF., CALIF., NORTHWEST, SOUTH WEST, ASIA CONTRACTORS, & WESTERN CANADA & NickMARKETPLACE Geist e: [email protected] t: 415.947.6223 To pay tribute, we’ve managed to get a special good job of explaining why we should listen ACCOUNTSusan Kirby MANAGER, e: [email protected] GLOBAL RECRUITMENT/EDUCATIONt: 415.947.6226 & TEXAS postmortem for the original PAC-MAN written by its carefully, look sharp, and in particular, hire a good ACCOUNTAaron Murawski MANAGER, e: [email protected] NO. CALIF., NORTHWEST,t: 415.947.6227 ASIA & WESTERN CANADA creator, Namco’s Toru Iwatani. Iwatani talks lovingly interpreter, to avoid tragic loss of nuance. ADVERTISINGNick Geist e: [email protected] PRODUCTION t: 415.947.6223 ADVERTISINGACCOUNT MANAGER, PRODUCTION GLOBAL COORDINATOR RECRUITMENT/EDUCATION Kevin Chanel & TEXAS about his goals when designing the title, the trials REPRINTSAaron MurawskiJulie Rapp e: [email protected] e: [email protected] t: 510.834.4752t: 415.947.6227 and tribulations of development, influences, and KAISER SOZE GAMEADVERTISINGGROUP PRODUCTION MARKETING the title’s effect on the gaming landscape. To back Elsewhere in the magazine, this month’s art page, ADVERTISINGDIRECTOR OF PRODUCTION BUSINESS COORDINATOR STRATEGY Michele Kevin Maguire Chanel REPRINTSDirector of JulieMarketing Rapp Tarae: [email protected] . Gibb t: 510.834.4752 this up, the Game Developer editors have weighed A Thousand Words, looks to Electronic Arts’ FROM GAME GROUP MARKETING in with our own postmortem of the PAC-MAN RUSSIA WITH LOVE, replete with a suave Sean CMP GAME GROUP VP,DIRECTOR GROUP OF PUBLISHER BUSINESS APPLIED STRATEGY TECHNOLOGIESMichele MaguirePhilip Chapnick franchise in the 25 years since it started. What Connery and slinky new Bond girls. In addition, CONFERENCEDIRECTOR OF DIRECTOR,MARKETING GDC TaraJamil C. Gibb Moledina went wonderfully right? What went horribly the Heads Up Display news section rounds up two CMPASSOCIATE GAME CONFERENCE GROUP DIRECTOR, GDC Susan Marshall wrong? We take an objective look (pg. 26). important recent shows—the Austin Game SENIOREXECUTIVE VP, WEBGROUP PRODUCER DIRECTOR,Peter APPLIED Leahy TECHNOLOGIES Philip Chapnick CONFERENCEEDITOR, GAMASUTRA.COM DIRECTOR JamilSimon Moledina Carless Conference and Serious Games Summit—in case FEATURES EDITOR, GAMASUTRA.COM Quang Hong you missed out and would like to know what all CONFERENCE MANAGER Evelyn Donis RATE MY GAME? EXECUTIVECIRCULATION WEB PRODUCER Peter Leahy This month’s feature from Paul Hyman (pg. 11) the fuss is about. EDITOR,CIRCULATION GAMASUTRA.COM DIRECTOR KevinSimon Regan Carless e: [email protected] looks in detail at video game ratings, following a FEATURESCIRCULATION EDITOR, ASSISTANT GAMASUTRA.COMManager JessicaQuang Ward Hong e: [email protected] CIRCULATION COORDINATOR Miguel Mendiolaza e: [email protected] not-insignificant amount of controversy in the CIRCULATION JACKSON VS. ANCEL CIRCULATION ASSISTANT Michael Campbell e: [email protected] CIRCULATION DIRECTOR Kevin Regan e: [email protected] mainstream press over how games are rated in Talking of fuss, a lot of the pre-Christmas critical CIRCULATION ASSISTANT Adrea Abidor e: [email protected] CIRCULATION ASSISTANT Manager Jessica Ward e: [email protected] North America. Rather than snapping to any interest we’re seeing is focused on ’s PETER CIRCULATIONSUBSCRIPTION COORDINATOR SERVICES Miguel Mendiolaza e: [email protected] decisions, we thought it would be a good idea to JACKSON’S KONG. But there’s something in here CIRCULATIONFOR INFORMATION, ASSISTANT ORDERMichael QUESTIONS, Campbell e: [email protected] ADDRESS CHANGES t: 800.250.2429 f: 847.763.9606 e: [email protected] investigate exactly how other major countries rate that’s worth remarking on further. In recent CIRCULATION ASSISTANT Adrea Abidor e: [email protected] INTERNATIONAL LICENSING INFORMATION games and determine what we can learn from interviews, Jackson has clearly outlined that he MarioSUBSCRIPTION Salinas SERVICES their practices. Rating authorities in the U.S., the asked to work on the game with Ubisoft because FORt: 650.513.4234 INFORMATION, f: ORDER650.513.4482 QUESTIONS, e: [email protected] AND ADDRESS CHANGES U.K., Australia, and Germany discuss how they of Michel Ancel’s work on the earlier, under- CMPt: 800.250.2429 MEDIA MANAGEMENT f: 847.763.9606 e: [email protected] PRESIDENTINTERNATIONAL AND CEO, LICENSING Gary Marshall INFORMATION EYOND OOD VIL each make their decisions and what factors they exposed title B G & E . EXECUTIVEMario Salinas VP & CFO, John Day deem particularly important. That makes this We needn’t tell you why this is a great thing for EXECUTIVEt: 650.513.4234 VP and COO,f: 650.513.4482 Steve Weitzner e: [email protected] article a must-read for any developers who want video games—creators in other media wanting to EXECUTIVECMP MEDIA VP, MANAGEMENT Corporate Sales & Marketing, Jeff Patterson to understand how games are treated by rating work with individual creators for reasons of EXECUTIVEPRESIDENT VP, & CEOHuman Steve Resources, Weitzner Leah Landro CHIEFEXECUTIVE INFORMATION VP & CFO OFFICER, John Day Mike Mikos boards, as well as the amount of effort that quality and meshing style, rather than wanting to EXECUTIVESENIOR VP, OPERATIONS, VP, CORPORATE Bill SALESAmstutz & MARKETING Jeff Patterson actually goes into making sure that video games work with companies and corporate entities for SENIOR VP,VP, CMPAUDIENCE INTEGRATED MARKETING MARKETING AND DEVELOPMENT SOLUTIONS, Joseph Bill Amstutz Braue are geared toward the right audience. strict reasons of business is quite a step forward. SENIOR VPVP, AND INTERNET GENERAL BUSINESS COUNSEL, Mike Sandra Azzara Grayson SENIOR VP, COMMUNICATIONS, Alexandra Raine Wonders will never cease. SENIOR VP, CMP INTEGRATED MARKETING SOLUTIONS Joseph Braue SENIOR VP,VP CORPORATE& GENERAL MARKETING,COUNSEL Sandra Kate SpellmanGrayson NEXT-GEN RELATIONS Hopefully, as particular game development SENIORVP GROUP VP, DIRECTOR CORPORATE OF INTERNET SALES Anne BUSINESS, Marie Miller Mike Azzara Our two other guest developer articles for this teams delineate themselves in certain genres SENIORCORPORATE VP, MANUFACTURING DIRECTOR, AUDIENCE Marie DEVELOPMENT, Myers Shannon Aronson month focus on vastly differing, but equally and with certain game styles, we’ll see even SENIORCORPORATE VP, COMMUNICATIONS DIRECTOR, CREATIVE Alexandra SERVICES, Raine Kellie Ferris CORPORATE DIRECTOR, PUBLISHING SERVICES, Marie Myers fascinating areas of the game business. more of this cherrypicking from film to game and SENIOR VP, CORPORATE MARKETING Kate Spellman VP,CORPORATE AUDIENCE DIRECTOR, DEVELOPMENT AUDIENCE Michael DEVELOPMENT, Zane Michael Zane Former BioWare senior artist Rod Green game to film, since, well, doesn’t it sound like it PRESIDENT, CHANNEL CHANNEL GROUP, GROUP Robert Robert Faletra Faletra presents a well thought-out feature on next- will actually result in better quality end PRESIDENT,PRESIDENT CMP CMP ENTERTAINMENT ENTERTAINMENT MEDIA, MEDIA Tony Tony Keefe Keefe PRESIDENT,PRESIDENT CMP CMP HEALTHCARE HEALTHCARE MEDIA, MEDIA Vicki Vicki Masseria Masseria generation art pipelines, written from a technical products? Beating the movie license curse never VP GROUP PUBLISHER ELECTRONICS, Paul Miller SENIOR VP, GROUP DIRECTOR ELECTRONICS & SOFTWARE GROUPS art director’s point of view (pg. 19). Is your art seemed so simple. * VPPaul GROUP Miller PUBLISHER ENTERPRISE, Fritz Nelson pipeline ready to deal with the massive amounts SENIORVP GROUP VP, PUBLISHER ENTERPRISE SOFTWARE GROUP Fritz DEVELOPMENT Nelson MEDIA, Peter Westerman of extra data coursing through it as we segue into SENIOR VP, GROUP DIRECTOR COMMUNICATIONS GROUP Stephen Saunders the next hardware generation? Green explains, both philosophically and practically, some of the most important points to bear in mind. Simon Carless, editor

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GOT NEWS? SEND US THE BIG SCOOP AT [email protected] AUSTIN SWEET ON MMOS

WHY CAN’T WE BE MORE LIKE SOUTH KOREA? cover massively multiplayer online games. business aspects of managing the games, such as That sentiment pretty much summarizes the hot The show contained four distinct tracks billing methodology. The few technological issues talk at this year’s Austin Games Conference. In dedicated to MMOs: Online Business & that were addressed by and large related to mobile addition to two days’ worth of connected mini Production, Online Multiplayer Design, Online connectivity only, or how to keep players conferences on game writers and women in Multiplayer Tech and Online Multiplayer Services connected to both their games and other players games, the main event was tightly themed to and Support. Even the keynote addresses, when not stationed in front of a computer. delivered by John Smedley, president of Sony For MMO developers, a key field of study is the LINEAGE II turns a sizeable profit in Korea for Online Entertainment, on the first day and Dr. Korean market. Due almost entirely to cultural developer NCsoft. Richard Bartle, teaching fellow at University of differences, online games thrive in Korea in a way Essex and co-creator of that currently isn’t recreated in North America or the first MUD game, Europe. Nonetheless, the majority of speakers at hummed along to the the AGC ached to find some nugget from Asia that pervasive MMO tune. might translate into Western development tactics. Because online, “In Korea, we don’t use retail because there is no persistent world games retail channel. One of the things that drives the are not typically U.S. retail market is consoles. Until a year ago, pressured into keeping consoles were illegal in Korea,” explained Robert step with next- Garriott, CEO of NCsoft North America, whose generation technology— LINEAGE series is enormously successful overseas. at least not to the “In Korea, a retail channel will have to develop. In degree that console the U.S., just the way the markets have developed, games are—the retail is critical. Retail will continue to be critical.” sessions at the AGC Yet to what extent retail is truly critical for tended toward western MMOGs’ success remains unanswered. Hopefully, the Texas-based conference will address such questions in 2006. —Jill Duffy

“I think there’s a good chance prices “Why is your documentation so bad? “There’s a difference between a "We don't need to charge [MMOG] [for MMOGs] will go up. $15 is not a ... You push it off on the people who game being for a subject matter customers subscriptions in order price point. I don’t think our player write ‘Dummies’ books. You push it expert and a game built for a to make money." base is affected by the price. If it’s off on the players. You push it off person.” —John Smedley, president, a good game, they will pay $20. If on the guys in customer support. —Jessica Mulligan, consultant Sony Online Entertainment it’s a good game, they’ll pay $25.” Those of you who have MMOs, you (and former ASHERON’S CALL —, CEO, have the opportunity to update developer) on the barriers to “The big barrier [to making a profit NCsoft North America your documentation every day. ... attracting new players from an MMOG] is subscription Put it in writing the way your game itself. We offer 40 to 80 hours of “Innovation isn’t really innovation actually plays and not the way you “It’s not suits I object to, it’s suits entertainment for $20 a month. unless it’s intuitive and that’s wanted it to play three months who call the creative shots.” You can’t find a better rate for what we want from developers.” before launch.” —Dr. Richard Bartle, teaching entertainment.” —Paul Nakayama, producer, —Steve Jackson, president and editor- fellow at University of Essex and —John Needham, CFO, Amp’d Mobile in-chief of Steve Jackson Games, co-creator of the first MUD game Sony Online Entertainment ranting about MMO developers’ failure to write clear documentation

NINTENDO DS SONY PSP RANK GENRE UNIT SHARE TOP 5 RANK GENRE UNIT SHARE 1 Action 47% PORTABLE 1 Sports 30% 2 Strategy 16% GENRES 2 Racing 28% 3 Family Entertainment 12% COURTESY OF NPD LTD.; 3 Action 22% 4 Other Games/Compilations 9% RANKED BY TOTAL U.S. 4 Role-Playing 7% UNIT SHARE, 5 Racing 8% SEPTEMBER 2005 5 Family Entertainment 7%

4 DECEMBER 2005 | GAME DEVELOPER 2005 FRONT SGS GETS SERIOUS LINE AWARD FINALISTS THE SERIOUS GAMES SUMMIT D.C. 2005, WHICH FOCUSED ON GAMES created for training, health, government, military, education, and other THE 2005 FRONT LINE AWARDS ARE UNDER WAY. A SELECT PANEL OF uses, was held on October 31 and November 1, in Washington, D.C., at the judges is diligently reviewing the products selected as finalists in the Front Crystal Gateway Marriott, and attendee reactions and overall conference Line Awards, an annual evaluation of tools used in game development. The spirit seemed buoyant, as the nascent area of serious gaming continues winning products, which are recognized for their excellence in helping to develop into essentially a sub-industry of its own. game developers do their jobs better, more efficiently, and more More than 70 sessions dealing with all facets of serious games were gratifyingly, will be announced in the January 2006 issue. covered at the conference, and the keynotes were particularly diverse, Game Developer congratulates the companies whose products were with Peter Perla the Director for Interactive Research, Center for Naval selected as finalists in the 2005 Front Line Awards. Analyses, kicking off the conference with his look at the concept of ART ENGINES “wargaming science.” Perla, whom noted author and game designer Zbrush 2, Pixologic Virtools Dev 3.0, Virtools Larry Bond has called “the leading wargaming expert in the United States” is the author of important reference tome The Art of Wargaming (Naval FX Composer, Nvidia , Valve Institute Press). Perla started his lecture by noting that a colleague at the ClayTools system for 3DS Max 3, Epic Games Inc. Naval War College, though a noted eccentric who suggested that the (v.1.1) and Maya (v1.0), SensAble BigWorld MMO Technology Suite Technologies Department of Defense pursue research using pigeon brains as the basis V1.6, BigWorld Pty Ltd of robotic control systems, had challenged Perla to write a second volume Modo 102, Luxology 2, Emergent of his book, called The Science of Wargaming. This brought up an important Maya 7, Alias (recently acquired Technologies by Autodesk) point for Perla, as he recalled his internal response to this request: HARDWARE “Wargaming isn't a science—it's an art, it's a craft, but it's not a science.” 3D Studio Max 8, Autodesk Razer Copperhead, Razer Perla went on to discuss possible ways that scientific concepts could AUDIO be applied to wargaming, and then handed over to BreakAway Games Quadro FX 4500, Nvidia ISACT version 1.60, Creative Labs CEO Doug Whatley, whose portion of the keynote concentrated on some SpacePilot, 3Dconnexion of the practical problems of developing serious games. Whatley Miles Sound System, MX40 System, Vicon Rad Game Tools particularly took care to stress that those making serious games are DX1 Input System, Ergodex game developers with sometimes confusing scheduling and naming Lipsync SDK 3.0, Annosoft processes, and it's important that those who are funding serious games Harmony Hard Drive, “understand our process,” in terms of scheduling and framework, DeWolfe Music SpeedTreeRT/v1.7, Interactive Data sometimes especially alien for those working on government projects. CRI ADX, CRI Middleware Visualization (IDV) However, Whatley suggested that the sky really is the limit in serious BOOKS Gameface, Anark games, as he ended on a happy note, positively glowing about the possible AGEIA PhysX SDK, AGEIA GPU Gems 2, Matt Pharr (ed.), Technologies future of the community, and evangelizing: “We can change the world.” Addison-Wesley The second day’s keynote presented a stark contrast to that of the Tira Jump Product Suite, Tira Wireless A Theory of Fun for Game Design, first, with the animated, hyperkinetic Dr. Dave Warner, MD, Ph.D., who by , Paraglyph Press DemonWare Netcode, DemonWare is the director of the Institute for Interventional Informatics and an Audio for Games: Planning, Process, PROGRAMMING expert in sharable situation awareness and real-time feedback on and Production, by Alexander important events. The keynote Brandon, New Rider Press VTune Performance Analyzer, Intel Corporation description noted that Warner is The Game Localization Handbook: “not a serious game developer, but Localization Production Pitfalls, ReplayDIRECTOR v2.0, Replay his work on distributed by Heather Maxwell Chandler, Solutions intelligence, cutting edge sensor Charles River Media Perforce SCM 2005, Perforce networks, and virtual reality Introduction to Game Development, Software makes him a shared partner in the Steven Rabin (ed.), Charles River ProDG for PSP, SN Systems quest to change the landscape of Media SlickEdit 10, SlickEdit learning, healthcare, defense, and The United Nations’ FOOD FORCE beyond.” His intense, fascinating, and amusing talk, which touched on how to better solve real-life CALENDAR humanitarian and communication problems—and had definite relevancy to many of the problems of the serious games market—was enjoyed greatly by all present. International CES G.A.M.E.S. Synergy Summit The rest of Serious Games Summit (run by the CMP Game Group, as is Las Vegas Convention Center Wyndham Orlando Resort Game Developer) was a whirlwind of diverse sessions, from the United Las Vegas Orlando, Fla. Nations’ discussion of its educational FOOD FORCE game, through Carnegie January 5–8, 2006 January 16–18, 2006 Mellon University and the New York Fire Department’s talk on HAZMAT: HOTZONE and a multitude of other talks. You can read about a number of Cost: $449–$695 Cost: $295–$1190 them in more detail at www.gamasutra.com/sgsdc2005. www.cesweb.org www.synergysummit.com — Simon Carless

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SKUNK WORKS []OUR RATING SYSTEM :

DA BOMB PRETTY SLICK SLICK SO-SO LAME MEL SCRIPTING FOR MAYA ANIMATORS Second Edition BY TOM CARROLL AND KELBY FUCHS

INNOVATOR DALE DAUTEN ONCE These exercises are outlined in clear said, “It’s time to re-appreciate language, step by step, usually with one the original software: paper.” or two accompanying visuals to help This leads us to a discussion of ensure the reader is achieving the the ups (many) and the downs desired results. (few) of the second edition of By the time I reached Chapter 3 (“Using MEL Scripting for Maya Expressions”), I was ready for more Animators, a 529-page stack of substantial exercises. I had already built BOOK REVIEW “original software,” so to speak. a foundation for my MEL learning that Written by Mark R. Wilkins and would permit me to systematically add Chris Kazmier, this new edition knowledge: the location and function of STATS is—as was the first edition—the the Command Line, the Command Shell, TITLE very best of an extremely small and the Script Editor; how to create a MEL MEL Scripting for Maya number of books that even script, run it, and verify the result(s); and Animators, Second attempt to cover the subject of how to capture MEL commands from the Edition scripting . interface and add them to my existing AUTHORS By Mark R. Wilkins and For those who may be new to scripts. Chapter 3 expanded this Chris Kazmier the field, MEL, which stands for knowledge by introducing the concept of PRICE Maya Embedded Language, is the expressions (an expression is a script $49.95, paperback scripting language used within that calculates values for one or more PUBLISHER Maya. MEL allows the user to attributes in the scene). “Example 1: INFORMATION automate any operation that can be and the first brick is the admission that Eyes” then showed how to use an Elsevier accomplished through Maya’s GUI; some Maya works very hard to hide much of expression to determine whether a pair July 2005 of those operations can be extended what’s “going on under the hood” from of eyes tracks an object in a coordinated 529 pp. ISBN: 0120887932 through MEL in ways that aren’t possible the casual user. or uncoordinated way, and another using the GUI alone. The authors take great pains to explain expression to make the pupils of those This review looks at Wilkins and where pertinent features, graphs, and eyes dilate or constrict in relation to an Kazmier’s book in two takes. editors are found, and to paint a picture outside variable (in this case, light). of the interconnectivity of Maya’s As with the other examples, this one TOM CARROLL various networked nodes. The average was very well thought out. It was While I aspire to be a Maya technical Maya modeler or knows this designed to teach specifics as a means artist, I am certainly not there yet. about as well as an amateur astronomer to open up a wider world of general Because I have a day job that doesn’t knows the dark side of the moon. principles. In fact, one of the more require me to use Maya deeply and Wilkins and Kazmier also explain that successful aspects of using this book is daily, and because I have a family, my some aspects of Maya can’t even be that it helps you to learn (or re-learn) day-to-day exposure to MEL scripting is manipulated at all unless they are about Maya in a bigger, more diverse way limited. Picking up the second edition of accessed through scripting. than you may have before. MEL Scripting, however, allowed me to By the end of Chapter 1 (“Maya Under see how far I could push myself in a the Hood”), I was fairly comfortable with KELBY FUCHS relatively short period of time—about the authors’ approach. The style is I have been creating video games for three weeks. As they say, the results inclusive. The authors stop to clarify more than seven years as a technical were heartening. specialized terminology, and the written artist, and I’ve always enjoyed helping I never used the first edition of this word is supplemented from time to time others get a handle on new software, book (though my co-author did), so my with appropriate figures. asset pipelines, and improved workflow impressions are limited to the updated techniques. I don’t have a computer version. Luckily for a neophyte like me, READER ENGAGEMENT science degree, but I did take a MEL the book starts out with an explanation of Specific exercises, which the reader is scripting course in college. Luckily, the . Wilkins and Kazmier have expected to complete, are included to during my college years, paired with a built a foundation for a broad audience, augment what the authors are teaching. buddy from computer science who

WWW.GDMAG.COM 7 [SKUNK WORKS]

excelled in programming, I was able to into how Maya works and the many helpful as new users encounter the get a grip on complex terminology as well features and actions you have control inevitable // Error: line #: Syntax Error // as some of the core concepts that I would over. The authors frame this technical that’s so frustrating to interpret. need to carry with me into my career. material with handles most artists Many of the teaching examples use My copy of the first edition of MEL should be able to grasp. particles, which can be fun to play with. Scripting is now a mass of dog-eared This book is filled with great examples For instance, Chapter 5 has an example pages, copiously highlighted and of simple procedures that even a that shows how to automate setup for enveloped in sticky notes. The book was scripting lightweight can comprehend. Spiral Particles. It makes it easy to see a major stepping-stone into the world of It’s helpful to read through the preface to how MEL can greatly increase your scripting for me. With very clear understand whom the specific chapters productivity. Chapter 14 (“Custom Dialog explanations of programming concepts are directed toward. Boxes”) has another example in which and easy-to-follow examples, it has For instance, the section in Chapter 3 you create a window interface to control remained within arms’ reach. that asks the reader to set up eyes to your script or parameters. What animator I found the concepts of global and local focus on one object or two uncoordinatedly doesn’t want to make a control interface variables and procedures extremely was fun because it got me thinking of of his or her own? While the book’s helpful. Issues of scope within scripts some other complex rig configurations dependence on particles for some created hindrances for me initially, but I that I could make. Also, setting up simple examples was fun and productive, it’s can now use them to my advantage. particle expressions to control particle important to remember that, at least in The new second edition embellishes flow in Chapter 5 (“Problem Solving with my experience, particles for games are on the first book in many ways and MEL Scripting”) gave me a sense of the often generated with tools developed includes new sections for fixing amount of control and ability to automate outside of Maya. programming bottlenecks and additions complex repetitive tasks I can now take to the user interface. It quickly gets you advantage of in a routine manner. BEST USE While MEL Scripting is an excellent SYNTACTIC MATTERS resource, I find it a little difficult to use Though syntax is explained in like a desk reference. It might help if Chapter 3, I would like to see a there were a robust cross-reference reference chart that listed section that listed terminology common simple examples and complex to the field even if not specifically used commands. Maya syntax can in this book. be very challenging because If you have the first edition of MEL the order can vary in form Scripting for Maya Animators, you when written in an expression might not need to purchase the second as opposed to a MEL script. For unless you’re fluent in scripting and beginners, deciphering the specifically need help with optimizing proper use of syntax is often character rigs, fixing programming difficult to grasp. A few pages bottlenecks, or advanced user interface dedicated to the format of techniques. If you’re just getting allowed words, special started or are advanced enough to want characters, and structure of the second edition’s beefed up content, MEL commands with the there’s an empty spot for this book next appropriate parameters in the to your monitor right now. But make correct order would help sure there is enough space for a few novices tremendously. pads of sticky notes and a couple of For instance: when should {} highlighting markers. You’ll want to ink be used instead of () or []? this one up. * Also, why is Maya so picky about the direction of a slash, TOM CARROLL is an environment artist. like backslash as opposed to forward slash, when dealing KELBY FUCHS is a technical artist. with texture or reference Both work for Rockstar San Diego. Email paths? And most important is the use of backtick versus a them at [email protected] and single quote mark when [email protected]. storing command results into a string (for example, string $sphereName= `sphere`). A reference page would be

8 DECEMBER 2005 | GAME DEVELOPER

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IF;9?7BE<<;HH[gk[ijW'*#ZWodeh_iafheZkYjjh_WbjeZWo$ L_i_jmmm$)ZYedd[n_ed$Yec%fheZkYj%)W*$f^f\ehZ[jW_bi$ >> paul hyman

RATED WILLINGAND

WHERE GAME RATING BOARDS DIFFER

ART COURTESY ESRB

>> THE RECENT CONTROVERSY OVER THE HOT COFFEE MOD FOR issues a rating to more than 1,000 games each year, a Rockstar’s GRAND THEFT AUTO: SAN ANDREAS, and its subsequent formidable task to be sure. That’s practically every video game PAUL HYMAN was temporary re-rating by the ESRB from M (mature) to AO (adults released to retail in the U.S. minus a few sold strictly online. the editor-in-chief of only) has only intensified the focus on how video games are Because of this volume, and the fact that games can sometimes rated in the U.S. But in the British Isles, as we’ll discover, game take tens of hours to beat, the ESRB doesn’t attempt to play the CMP Media’s raters scratched their heads and wondered what all the fuss games all the way through in order to determine their content. GamePower and was about. This fact alone showcases the cultural and “We depend on full disclosure of all pertinent content by currently writes a procedural game ratings system differences among different the games’ publishers,” says Patricia Vance, the ESRB’s territories of the world. president, “and that’s done through an extensive written weekly column on the We at Game Developer investigated and tried to compare the questionnaire that documents everything that’s relevant to game industry for The video game rating systems of four countries—the U.S., the U.K., our rating system.” Germany, and Australia. Each territory deals with games in a “Pertinent content” isn’t the easiest concept to get one’s head Hollywood Reporter. slightly different way, both in terms of how they are screened around, but it can mean, for example, not only the degree of He’s covered gaming and how the government or voluntary bodies combine to allow violence of an act but also how much control the player has over for more than a dozen the rating of titles, making for some fascinating comparison that violence. In other words, after shooting a character, can the points. There’s no empirical right or wrong when it comes to player continue to shoot that person after he or she is dead? years. Email him at game rating—just the seldom-raised opportunity to look at And what is the effect if the player continues to shoot? Such [email protected]. multiple data points, and see how different territories hope to details, which the ESRB says are totally pertinent to the overall rate and compare vastly differing gameplay experiences for intensity of the experience, are covered by the organization’s countries and people that are culturally different. lengthy questionnaire. “We are actually quite specific about what we mean by FULL DISCLOSURE, U.S.A. ‘pertinent content’ in our submission materials,” Vance notes. The New York City-based Entertainment Software Rating Board “Even if you were to interpret ‘pertinent’ differently than we do, (ESRB), a self-regulatory body established by the it would be hard to misinterpret it when you’re filling out the Entertainment Software Association trade organization in 1994, submission forms. We also include information about how to

WWW.GDMAG.COM 11 RATED AND WILLING

UNITED STATES

<1% RECEIVED AN EC (EARLY CHILDHOOD) RATING <1% RECEIVED AN AO (ADULTS ONLY) RATING 12% RECEIVED AN M NOTE: The statistics (MATURE) RATING represent the ratings of games as they appeared on the shelf. Percentages based on 1,036 games 54% RECEIVED AN E rated in 2004. (EVERYONE) RATING 33% RECEIVED A T (TEEN) RATING

ESRB, UNITED review content and how to prepare it for submission. If that consumers, particularly the under-14-year-olds, were STATES publishers still have questions, there’s contact information on demanding a new category for those in-between years. And our web site to reach the people in our ratings department with there was plenty of product that met those requirements, whom they’re probably already familiar.” meaning not suitable for age 6 but not yet at the T rating [for URL In addition to the questionnaires, the ESRB expects to receive everyone 13 and older],” says Vance. “Our goal is to keep the www.esrb.org lyric sheets and highlighted scripts, if appropriate, along with system current.” LOCATION videos that give a good idea of the game’s context, story line, Vance acknowledges that the next generation of game objectives, mission, options, typical gameplay, and especially, consoles and more advanced technology will definitely change New York the most extreme violence, language, suggestiveness, and the face of the industry, thereby affecting the ratings system. “I AFFILIATION sexual content. certainly think the online environment is a challenging one for While Hollywood raters have the luxury of viewing completed us,” she notes, “especially when gamers can generate their Entertainment movies, the ESRB does its job while the developers continue to own content, say, through mods. That’s an area where parents Software Association remove bugs, link missions, and spiff up the final product. So, if need to be more vigilant, and one that I’m not so sure we can (the ESA established the board believes it needs more information about a game, it do much about.” the ESRB in 1994) will sometimes request a of the title in its current state so Developers have queried the rating system on occasion, RATINGS that its staff can further evaluate the game in question. saying that there is a place for mature games, but that large eC (early childhood) Once the submission is deemed complete, the ESRB draws retailers refuse to sell anything with an AO (for 18 years and from its pool of part-time, independent adult raters who have no older) rating. Vance, however, believes that what happens in the E (everyone) other ties to the industry but are willing to work two or three marketplace should not be blamed on the ESRB, refusing to let E10+ (everyone hours per week viewing content. Based on the feedback of at herself or the organization be held responsible for such outcomes. 10 and older) least three raters—but sometimes as many as nine—the ESRB “That’s the marketplace making up its own mind, not us. We’re T (teen) looks for a consensus upon which to base its final rating. just here to accurately label product. If retailers choose not to Critics point out that it would be easy for publishers to fudge sell AO product for whatever reasons—because they don’t think M (mature/over 17) their submissions, perhaps leaving out references to violence in it will sell, or they don’t think their customers want them to AO (adults only/ order to earn a less severe rating. But the ESRB holds firm (with carry it, or it doesn’t fit in with their family-friendly image— over 18) consequences) that there’s no incentive whatsoever to such that’s their decision. Not ours.” shenanigans. If offensive portions of a game are discovered after it ships, the ESRB requires publishers to have the game re- VOLUNTARY AND GOVERNMENTAL, U.K. rated, re-stickered, possibly recalled, with all advertising In 1993, one year before the birth of the ESRB, the U.K.’s changed appropriately. Entertainment Leisure Software Publishers Association (ELSPA) “It’s extremely costly for a company to do that,” Vance notes. and the Video Standards Council (VSC) created the ELSPA “Not only are the corrective actions expensive, but there may system, which makes it necessary for all ELSPA members to also be penalties and fines associated with nondisclosure.” submit their games for ratings. Just as in the U.S., it’s a The ESRB has modified those ratings over the years, adding voluntary system which is enforced by most video game descriptors to better help consumers understand the rating retailers who won’t sell un-rated games. system, and making the ratings and descriptors more Laurie Hall is secretary-general of the VSC, the standards body prominent on the game boxes. Most recently, a new rating—E that administers the ELSPA system and represents the 10+, for everyone 10 and older—was added “because we felt country’s game publishers as well as more than 10,000 retail

12 DECEMBER 2005 | GAME DEVELOPER

RATED AND WILLING

UNITED KINGDOM

4.0% WERE LEGALLY CLASSIFIED BY THE BBFC 0.1% RECEIVED 8.3% RECEIVED AN 18+ RATING NOTE: The games dealt A 7+ RATING with by the BBFC are games that have lost 11.3% RECEIVED classification exemption in A 16+ RATING the U.K. and have been legally classified. Percentages based on all 48.2% RECEIVED games rated from April A 3+ RATING 2003 to June 2005.

28.1% RECEIVED A 12+ RATING

outlets. Between 1994 and 2003, Hall and his team have rated national rating systems. At the time, there were already four ELSPA, well over 7,000 games. rating systems in Europe, and the ISFE feared that confusion UNITED KINGDOM As with the ESRB system, the VSC depends on “the help and would erupt if every country created its own system. guidance of the game publishers who answer a series of “You can imagine what a game box would look like if it needed URL questions which then throws up an age rating,” says Hall. “So to carry 10 or 15 different age ratings on it,” says Hall. The ISFE’s far, we haven’t had any examples of abuse or anyone solution was the Pan-European Game Information System http://elspa.co.uk and deliberately hiding things from us.” (PEGI), a single video game rating system that is now www.video The games that receive the most mature ratings—for ages 15 administered by both the U.K.’s VSC and The Netherlands standards.org.uk and up and for 18 and up—are examined by the VSC before Institute for the Classification of Audiovisual Media. The number LOCATION those ratings are applied. “That’s to make sure that the game of countries using the system has grown from 16 to 20, with the London has been rated correctly at that higher, more sensitive level,” notable exception of Germany. Hall notes. “There had been a shooting in a school there and, just as in the RATINGS Unlike at the ESRB, the VSC uses professional raters who U.S., a computer game was blamed,” explains Hall. “Legislation 3+ examine the games in detail using cheat codes provided by the was passed that all video games in Germany had to be rated by publishers. Their typical workload is approximately 200 games their government, which is still the case.” 7+ annually. As with the ELSPA system, any game publisher requesting a 12+ “What they are looking for is to make sure that the game 16+ or an 18+ rating must have its game examined before it 16+ hasn’t crossed the line from being in the voluntary category to gets rated. Games self-rated for ages 3, 7, and 12+ are examined the mandatory category where the game needs to be submitted retrospectively. BBFC RATINGS to the British Board of Film Classification (BBFC),” explains Hall; While the PEGI members agreed on how they would rate 15 or, as stated on VSC’s web site (www.videostandards.org.uk): games, there will probably never be agreement on what is 18 “Before a game can be rated under the voluntary system, it objectionable and what isn’t in the various member countries. must be established that the game is exempt from legal For instance, the U.K. seems particularly concerned about bad classification in the U.K.” language, more so than on the continent, but sexual content According to British law, games containing gross violence gets just a middling reaction, which is still more than in the and/or sexual content need to be submitted to the BBFC, a Scandinavian countries which are extremely liberal in that government body, for legal age classification. Only two or three regard. But when it comes to violence, the U.K. and other percent of the games published—so-called “extreme games”— southern European countries are fairly accepting of it in their receive this treatment. In fact, the ELSPA system was developed games, whereas Scandinavia is much more restrictive. The specifically to deal with the overwhelming majority of games solution has been the use of “descriptors” on packaging. If a that would otherwise have had no rating at all. game gets an age 16 rating because of language, a mother in “The penalties are quite draconian for a game publisher or the U.K. who sees the “language descriptor” might prevent her retailer getting it wrong and selling a game that should have child from buying it, but a mother in France, who isn’t gone to the BBFC but didn’t,” Hall warns. “Under the law, the fine particularly bothered by such language, may have no can be unlimited, plus up to six months in jail. And so, everyone hesitations about buying it for her 12-year-old. tends to follow the rules. It tends to concentrate the mind.” “The same sort of cultural differences popped up with the so- In 2001, the Interactive Software Federation of Europe (ISFE) called Hot Coffee issue with GTA,” recalls Hall. “I know the scene met in Brussels to tackle the issue of the growing number of depicting a sex act caused a great stir in America. Even Hillary

14 DECEMBER 2005 | GAME DEVELOPER World of Warcraft®, images courtesy of , Inc.

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Idea: Bring the Warcraft Universe to life by designing a stunning cinematic introduction. Realized: Blizzard Entertainment used to create the impressive opening to World of Warcraft, the fastest-growing in history. Taking full advantage of the open platform of 3ds Max technology, Blizzard was able to customize their pipeline and push the limits of gaming cinematic design — all while relying on the robust 3ds Max capabilities to stay on top of their grueling production schedules. To see how 3ds Max can help you, visit autodesk.com/3dsmax

Autodesk and 3ds Max are registered trademarks of Autodesk, Inc., in the USA and/or other countries. World of Warcraft and BliBlizzzardzard Entertainment are trademarks or registered trademarks of Blizzard Entertainment, Inc., in the U.S. and/or other countries. All other brand names, product names, or trademarks belong to their respective holders. © 2005 Autodesk, Inc. All rights reserved. RATED AND WILLING

AUSTRALIA

4 GAMES WERE REFUSED CLASSIFICATION 10% RECEIVED AN MA 15+ RATING BECAUSE THEIR CONTENT EXCEEDED NOTE: Percentages THAT FOR MA 15+ based on 718 games rated in 1994. More 20% RECEIVED AN recent statistics were M RATING not available.

45% RECEIVED A G RATING 25% RECEIVED A PG RATING

Clinton got involved. But we looked at it and it seemed relatively including themes, violence, sex, language, drug use, and nudity. trivial. Did we change the rating? No, because it was already “The impact test means that we need to consider not only the rated 18 for violence, which is the highest it can go. Would we impact of the individual elements but also the cumulative have raised it if we could? I think not; as I said, that sort of thing impact of the overall production,” says Clark. CLASSIFICATION is considered mild over here.” The review board can contain as many as 20 people who have BOARD, AUSTRALIA 20 working days to create a report that outlines their decisions. UNDER GOVERNMENT The publisher is then given a classification certificate plus a URL SCRUTINY, AUSTRALIA copy of the report, if requested. There’s no such thing as a voluntary video game rating system “In my opinion, the fact that Board members are recruited to www.oflc.gov.au in Australia. Under national law, no video game can be sold or be broadly representative of the Australian community ... and LOCATION rented unless it has been rated by the Classification Board the fact that the mechanisms by which classification decisions Sydney (formally known as The Office of Film & Literature are made are clearly laid out in legal instruments contribute Classification), an independent statutory authority. very strongly to the success of our system,” says Clark. AFFILIATION Australia applies a comparatively simple system containing Because the Board rates not only video games but also Government of just four ratings or “classifications:” General (G) for very mild movies, DVDs, and videos, its biggest challenge these days is to Australia content, Parental Guidance Recommended (PG) for mild content, deal with the increasing volume of content being released onto RATINGS Recommended for Mature Audiences (M) for moderate content, the Australian market. The solution has been twofold: to and Not Suitable For People Under 15 (MA15+) for strong content. increase the size of the Board itself and to create so-called G Although films can be rated as R18+, any game with content authorized assessors. PG stronger than an MA15+ is simply refused classification and The assessors are employees of publishers who are trained by cannot be sold or rented in Australia. What usually happens is the government to review the games themselves and make M that publishers modify these titles for the Australian market in recommendations to the Board in comprehensive reports for MA15+ order to receive an MA15+ rating. games they believe deserve G, PG, or M classifications. In (not suitable for After paying a fee, publishers provide a “comprehensive and addition, they must supply the M content to the Board either on people under 15) detailed synopsis and description of gameplay sufficient to videotape or through some other means. The Board reads the SAMPLE OF allow the Board to work its way through the entire game if it report and either accepts the recommended rating, calls for BANNED GAMES needs to,” says Des Clark, director of the Classification Board. If more information, or repeats the classification process. Members the game contains content that is likely to receive an M or of the board must view and classify MA15+ games themselves. BMX XXX MA15+ rating, that content must be provided on videotape or Occasionally, the Board plays the games up for review in their MANHUNT demonstrated to the Board by the publisher. entirety, but not often. “Due to the massive volume of content in NARC (2005 update) “The recorded or demonstrated sequences of M or MA15+ many games, it’s usually not possible,” Clark explains. content are given very close scrutiny, as is the content of G “Government policy requires the cost of classification services and PG games,” adds Clark. “As the Australian government is to be recovered from applicants. Because of the time it would committed to protecting children from things that may harm take, if the Board were to play every game through, the cost them, we take classification of games at all levels extremely burden on applicants would be huge, not to mention the seriously.” potential for delays.” Ratings are based on an “impact test”—from very mild impact That means the system relies on applicants to submit complete to strong impact—for each of several classifiable elements, information, which, in Australia, is their legal obligation.

16 DECEMBER 2005 | GAME DEVELOPER GERMANY

LESS THAN 1% RECEIVED NO RATING (RISK OF BEING BANNED) 4% RECEIVED AN 18+ (ADULT) RATING NOTE: Percentages based on 2,152 products 41% RECEIVED AN ALL presented to USK in 2004. 19% RECEIVED A AGES RATING 16+ RATING

22% RECEIVED A 12+ RATING 13% RECEIVED A 6+ RATING

“If they do not ... if content is found [after the game’s release] order to accomplish this, the board employs three full-time USK, GERMANY to be at the M or MA15+ level and would, therefore, cause a game testers who are tasked with playing the entire game higher classification, the Board revokes the game’s certification,” through using cheats and walkthroughs supplied by publishers. warns Clark. “That is what happened here with the Hot Coffee Using “save game” options, they a presentation to the URL modification of GRAND THEFT AUTO: SAN ANDREAS. So it is extremely board of experts. www.usk.de important that the Australian distributors are made aware of all “These testers must be video game experts with a lot of LOCATION content by the developers so it can be provided to the Board.” experience,” Hilse explains, “and, of course, they have to be very reliable so that the board is convinced it has all the information Berlin EXTREME VIOLENCE IS it needs to make a proper age rating.” RATINGS VERBOTEN, GERMANY Hilse says he finds the different views that various countries No Restrictions The two-year-old German Juvenile Protecting Law states that have about the harmful effects of video games interesting. every video game must have an age rating on it, or it can only “In America, sex and bad language seems to be the focus of 6+ be sold to adults. Unlike in the U.S., adult games (with M and A discussion and, in the case of the Hot Coffee mod and GRAND 12+ ratings) seem to have no stigma attached to them since they THEFT AUTO: SAN ANDREAS, the wrong content can mean enormous are readily available for purchase by adults at German retailers. financial loss for a publisher,” he notes. “Here in Germany, 16+ That is, unless they have been banned completely, likely due violence dominates our concerns, and too much violence can Adults Only to excessive violence, or use of forbidden symbols, such as get a video game banned.” SAMPLE OF the swastika. BANNED GAMES “Developers can create any game they want to, just as long as MIDDLEMAN’S STIGMA they take into consideration that there is a rating system for the Regardless which country is monitoring the classifications, the MANHUNT protection of minors,” says Jurgen Hilse. Hilse is the Permanent raters are unanimous in their advice to game developers and 1, 2, and 3 Representative of the Supreme Youth Authorities of the Lander publishers: “Remember, we’re on your side!” RETURN TO CASTLE at the USK (Unterhaltungssoftware Selfstkontrolle), Germany’s “I know they’d much rather not have to deal with us at all,” and software rating body. says ELSPA’s Laurie Hall, “but we’re not the enemy. We are here Within the USK, between three and five “video game experts” to make sure they satisfy consumer, retailer, and legal (English version) from a board of 52 are randomly selected to review each requirements.” submission by a publisher. The process involves a discussion of The ESRB’s Pat Vance stresses that the submission process all aspects of the game, including graphics, contents, gameplay, ought to be taken very seriously. “We’re here to protect the and other topics that would be relevant in selecting an age rating. publishers and developers as much as we’re here to inform their “The main focus is this: Are there any elements in this customers,” she stresses. “This is not an adversarial computer game that would possibly have a negative impact on relationship, although I often think developers consider us to be juveniles of a certain age?” says Hilse. “If the board of experts is their adversary. We’re not. We’re here to make sure that the convinced that there are risks for a certain age, they rate the content they create is accurately labeled ... so that everyone game up to the next age category.” Criteria for all age ratings are doesn’t find themselves in a situation where there are listed on the USK’s web site, though the text is in German. consumer complaints or where there are surprises that take Hilse prides himself on the fact that the USK board handed out everybody—including the publishers and developers—down almost 2,500 ratings last year, usually within 14 working days, with them.” * if all the appropriate information was submitted properly. In

WWW.GDMAG.COM 17

>> rod green ART: GEARS OF WAR, EPIC ART: GEARS OF WAR,

ART PIPELINE PHILOSOPHIES FOR THE NEXT GENERATION

>> DEVELOPERS WORKING ON THE NEXT GENERATION OF GAMES ART PIPELINE ASSESSMENT ROD GREEN has have some significant concerns about the ability of existing art The goal of any art pipeline—the interconnecting software, pipelines to handle their growing production needs. The number of utilities, processors, and techniques that artists use to design, been working in the artists involved in a project is swelling as high as three figures, and develop, and submit assets—should always be to make sure the amount of data handled in a game is growing into terabytes. the artists on the project are able to work as quickly and for the last six years, The core of the problem is the expanding number of artists efficiently as possible. contributing to 12 needed to achieve a constantly rising standard of detail. With A good pipeline should have the following core features: any increase in detail, there is a corresponding increase in the • fast art iteration published titles at nature and number of technical hurdles during development. • detailed art tracking companies such as The trick is to be as efficient as possible with the flow of • detailed feedback BioWare and Atari. information between artists and the tools they use. It’s an issue • common data formats I’ve been addressing for companies with next-generation art • a modular structure with a centralized hub Email him at needs, such as BioWare. •robustness. [email protected].

WWW.GDMAG.COM 19 ART PIPELINE PHILOSOPHIES FOR THE NEXT GENERATION

CORE PACKAGE OTHER -MODELERS PACKAGE -ANIMATORS -ANIMATORS

CHR CORE PACKAGE EXPORTER EXPORTER

GAME CORE PACKAGE -MODELERS

CHR EXPORTER

FIGURE 1 A typical export GAME pipeline.

When defining a pipeline, it’s best to start with the big picture and then drill down to the specific areas that require more definition. In general terms, all assets go through three major stages: plan to implement a replacement or updated version. Your • design pipeline needs to be future-proofed, as much as possible • creation (which includes the feedback and revision loop) anyway, meaning you should build your art pipeline in a way • submission. that best prepares it for future integrations and updates, without Each stage is made up of two key components: asset creation having to rewrite all your art tools every time a change is made. tools and asset processing tools. The technical art director must Make sure everyone on the team, including the art tools carefully define the data flows (export, import, copy, move, , evaluates all available tools and their support archive, check in, check out) and the types of data you network before you decide to purchase a new tool. That includes anticipate will move through them (such as textures, meshes, considering tools that might not be conventional. Zbrush is a animation, hierarchies, materials) before setting up this flow. great example of a tool that was created for one purpose, but as The thing to most carefully avoid is a back step because of a a by-product, was found to perform other tasks very well and deficiency in the pipeline. became an integral part of many pipelines practically overnight. As projects progress, there will be points where new solutions THIRD-PARTY ART TOOLS are necessary. If the pipeline is set up well, it can limit the time Picking the right tool for the job. There are two major pitfalls that it takes to add new features. For example, the character you should try to avoid when picking software to incorporate animators on a project are working in art package X with the into your pipeline. First, don’t rely on a magic approach modelers, but they discover that art package X’s animation when it comes to art tools. Pick a tool that fulfills as many needs systems weren’t able to support the animators effectively, as possible, but recognize that it won’t be able to do everything. thereby reducing their productivity. The obvious solution would Trying to bend one tool to fit all your needs can cause more be to find another tool to support the animators. trouble than it’s worth. In a typical pipeline, the character exporter (rig and animation) Second, when planning, many teams apathetically “stick with would export from X into one CHR file (see Figure 1). But this the devil they know” rather than evaluate new tools. Many studios would mean that the animation from the new tool needs to be are well aware that the software suite or version they use is exported to X, then again exported by the modelers with their rig. substandard, but they stick with it anyway out of fear that they’d However, if the exporter were split into the separate components, have to retrain everyone or that all their tools are built into version namely RIG and ANI files (see Figure 2), then all you’d need is an X, or that X software vendor is their friend. Or, they simply might animation exporter for the new tool. Then, the modelers and not take the time to reevaluate the pipeline between projects. animators can export independently of each other. This would If one of your vital tools is substandard, start working out a also mean that, if art package X were found to be less appropriate

20 DECEMBER 2005 | GAME DEVELOPER OTHER CORE PACKAGE CORE PACKAGE PACKAGE -MODELERS -ANIMATORS -MODELERS -ANIMATORS ART: PROJECT OFFSET ART: PROJECT RIG ANI RIG ANI EXPORTER EXPORTER EXPORTER EXPORTER

GAME GAME

FIGURE 2 An alternative export model.

for modeling at a later date, has, despite how usable and powerful it is. Therefore, try to pick replacing it would have little to no tools that are as open as possible. It’ll help you in the long term. effect on the animators. In-house art tools. All development processes suffer from Art data formats. Every tool has various problems, but if your problems are caused by an its own custom format for storing inefficient or defective third-party tool (or a task for which no tool data, along with a varying array yet exists), then the art tools team needs to create an in-house of more universally-supported tool. From my perspective as a technical art director, the data formats. Some software following steps are vital when considering in-house tool creation. companies are very protective First, be clear about what the tool will do. Typically, building a new and actively make it difficult to tool requires a staged development process, and therefore, the use other formats, which can lead technical art director should have separate “first implementation” to bad or broken exporters and and “ultimate aim” targets for the tool. The first implementation unnecessary data loss; it can defines the minimum functions to start implementation: rollout and even render files from newer shakedown. The ultimate aim is the goal for the long-term versions incompatible, locking you into a vicious cycle of development of the tool—when is it considered complete? The art needing to upgrade frequently and across the board. tools team will then decide where exactly in the pipeline the tool is Generally, the more ways a package can export data, the going to sit. You will also need to consider whether it will be better. With any package that has an SDK or a scripting host, integrated into existing software in the pipeline (script, plug-in) or such as XSI or Maya, a tools or technical artist can become a whole separate step in the pipe. usually extract the data from the software into any format There are advantages and disadvantages to implementing a needed. However, this can be quite difficult if the package tool directly into another piece of software either through doesn’t give the user access to the data needed. Take a look at scripting or the SDK, as explained in the sidebar (see Tool Photoshop. If it had initially been restricted to only handling Implementation, page 23). .PSD and .JPG files, it would never have become as popular as it However, there are of course different levels of software integration. For instance, you could integrate just the UI, but not the core system, thereby getting the advantages of being integrated DESIGN DEVELOPMENT STAGE without the dependency on the software. However, the UI would then need to be re- written if the tool is changed. 3RD PARTY LAYER IN-HOUSE LAYER The most powerful and robust tools need to sit on the same layer as other tools of similar 1ST DEGREE 2ND DEGREE 1ST DEGREE 2ND DEGREE function. Generally, keeping a tool abstracted TOOLS TOOLS TOOLS TOOLS from third-party packages allows you to better control the flow of data and provides more EFFECTS TEXTURE PHOTOSHOP XSI universal access to that new tool (see Figure 3). EDITOR PROCESSOR MODULAR STRUCTURE, MATERIAL ANIMATION ZBRUSH MAYA CENTRALIZED HUB EDITOR OPTIMIZATION Regardless of whether the tool is integrated or kept as an external application, every tool LIBRARY TEXTURE SILO MAX should be made to be as modular as possible, SYSTEM COMPRESSOR interconnecting through a central interface. When creating a tool, try to create it with the FIGURE 3 Contrasting different pipeline layers.

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mindset that it is an independent module that receives and tools, allow adequate time for shakedown. Don’t expect that the sends data. That way, if any tool needs to be refactored, then tool will be fully functional the first time it’s released to the art you only need to make sure the input and output plugs stay team. It will have bugs, it will need adjustments to the UI, and it intact, and the internals of the tool can be changed completely. will require additional features. If you skip the shakedown step However, this is not always possible when a change needs to and force a tool into full development too early, then you risk be made to how a tool receives and sends data. In this case, burning your users, frustrating them with obvious problems to you’d also need to rework the plugs. This shouldn’t be a problem the point that they become reluctant to provide feedback on if you’re careful when planning your data formats. The genuine unknown issues. centralized hub will allow the user to edit and tweak many Update mechanisms. Many companies overlook the inclusion different aspects of the asset—from animation, materials, and of an update mechanism for the tools they create. But it’s a visual effects, to sound queues—in one suite of tools. good idea to create one automatic mechanism for all art tools so A centralized hub doesn’t mean, however, that a module can that everything becomes synchronized, thereby providing only exist in connection with this hub. As stated previously, everyone on the team with the latest versions of the tools at the each module needs to be independent so it can be integrated same time. If you do this and allow the update mechanism itself into another tool (such as a third-party application), or so that it to become part of the art pipeline, you should also consider is able to run completely without direct user input, which makes allocating resources to develop and support it. it automated and thus a viable component in any kind of batch processor system. A modular system, if done right, also cuts DATA FLOW FOR NEXT-GEN ASSETS down on code duplication by allowing you to easily share tools, Tracking. In working with next-generation assets, you need a functions, and processors with all applications in your pipeline. system that lets you monitor the progress of an asset through OFFSET ART: PROJECT to completion, as well as link to the feedback given during INTERFACE AND development. This system should also keep a list of links to PROTOTYPE DEVELOPMENT reference and source material, such as high-resolution meshes, As a designer of a tool, it’s a good idea to work with the artists concept artwork, books, and web sites—a bibliography for the who are going to be using the tool in order to create a prototype assets. The bibliography could be built into your asset library of the interface and workflow. The artists should also take system or attached to a customized bug tracker package. ownership of how the tool works, judging how intuitive it is to Processing. At different stages in the pipeline, there will be use. On their own, tools programmers might create a tool that’s tools that change (or process) the input data before passing it efficient and functional, but also completely unusable for an onto the next step such as an animation optimizer. This is artist. A tool’s interface can be created by a technical artist in a typically some kind of refining or formatting step, which often relatively simple visual coding package, such as C# or even results in a redundant asset. HTML, where the workflow can be shelled out and used as a Redundancy. When an asset gets processed in the pipeline, visual template for the programmer to create the actual tool. the asset typically becomes redundant. The process of Data formats. Make sure you work out where data is going to collapsing layers of a .PSD in Photoshop is a good example. The and from the tool first and then decide how this data is going to .PSD file is the source art and the collapsed image is a be represented in the file. The format should be extendable to processed version. You want to make sure that the pipeline allow for additions to the format in the future, and stable. If data doesn’t up redundant post-processed data with source data. is missing or incorrect, the importers and exporters should be The best way to achieve this is to use two separate formats for able to safely skip the problematic chunk and keep going. In all development stages of the pipeline, if any data is missing, the tools need to fail tool implementation gracefully. An engine that crashes without detailed, informative feedback because of a missing secondary resource (textures, sound There are advantages and disadvantages to implementing a tool directly into another piece files, or sub nodes, for example) is going to of software, whether through scripting or the SDK. seriously slow down early development. The ADVANTAGES DISADVANTAGES feedback should give a clear indication of what 1. Fast tool development time. You have access to the 1. Software dependent. If there is a need to upgrade or resource caused the problem, such as the tools’ existing systems—animation, mesh, painting, change the underlying package, then the art tools team descriptive “model ‘aModel’ resource and UI controls. This means, as a tools developer, you will have to consider refactoring or rewriting the tool. ‘aTexture.tga’ failed to load!” and not something can just plug into these systems and create a functional 2. Limited by the package. The SDK or the scripting host generic like, “missing resource!” tool very quickly. might not expose enough of the information needed or It’s also a good idea to unify all your tools to 2. Fast communication turnaround. If the artists on the may become slow because of inefficient underlying support one proprietary format so that you project are already working with this tool, there doesn’t code that can’t be changed. only need to manage one set of file writers and need to be any exporting or importing to slow them down. 3. Limited accessibility for external tools. When readers. Also, try to keep the data as open as 3. One package. The artists only have to worry about integrating a tool into another piece of software, possible. ASCII is great for this but can be very using a single piece of software. If the tool’s interface you’re restricted by the accessibility that software slow for reading and writing. Using a binary is external to the main package, then the artists allows. If the tool is external you have complete format is fine, as long as there are very good might need to switch to that tool, which could control to access that tool without having to editors and inspectors for the format. potentially slow them down. establish a connection to a host program. Shakedown. When developing proprietary

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02%3%.4%$"9 ART PIPELINE PHILOSOPHIES FOR THE NEXT GENERATION New from The MIT Press each type, such as .PSD (layered and high Departmental communication. Notification resolution) and filetype X (flattened, down systems to tell other departments that an asset sampled and compressed). If you decide to use is ready and the ability to get untested assets one common format, then you’ll need to make from the art department are mandatory features sure the processed files are kept away from the of a good art pipeline. Sometimes, departments Half-Real location of the source files. In a manual process, such as sound and design don’t need the final Video Games the file-saving location is at the discretion of the gold stamped asset from the art department but between Real artists. However, if you support the source file are happy with something just recently exported Rules and type in your art tools and do the processing step from an artist. Also, a department will often Fictional Worlds automatically behind the scenes, then the artist request the most recent version of an asset, but Jesper Juul won’t ever get the source and processed files cannot wait the hours or days it will take for it to “Jesper Juul gives us an insightful mixed together. All they work with and see are filter through to the latest build. This component analysis of the interplay of rules and the source files; the rest of the pipeline deals also links into the “feedback/critique” and the fiction. Unlike so much of the with only the processed files. “asset tracking” components of the pipeline. academic literature on gaming, it’s Submission. When an asset is submitted into Connecting companies (outsourced). If you both concise and readable. Strongly any queue for testing or processing, you’ll need a plan to utilize external studios or freelancers recommended.” — Ernest W. Adams, system to manage the status of this submission during development, you need to shape the freelance game designer and any failure in the submission step. The pipeline to support the tracking and flow of 240 pp., 137 illus. $35 system should send accurate and informative assets to and from those studios. Keep your feedback to the artist or developer—via email or outsourced studios in mind too when designing lodged bug—as to why the asset failed the any proprietary tools and systems. Typically, if submission, and update the asset’s status in the you treat each artist in your development team The task tracker system. The artist will know what as though they are external (thereby treating the needs to be fixed and will be aware that the local network like an external network), when Game submitted asset is problematic, without having you come to synchronizing tools with artists to wait for someone to scream at them for outside of your studio, you will already have the Design submitting a busted asset into the pipeline. infrastructure to support it. Asset validity. There should also be a system Facilitating feedback and critiques. Finally, all Reader created to provide instant feedback on the pipelines need to incorporate a system to A Rules of Play validity of an asset. This sanity check acts like a manage the feedback and bug-tracking of an Anthology firewall to block assets that are invalid before asset. You should keep track of exactly why edited by Katie Salen and Eric they get into the art pipeline and tie up assets failed certain steps in the pipeline and Zimmerman resources. This system is also very helpful for required reworking. If you plan to outsource any the artists to understand why their asset is part of development, then the feedback and Classic and cutting-edge writings on games, spanning nearly 50 years of invalid from a technical standpoint by providing critiquing system needs to be able to provide game analysis and criticism, by game instant feedback. The more detailed feedback the limited access to users outside the studio. It also designers, game journalists, game system provides, the more helpful it will be to needs methods through which the external fans, folklorists, sociologists, and educating the artists about the technical studio can request more detailed information on media theorists. constraints of the game. why the asset failed, or more general 500 pp., 25 illus. $45 The sanity check system should never development questions about the asset. automatically make changes to an asset without Typically, this component of the pipeline is the artist’s specific authorization. The system managed by a bug- or task-tracker, which is a should behave like an impassive adjudicator of good fit. Also available: the assets, reporting problems to another tool that can attempt to make a repair, if authorized. THE POLISHED PIPE Rules Any system that automatically makes changes The best thing any technical art director of a to an asset will confuse and frustrate artists next-generation title—and for anyone working of Play because they don’t know why the changes are with the assets that the art team provides—can Game Design being made. do for his or her art team is implement a well Fundamentals thought out pipeline. The goal of any pipeline is Katie Salen FLOW OF COMMUNICATION to enable and facilitate, not hinder, art and Eric Zimmerman Connecting artists. There should be a system production. Artists will appreciate all the “This is the most impressive book on and structure that allows artists to communicate measures put into the pipeline’s design that help game design I’ve ever seen. Broad in with each other easily, such as the Visor tool in them communicate with one another, track the scope yet rich in detail, Rules of Play Maya or Alienbrain. This system should include progress and stability of assets, and update their sets a new standard for game an infrastructure to share assets, resources, tools as necessary. analysis.” — Will Wright, Game techniques, and references. Typically, a library The more structured and smooth the pipeline, Designer of Sim City and The Sims system, a really big database with a set of tools the quicker and more efficiently your art team 650 pp., 225 illus. $49.95 to navigate and filter entries, works best. will work and iterate, increasing the level of Facilitating communication among artists is a quality of the work the team produces. * critical component when creating a pipeline for To order call 800-405-1619. larger art teams. http://mitpress.mit.edu

WWW.GDMAG.COM 25 DESIGN TORU IWATANI’S RHAPSODY IN YELLOW

THE ORIGINAL CONCEPT FOR PAC-MAN WAS THE RESULT OF PAC-MAN my desire to create a game that everyone could enjoy. With a female target audience in mind, I wanted to create a game based on eating (which is why the name comes from the Japanese onomatopoeic word pakupaku, the sound one makes when opening and closing one’s mouth while eating). When I was thinking about this, I was at a restaurant and noticed a pizza with a slice missing. I thought, “This is it!” This was the inspiration, and it became the shape and general concept for PAC-MAN. Around this time, game amusement centers were saturated with games where killing aliens was the main objective. Lots of these games had great concepts that were fun to play, but I felt that none of these were equally accessible to women. Games at the time lacked variety—these types of games had a rather brutal image and a largely male audience. I wanted to liven up the game amusement centers by bringing female gamers, as well as couples, to the scene. I was inspired by several of Atari’s games in this regard; they had some innovative concepts which taught me a lot about design. I had no doubt that the concept for PAC-MAN would appeal to women, even though I didn’t spend a lot of time seeking their opinion on the ideas. After all, even in the fashion and jewelry design industry, you have male designers creating items for women. I was confident that my creation was something that women would find appealing, so I just used my own intuition. When drafting the original proposal for the game, I kept PAC-MAN to myself. When I finally showed the proposal to my and colleagues, the response I got wasn’t all that

TORU IWATANI joined Namco in 1977 and took charge of the game and visual design of 1980’s industry-defining title PAC-MAN. Since then, he produced more than 50 arcade and video games, such as POINT BLANK, , and . Send feedback about this article to [email protected].

26 DECEMBER 2005 | GAME DEVELOPER GAME DATA

DEVELOPER Namco ING PUBLISHER Namco (Japan) Midway (U.S.)

PLATFORM Arcade

RELEASE DATE April 3, 1980 (Japan)

NUMBER OF DEVELOPERS 5

DEVELOPMENT TIME 15 months

ARCADE HARDWARE Z80 main CPU, Custom 3 channel 4-bit WSG sound chip

ILLUSTRATION BY DEREK YU WWW.GDMAG.COM 27 DESIGNING PAC-MAN

overwhelming. I had already created three other games prior to easier for players to understand. For PAC-MAN, so I was already known to be a game designer among example, the president of the my colleagues. As a result, most people were able to look company requested that we change beyond this different kind of concept and let me explore the the color of all the to red, even game’s possibilities. though they all had independent AI routines and personalities. WHAT WENT RIGHT Fortunately, the game explained LOW-PRESSURE ENVIRONMENT. When we were making itself when people saw or played it, 1 PAC-MAN 25 years ago, we didn’t have the same budget so our concerns about confusing constraints or deadlines that most developers encounter today. players were largely unfounded. Without this kind of external pressure, we were able to create something we were all very satisfied with in an environment ARTIFICIAL INTELLIGENCE. The that supported creation. Even so, we weren’t able to include 2 one area of the game I would absolutely everything we wanted, even in 1980! have liked to refine more if given the time is its artificial intelligence. I am SMALL TEAM VALUES. Unlike the large-scale projects most pleased with the AI that exists in the 2 developers work on today, our team consisted of a mere game, but I would have liked to five members, so it was easy to control workflow. implement a system where the Communication problems and team difficulty of the AI is automatically chemistry were not an issue, since we controlled. I anticipated that having a were all so close. In order to effectively set difficulty curve would not be manage a large project, everyone on enough to cover the entire range of the team needs to think somewhat people that would play it. We wanted along the same lines—to work toward a to have a system in which the common goal. If you leave out the computer could tell whether a communication aspect, your team will beginner or an expert player is at the fall apart. The process of making games controls, based on the time it took the player to make a mistake. today is much more complicated than it A record of these mistakes could be kept on the system, so it was in the PAC-MAN days, so we were could automatically adjust the level of the AI in real time. We just able to thrive with a very lean didn’t have enough time in our 15 month production schedule to development team. implement that system. We also considered a few additional game features, such as gates that would trap the ghosts, but SIMPLE DESIGN. We succeeded in these also had to be sacrificed in order for us to finish on time. 3 making the game simple. When we were trying to bring out the exciting and TECHNICAL DIFFICULTIES. For the most part, we didn’t run fun elements in the game, we mostly 3 into too many technical problems during development. The used a trial-and-error approach. When developers on our team were all quite good, and as mentioned, working on the design though, we had to we chose to keep the game simple in order to avoid potential remind ourselves not to sacrifice the technological issues. I think ultimately, we were able to create a game’s simplicity, since it was the one idea we had agreed simple game solely because there were techniques we didn’t upon when we began work. We wanted to make a game that know about, through which we actually could have realized a would appeal to all levels of players and all genders, and included more complex design. In that sense, it was better that we didn’t settings that would adjust the overall difficulty over time, such as know about them! The one technical problem we did encounter attack waves and run delay zones for the ghosts. We put a great was with the animation. We ran into a few issues animating the deal of effort into including these settings so it would be non-game scenes, but managed to still create something challenging for a wide range of players. It took a significant compelling with a lot of personality. amount of time for us to playtest and to fine tune the various We had always wanted to create an factors to reach the right level of balance. animation style that people could chuckle at, since we wanted it to WHAT WENT WRONG appeal to multiple audiences. We HARD SELL. Since so many of the popular games at the knew that in order for the game to 1 time were similar, we had some trouble explaining the become a successful franchise, we basic game concept to both our colleagues at Namco and the needed a main character that was general public. It was especially difficult for us to explain the positive and upbeat, and would make concept of how PAC-MAN, who spends most of his time avoiding players smile while they played. The ghosts, is able to turn the tables and chase the ghosts after eating a power cookie. Internally, we received a lot of suggestions on how we could improve the game and make it PAC-MAN’s original Japanese name was PUCK-MAN.

28 DECEMBER 2005 | GAME DEVELOPER PAC TO THE FUTURE I’m delighted that PAC-MAN has gained such popularity worldwide. We knew we had a high quality product after we finished the game when we realized there was nothing that could possibly be added or removed to make it better, aside from the minor issues I mentioned. Even still, we were uncertain as to how successful the game would be overall. We had no idea that it would become such a big hit around the world. Even after its success in Japan, we didn’t anticipate the overwhelming reaction from overseas. Even young players today know PAC-MAN due to its consistent presence on consoles generation after generation, but most of all, I have the simple game design and adorable characteristics of PAC- MAN himself to thank for this success. PAC-MANIA brought the PAC-MAN As the developer of PAC-MAN, I was able to get to franchise to isometric 3D. know a lot of people that I otherwise would not have had the opportunity to meet. These people are all very important to me and I feel fortunate to have worked on such a special game. All of us who worked on PAC-MAN learned some important lessons that can apply to any game developer. PAC-MAN creator Toru Iwatani and friends. First, it is important to make a game that your target player will enjoy, and not just a game that you would like to play. In that respect, it’s same goes for the ghosts—the game needed an enemy, but we important to have a service-oriented mindset. Additionally, wanted something with a cute design. Fortunately, we were able developers should believe in themselves and strive for their to work around this one technical constraint with some goals, knowing that they can succeed at anything with bravery, excellent programmers to make PAC-MAN come alive. energy, and a sense of mission. EDITOR POSTMORTEM: PAC-MAN FRANCHISE THOUGH TORU IWATANI'S IMPRESSIONS OF HIS WORK CREATING game character that was embraced by millions, even the original Pac-Man game are vital and fascinating, they transcending video game media in his appeal. Why such a obviously don’t tell the whole story. Twenty-five years and breakthrough? Well, prior to Pac’s genesis, early video games countless titles later, Namco continues to grow and expand the often didn't even have characters at all—rather, the protagonists SIMON CARLESS PAC-MAN franchise. But clearly, just as there were ups and downs were spaceships or paddles. Even those that did include is the editor of Game in creating the original , there have been similar characters were largely disparate from the illustrations and Developer. Reach him at pluses and minuses in the creation and nurturing of PAC-MAN's designs upon which they were based. legacy. Game Developer decided to take a close look at a quarter But PAC-MAN’s simple, cute, yet compelling character design [email protected]. century of PAC-MAN games and come up with its own objective allowed him to be easily identified, both in pixilated digital and list of What Went Right and What Went Wrong in terms of the little stylized drawn form. As a result of the smash success of the yellow guy's growth. These, then, are our independent first PAC-MAN game, Pac's likeness made its way to everything impressions of how the franchise has fared, and what Namco from lunchboxes to Saturday morning , and still has to work on before PAC-MAN inevitably takes over the pervaded early ’80s culture far more than anyone could world some time later this century. reasonably have expected. The crowning example of this is probably Buckner & Garcia’s number eight hit in the U.S. charts, WHAT WENT RIGHT “Pac-Man Fever”—novelty songs are one of the best signs that PAC-MAN: THE FIRST GAMING ICON? PAC-MAN, many would you have a genuine phenomenon on your hands. 1 argue, was the first ever gaming icon—a recognizable video But since then, cultural awareness of PAC-MAN hasn't really let

WWW.GDMAG.COM 29 DESIGNING PAC-MAN

of PAC-MAN's appeal is and base the gameplay on those points. In particular, Namco's recent collaboration with Nintendo's Shigeru Miyamoto and excursions onto the Nintendo DS system have been fruitful in terms of serving up fresh ideas for our little yellow friend. Specifically, Miyamoto's experiments for PAC-MAN VERSUS, which pits a PAC-MAN-controlling player on the GameCube against players controlling ghosts on multiple Game Boy Advances, doesn’t change the nature of the game’s design much on paper. But what it does change is the way people play and interact with the game, which makes it feel fresh and fun. On a similar note, PAC-PIX for the Nintendo DS starts with a charming set up—the ability to draw your own PAC-MAN with the DS's stylus and then control which way it moves onscreen to gobble up the ghosts, a perfect idea for a franchise evolution. In similar form, PAC 'N ROLL for the DS is another smart extension— the innovation of control by rolling PAC-MAN with a stylus is the most compelling part of the experience and helps remind us of the viscerally direct control of the arcade original.

Namco’s forthcoming WHAT WENT WRONG PAC-MAN WORLD 3. up, showing that recognition of and love for the little yellow puck A DIFFICULT TRANSITION TO 3D. PAC-MAN’s transition into isn't just a fad. Aphex Twin, Weird Al Yankovic, and Argentinean 1 the 3D world, and in particular the world of 3D gameplay, concept rock group Patricio Rey y Sus Redonditos de Ricota have has not been an easy one. While it has been established that also recorded PAC-MAN-related musical numbers. And as recently departing from the original PAC-MAN design can yield good as this year, Namco reached a settlement with hiphop star Lil' Flip results, the PAC-MAN WORLD games, while enjoyable on a basic over his sampling of PAC-MAN sound effects for his hit “Game level and relatively commercially successful, ultimately place Over.” Also in the recent past, PAC-MAN music and gameplay PAC-MAN in a 3D platforming space alongside the likes of MARIO themes were used for a subtle North American Volkswagen 64, RATCHET & CLANK,and . commercial in which the car picked up pellets and fruit, ending on This, needless to say, is a difficult area to compete in, and PAC-MAN's classic game over sound. The fact that the game itself since PAC-MAN traditionally operates in a restrictive 2D maze was not specifically mentioned, but Volkswagen still felt confident medium (as opposed to, say, Mario, whose 3D adventures in riffing off the sounds and themes surrounding PAC-MAN shows would be much easier to envision even if MARIO 64 did not exist), the true profile of the franchise within contemporary culture. it’s not as simple to place him in a freeform three-dimensional world, and so his 3D excursions, like those of other early arcade SEQUEL-BUILDING BY ITERATION. For a time, the PAC-MAN icons, feel a tad limited. As a result, the 3D PAC-MAN games have 2 series evolved not in over-ambitious leaps, but in baby steps, lacked much of the critical adoration given to competing titles refining the already proven model of the original, whose chase- and don't tend to register high on the list of must-play games for and-be-chased 2D gameplay was a major innovation that spawned hardcore gamers, although their gameplay ends up working out any number of clone titles by rival arcade game creators. Namco's well for the casual mainstream market. careful nurturing of the series is evident in the love many players still have for some of the earlier PAC-MAN sequels. This is LACK OF DIRECT CREATOR INVOLVEMENT. PAC-MAN’s much- particularly true for MS. PAC-MAN, the first, and most successful 2 loved creator Toru Iwatani was indisputably the visionary iteration of this type, and still one of the most beloved titles. behind the first PAC-MAN title, and continues to work at Namco 25 In fact, the game was not made by Namco at all, but by the years later. He was at the helm of Namco’s games division all those small American firm General Computer Corporation as an add-on years ago, designing the company’s first-ever arcade title GEE BEE to the original PAC-MAN arcade board. But it's to Namco's (and and two sequels, before making PAC-MAN. After the completion of U.S. licensee Midway's) credit that they appreciated the one further title, , he stepped out of the development improved gameplay and even more female-friendly nature of sphere and into Namco’s administration. the pseudo-sequel and brought it within the fold as an official Though Iwatani continues to contribute to the company’s overall part of the PAC-MAN franchise. This iteration-like sequel model direction and creative think-tank, he has not directly designed a worked well for a time, and there were some fun twists which PAC-MAN game since the original. When asked at Game Developers still preserved the addictive original gameplay, including the Conference 2004 what one element he would add to the original 1987 isometric PAC-MANIA and the enjoyable extension MS. PAC- game, he said, essentially, that he would add nothing. The game MAN MAZE MADNESS (2000), each with its own charms achieved was so simple that adding anything extra to it would be too much, through working off the original's innovations. and taking anything away would break the gameplay. This may help explain both why Iwatani has not worked INTELLIGENT EXPANSION OF GAMEPLAY. While PAC-MAN has directly on the series since its inception, and why it has 3 sometimes had trouble expanding past its 2D maze-based sometimes been difficult to transition the game into the next roots, some franchise extensions have worked particularly well, generation. Although Namco has done a fine job of continuing especially when they consider carefully what the essential nature CONTINUED ON PG 47

30 DECEMBER 2005 | GAME DEVELOPER 3&8"3%*/(*//07"5*0/*/*/%&1&/%&/5(".&4

5)&5)"//6"- */%&1&/%&/5 (".&4'&45*7"- ."3$)  4"/+04& $" 888*('$0.

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>> BUSINESS LEVEL NAVIGATING JAPAN

>> IF YOU’RE IN THE VIDEO GAME INDUSTRY, DEALING WITH JAPAN is right up there on the list of inevitabilities with death and taxes. Many industry veterans, whether in development, business, or as employees of Japanese companies, come away from their first exposure dazed and confused. This does not have to happen. Let me share a few myths and offer some related advice.

MYTH AND METHOD Myth: The Japanese are one people, and Japan is special and different. These notions got rolling during the Meiji period (1868–1912), when the Japanese government made pounding them into the nation’s head a priority. Japan is a diverse country full of different groups, cliques, verbal. My advice: Create a contract where every line is meaningful, review and values. The who, where, and why of those differences are far more important the contract carefully with the other party, and when everyone feels to understanding a situation than the mere fact of Japanese-ness. As for Japan comfortable, sign. No paper will protect you from everything, but a being special and different, yes, it is—so is every nation. That doesn’t make it meaningful and well reviewed contract is your best shot at staying on the unique in any larger sense. Common sense goes as far in Japan as anywhere else. same page as your partners.

Myth: Yes means maybe, maybe means no, no means never. Myths: Business is done in English in Japan. Doing business in Japan in This comes from a mixture of bad translation and consensus-based decision English is a problem. making. Japanese is not an ounce less direct than English. For example, “I’ll Yes and no to both. English conversation is certainly a specialized skill in think about it” (“kangaeteokimasu”) is simply a polite idiom which actually Japan, a country which in 2000 was proud to finally do better than means “no.” The term, used in context, is not subtle or ambiguous but could Afghanistan, Cambodia, and Laos, and finish 18th out of 21 Asian countries in throw you for a loop if translated literally. If you use a translator, use a good the Test of English as a Foreign Language. But it’s hard to go through junior one. And if you are not sure what someone is saying or sense they aren’t high, high school, and college without at least six years of English instruction. following you, ask questions to confirm understanding. The disconnect probably comes from a system that teaches English to be The consensus-based decision aspect is a little more complex. One fairly passively read, maybe written, but rarely spoken or heard. consistent feature of Japanese businesses, especially older ones, is a I suggest that if you need to communicate but don’t share a spoken disbursement of responsibility. The person you are talking to may want to say language, try writing—just be sure to write clearly and concisely. yes, but does not alone have the authority to commit the organization and may be embarrassed by this, or may assume you understand his position. Myth: A production pathway is a production pathway, and a milestone is a milestone. The solution is, if someone promises they’ll do something, confirm key points, Both the U.S. and Europe have large export software industries producing who, what, and when. It’s not rude, and it will prevent much heart-ache later. applications in just about every field. Japan’s only major software export is video games. The relative lack of a surrounding software industry has allowed Myth: Japanese business works without lawyers. Japanese game production to develop somewhat distinct practices. For example, To quote Mark Twain: Lies, damn lies and statistics. Yes, there are very few even now, basic design often happens during production (put something on the attorneys in Japan, and a bar pass rate of about three percent keeps it that screen, then figure it out), milestone definitions differ (Japanese beta is typically way, at least for now. However, most companies have a legal section filled U.S. alpha) and schedules are loose, even by our industry’s standards. with non-attorneys, many with undergraduate law degrees, who take on My advice: Work with the reality. You want your project to use U.S. exactly the role filled by lawyers in the U.S. or Europe. For all practical milestones? Want lots of pre-production design? Define the milestones purposes, you’ll be dealing with lawyers. Just remember that actual carefully, educate and lead the team, and most will be happy to oblige. Got a knowledge of the law in these legal departments varies widely. good team you really trust to work without supervision? That’s fine, but understand from the start the level of documentation you will get. Most Myth: Contracts don’t matter in Japan. Its all about oral promises. importantly, get good people and teams with strong track records. No Again, it depends on the person and relationship. There are certainly people amount of communication or awareness will get good work from a weak who, when handed 20 pages in a language they don’t read and asked to sign, team, but a strong team will usually find a way to work under the most “for form,” will. There are others who don’t keep their promises, written or challenging circumstances.

WHITE RABBIT Dealing with Japan, whether it’s a brief brush or a lifetime affair, does not have BILL SWARTZ is head woof and managing director at Mastiff Games. to be the Alice-in-Wonderland experience many in the industry report. Just do Previously, he was managing director and senior vice president of Activision your job well, use the common sense and the good practices you would Japan for 12 years. Email him at [email protected]. anywhere else, stay flexible, and enjoy the ride. *

32 DECEMBER 2005 | GAME DEVELOPER MICK WEST

>> THE INNER PRODUCT PRACTICAL HASH IDS Using a 32-bit CRC hash as a unique identifier for game resources

GAME ASSETS FREQUENTLY NEED TO BE the textures it needs) or as some structure around them. referenced indirectly by the engine, by intentional reference on the part of the And finally, having a large number of code, and by scripts. The simplest way to designer (“play the Man_jump_01a strings visible in the data might be do this is to use the name of the object. animation” or “blow up building something of a security concern. Plot However, this method is very inefficient City04_Bank01,” for example). spoilers might be deduced from the and otherwise problematic. These references need to be resolved names of assets (“Hey, what’s this Let’s re-examine the practice of using a at run time, as this gives you a much ‘MDL_SPIDERWOMAN’? Sweet!”). And if 32-bit hash of the name as a unique ID more dynamic development environment you want to stop people from hacking and explore some ways of integrating than statically linking everything left-over content in your game (like the this into your code and tool pipeline. together at compile time. Assets can be infamous Hot Coffee mod in GRAND THEFT changed independently and re-loaded. AUTO: SAN ANDREAS), then you’re better off PREMATURE OPTIMIZATION? Small sections of the game data can be not giving them a load of clues. This article is about an optimization. recompiled quickly without having to Optimizations are typically done at the recompile everything. (See Sean Barrett’s USE THE HASH VALUE end of a project. The Art of Computer “Late Binding Data,” February 2005.) Instead of using the string itself, one Programming author Donald Knuth The assets will nearly always have a approach is to use a hash value of the famously quotes British knight and name. Textures have the file name of the string. A hash value is a number computer scientist Tony Hoare saying, original .PSD, .PNG, or .TIFF. Scenes calculated by mangling the bits of the “premature optimization is the root of all exported from 3D Studio Max or a similar string together using some algorithm to evil,” but prefaces this with an important package will have a name associated produce a fixed number of bits. There are caveat, “about 97 percent of the time.” with each object in the scene. various hash algorithms that produce The 32-bit hash optimization is a case So the simplest way to reference an various sized outputs. Algorithms such that belongs among that three percent asset is to just use the string containing as SHA, MD5, or RIPEMD-160 produce (or more, opinions vary) best done early. the name. This has a great advantage in hash values of 128 or 160 bits in length It’s such a fundamental change that it that it’s very straightforward. But, there (16–20 bytes) and so don’t really help us affects many aspects of the are several disadvantages, too. very much. code and data structures. It’s not an The string hash algorithm that best fits optimization you do at the end to speed PROBLEMS WITH STRINGS our needs here is CRC-32, which takes a things up, but rather one you do at the First, using the string that contains the string and gives you a 32-bit value. The start because it enables you to do more name takes up a surprising amount of algorithm is specifically designed so that right from the early stages of development. memory. Asset names are often quite small differences in a string produce long, especially if paths are included. If very large differences in the output. This THE NEED FOR ASSET IDS every mesh has to reference every is very important, since you don’t want A game contains a very large number of texture it uses by name, then that can string such as “ANIM_10002” and assets, including meshes, textures, add up to an unnecessarily large amount “ANIM_20001” to result in the same hash , skeletons, scripts, sounds, of memory. value (as they would if you did a effects, triggers, events, NPCs, and Second, comparing two strings takes a traditional checksum where you added or various other miscellaneous resources, lot longer than comparing two numbers, XORed the bytes or words together). objects, and entities. so this solution is slow. Quite often asset Using the hash in place of the string These assets all need some way of names will have long common prefixes, immediately removes the problems that being referenced, either as part of some meaning you get a lot of false partial I’ve already mentioned. Comparisons internal linkage (a mesh will reference positives if you are looking up the string in are now very fast, since you only need a table. Plus the length of the string means to compare two 32-bit values. Memory you need to perform a large number of accesses are reduced to a bare memory accesses, which can be very slow minimum. Data structures can now have on architectures with expensive data a nice, neat, single 32-bit word to store MICK WEST was a co-founder of Entertainment. reads, such as the PlayStation 2. the reference rather than a variable He's been in the game industry for 17 years and currently Third, it does not fit into data structures length, memory-hogging string. works as a technical consultant. Email him at nicely. The strings are of random length, Using a hash has other benefits. Since [email protected]. making it difficult to form neat data it’s a hash value, you can use it as a very

WWW.GDMAG.COM 33 THE INNER PRODUCT

LISTING 1 fast index into a presented with this idea is “what if hacked-in solution, but it’s really not hash table simply there’s a collision?” going to happen very often. You’ll by lopping off A collision is when two strings have the perhaps have to change a string once a // crc_hashes.h however many bits same hash value. Since with a 32-bit month towards the end of the project, and #ifndef __CRC_HASHES_H__ you need—for an hash value there are only about 4 billion not at all during the first half of the #define __CRC_HASHES_H__ 8K table, just use possible hashes, if you throw enough project, when the number of unique the bottom 12 bits. strings in, you will eventually find two strings is still very low. #define CRC_MDL_MECH01_LARGE 0x4854987A Or even easier, you that have the same hash value. #define CRC_MDL_MECH02_LARGE 0x374FAAD2 can pick 12 bits out The probability that any two strings will USING HASHES IN CODE #define CRC_ANM_FOX_JUMP 0xF003C8A8 of the middle of the have the same hash value is The other reason that people don’t use // add additional crcs here ... word to match the 1:4,294,967,296 (about 1 in 4 billion). hashes is that they can’t read them. A #endif power of 2 With a larger number of strings, the simple implementation of this system alignment that your probability rises. At about 65,000 strings would involve someone running a CRC-32 A header file containing all the hash values. table is on (so, if there is an approximately even chance program on the string, and then manually your hash table that there will be a collision—at least one typing in the checksum into the code index is 8 bytes per entry, then just mask pair of distinct strings will have the same where the asset was being referenced. off bits 14 through 3, and you’ve got the CRC-32 hash value. Instead of typing offset into your hash table index). For a practical example, I did a check for “LoadAsset(“MDL_ENEMY_GUNSHIP”)” , Another useful technique applies when collisions on 89,000 unique strings you type LoadAsset(0x23C55C3A). Nasty. game assets need to have pointers to culled from some random dump of a Ideally the user (in this case the each other. By using a 32-bit hash you dictionary, and there was only one programmer or designer) should never can write out a data structure identical to collision. The strings “bellys” and have to see these hexadecimal strings. that used in the game, but with the hash “cochleariform” both have the same The entire process should be automated values in the memory location usually CRC32 (0x5D1F90F6). Later when to make it both easier to read and less occupied by the pointers. Then when the checking a list of 216,000 strings, I only prone to errors. (I’ve cut and pasted the asset needs to be loaded and bound into got seven collisions. wrong hash value a few times in the past.) the game, you simply replace the hashes Remember there is a big difference When dealing with compiled data such with the appropriate pointers. This between finding a collision somewhere in as meshes, animations, textures, and so removes the need for building data a large set of strings, and the possibility on, this is relatively straightforward. You structures from parsed data, and can of a new string causing a collision. If just compile the strings into hashes greatly speed up the loading process, you’ve already got 89,000 strings with when you compile the data into whatever while still giving you the flexibility of late- no collisions, and you add one more, the engine specific format you need. binding data. chances that there will now be a collision When you need to reference an asset are 89001/232 or about 1 in 50,000. from C/C++ code, the story is somewhat So depending on how many IDs you different. Here are four ways of doing this, FEAR OF COLLISIONS actually use, you are going to have to in the order I first considered using them. So why don’t people use hashes for IDs? deal with collisions very rarely. 1. Just use the hash values directly. Well the first thing people think when Not a very good option. You’ll type them DETECTING AND in wrong, and there’s no easy way of HANDLING COLLISIONS figuring out if it’s the right hash value. LISTING 2 But collisions will occur, and at some You can improve things slightly by point you will need to detect collisions, adding a comment next to the hash and then deal with them. value, but it’s still a messy and fragile inline uint32 check_hash(uint32 id, const char *name) To detect collisions, you need to keep method. { an automated central database of all 2. Use #defines. In this system, you assert(id == crc32(name)); the strings and hashes that are used. add all your strings to a header file (say return id; This database is solely used during crc_hashes.h), with a line for each } development, so it doesn’t require any possible string (see Listing 1). Then in overhead in the actual game. It need the code you just use the CRC_ symbols. #ifdef DEBUG not be complex. Just a simple list will This initially seems like a reasonable #define HASHCHECK(id, name) check_hash(id, name) usually suffice, and you don’t need to option, but suffers from the huge #else worry about removing unused entries— downside that you have to include #define HASHCHECK(id, name) id just purge it whenever you do a full crc_hashes.h in every single file that #endif rebuild. uses a hash value. This effectively When you find a collision, the simplest means that whenever you add a new way to deal with it is to change the string. hash, you need to re-compile a A macro for checking your hashes at run time in debug mode. Now I know that this sounds like a rather significant portion of the game.

34 DECEMBER 2005 | GAME DEVELOPER RESOURCES

A description of the CRC-32 algorithm http://en.wikipedia.org/wiki/CRC32

A practical and public domain implementations of CRC32 http://www.csbruce.com/~csbruce/software/crc32.c

3. Use a macro that checks the hash value, but is compiled out in “ship” mode. (See Listing 2, page 34.) With this you be right. You can hack the macro so it fine, as the value is automatically inserted enter in both the string and the hash only checks once, but you’ve either got to and there is no use of macros. However value directly into the code (see the add another check, or write some self- now the fallback method of also defining example in Listing 3). modifying code. the HASH() function will not work for This ensures your hash values match 4. Use a custom preprocessor. With this switch statements. your strings. In ship mode it will compile approach everything is automated for away to leave just the hash value itself. you, you simply use the string itself and OTHER CONSIDERATIONS This works well enough, and it’s relatively tag it by placing it as a parameter, a By default, CRC-32 is case sensitive. For straightforward to set up a hot key your pseudo-function, called HASH(). You then this use though, it is probably a good editor to automatically generate the need to introduce a custom build step to idea to make it case insensitive. This is hash, and the call to HASH(), and insert your build process that scans your source especially true if you are going to use them in the code, so you don’t ever have for calls to HASH(), and replaces them hashes in some kind of script to deal with the hash value directly. with the correct hash value. (See Listing environment used by designers. Since However there are still problems. First, 3 for a comparison of all these methods.) you never really want to have you’ve still got the hash value there in the The great benefit of this system is that MDL_BigJump01 mean something code, leaving you open to cut-and-paste the programmer never has to see (or different from MDL_Bigjump01, then it problems. Second, the check is at run- type) another hex string in order to makes everyone’s life easier. Making time, so if it’s an obscure bit of code reference something in the game. Once your CRC routine case insensitive will (maybe it only runs at the end of the the system is set up, the programmer also not make it any slower if you use a game), then the check might not fire until can continue to refer to assets by name, table-based method (just duplicate the a few weeks after you add it. Third, it’s and the optimization of using hash upper case entries with the lower case slow in debug mode since you have to values will take place under the hood. The entries). generate a checksum for each string. disadvantage is that you have to add a If you are using hashes to uniquely As I wrote in another article (“Debug custom build step that generates identify objects in the game, you might and Release,” October 2005), I don’t think intermediate files to be compiled. If you want to reserve some for specific there should be separate debug and already have such a step it’s probably not system objects. You could do this by release modes, but rather a single such a big deal to extend it to include adding a few names like SYSTEM_0001, “develop” mode, used for both purposes. this. But changing your build process is SYSTEM_0002, etc. Or you can simply Having the code check the value of a not a trivial task. reserve the first, say 1,024 values. hash value against a string is slow, and Introducing a custom build step runs the (0x00000000 through 0x000003FF), it’s done too many times. The hash value risk of making your code less portable. A and explicitly report them as illegal might be used several times per frame, new platform might not be as flexible in its values in your database. This might but if it’s right once it’s always going to compiler options. To get around this, you seem a little odd, not allowing this range can define the function of values for a hash, but only one out HASH() as a function that over every 4,194,304 possible strings LISTING 3 calculates and returns the will have a hash value in this range. checksum of the string Given a hash value from a string A passed to it. That way, even if (HASH(A)), and given another string B, // hash value directly: the additional compilation then you can calculate HASH(A+B) by Load(0x334BDCF8); step is missing, the code will calculating HASH(B) using a starting // hash value with inline comment still work perfectly (albeit a value of HASH(A). This means you can Load(0x334BDCF8 /*MDL_MECH01_LARGE*/); little slower). calculate HASH(A+B) without ever // using #define in a common header file One additional place in knowing the actual contents of the string #include crc_hashes.h your code where the use of A. This is very useful if you have assets ... these string id hashes needs that have a series of different extensions Load(CRC_MDL_MECH_01_LARGE); special consideration is in or other appended strings (for example, // Using a macro to check vlues switch statements. Since the MDL_ROBOT_01_ might have Load(HASHCHECK(0x334BDCF8, “MDL_MECH01_LARGE”)); value after a case keyword MDL_ROBOT_01_LEFT_ARM, // Using additional preprocessing must be an absolute value, MDL_ROBOT_01_LEFT_LEG, etc.). Then you Load(HASH(“MDL_MECH01_LARGE)); and not the return value of a can quickly calculate the hash values of // The same line after the custom build step: function, then using the the string with the extensions without Load(0x334BDCF8 /*MDL_MECH01_LARGE*/); HASHCHECK() method will having to know the original string. * not work. A custom preprocessing step will work Showing the different ways of using hash values in code.

WWW.GDMAG.COM 35 STEVE THEODORE

>> PIXEL PUSHER ANATOMY FOR ANIMATORS PART II Spinal Tips

LAST MONTH WE REVIEWED SOME THE IMPRESSIVE 3. Thoracic. The thoracic section is the anatomy for animators, concentrating on VOCABULARY SECTION foundation of the ribcage. It curves the legs and feet. This month, we’ll Anatomists divide the spine into four backward, opposite the arch of the continue with a look at the anatomy of major areas, each of which forms a lumbar. Although it contains 12 vertebrae, the spinal column, including the body, distinct curve (see Figure 2). it’s much less mobile than the lumbar torso, and neck. 1. Sacral. The sacral section is the section. However, it does actually flex as The spine, naturally enough, forms the foundation, located inside the mass of the the body turns and reaches, so it’s backbone of any good animation rig. pelvis. Technically it counts as five incorrect to represent the ribcage as a Unfortunately, setting up a character’s vertebrae, although they’re fused together completely solid block, particularly for spine is daunting for a number of reasons, into a single jumbo bone. The sacral side-to-side stretches. both anatomical and technical. It’s obvious vertebrae are basically part of the pelvis and 4. Cervical. The cervical section is the just from looking at a skeleton that the don’t move independently; however you can neck, which includes seven vertebrae. Like spinal column is a pretty complex see the extension of the lower curve of the the lumbar, it actually curves forward in the mechanism, with 33 vertebrae and a spine in the upper plane of the buttocks. rest position. Unlike the rest of the spine, complex re-curved S-shape. Luckily for us, Technically, the base—the real base—of the though, the vertebrae of the neck are much most of this complexity can be abstracted spine is the coccyx, or tailbone, which closer to the center of the neck mass, so it’s into a much simpler set of animation doesn’t do much in the body except add harder to spot the rhythm of the curve in a bones. However, it’s helpful to have a quick three vertebrae to the total count. static model. However, you can easily see overview of the full system before moving 2. Lumbar. The lumbar section is the the effects of the curve by observing the on to a more animation-friendly one. connector between the hips and the ribcage. neck in action in Figure 3. Veterans of figure drawing know that It contains five vertebrae and curves the spine isn’t straight. The basic shape is forward toward the navel. The lumbar HOW MUCH IS ENOUGH? formed by a sweeping S-curve. The curve section is where most of the bending and Regrettably, all this fancy anatomical isn’t just there to make for better looking twisting in the spine really takes place; knowledge doesn’t translate directly into charcoal sketches; the arch of the back thanks to that, it’s also the source of most a good working animation skeleton works to increase the ability of the spine back pain. The forward curvature of that without some extra planning. When to carry weight, just as arches support a Herman Miller Aeron chair you got cheap roughing out a character skeleton, you bridge better than flat girders. You see after the dot-com bubble burst is intended to need to consider the tradeoffs between this principle at work in the classic support a natural lumbar arch. visual fidelity, ease of animation control, contrapposto stance, in which the hips and in-game performance. Generally, and shoulders are canted in opposite more bones will provide better deformation, directions for support with minimal effort. particularly if you want to really capture The same principle also explains the that flowing line of action properly. comical forward thrust of a weightlifter’s But a precisely correct, 33-bone spine belly in a full snatch (see Figure 1). A can create a lot of headaches for the good animation spine has to reproduce animator and a lot of work for the game smoothly flowing curves, so it’s important engine. Every one of those bones is to understand how those curves are another opportunity for the animator to integrated into the structure of the body. accidentally insert a kink into what ought to be a flowing line of action. Thirty-three nested transform matrices represent a lot of math, even for a modern game engine. Therefore, it’s unlikely you’ll want to build a character with an exact bone- for-bone version of a real human spine. STEVE THEODORE started animating on a text-only Exactly how many bones will be mainframe renderer and then moved on to work on games enough depends on both the model and such as HALF-LIFE and COUNTER-STRIKE. He can be reached at FIGURE 1 The curvature of this weightlifter's back the application. Naturally, a high- [email protected]. is critical to his ability to sustain heavy weights. resolution hero character demands more

36 DECEMBER 2005 | GAME DEVELOPER Cervical 7 vertebrae highly flexible attention than an extra in the non- the correct anatomical placement of the anatomical reference. As playable character crowd. A minimal spinal column. Game animators typically always, go with what looks Thoracic spine ought to include at least one joint ignore anatomical correctness and place best for your character not 12 vertebrae limited flexibility for each region of the spine: a sacral joint the spine pretty close to the centerline of with what you read—not just above the pelvis, a lumbar joint the body. We’re also much more likely to even here! behind the navel, a thoracic joint behind arrange the spine straight up and down, the sternum, and a cervical joint at the rather than in a biologically proper curve. BELLY BONES Lumbar base of the neck. Film animators, on the other hand, are With modern vert counts, 5 vertebrae As you increase the bone count, you’ll more likely to use the anatomically careful vertex weighting highly flexible get smoother deformations and more proper position and curvature. is often all you need to Sacral realistically sinuous motions, though you The difference evolved mostly out the get reasonably good 9 rigid vertebrae shouldn’t simply distribute the additional fact that games have pretty crude deformation with an bones evenly along the character’s trunk. deformation tools. Central spine anatomically correct This is a bad fit for the way the body really placement is a good defense against the spine. However there moves. Most of the flexion of the spine is loss of volume when the character bends will be plenty of concentrated in the lumbar area between forward. In film characters, where cases—particularly the hips and the ribcage, so this area muscle systems or procedurally driven on characters whose should get more joints. The thoracic region influence objects are common, the physique or clothing (roughly, the ribcage) is about twice as of crunching is much less and gives them more large as the lumbar area, but it should get the attraction of correct anatomy prominent bellies, fewer joints. The sacral area is enclosed by correspondingly greater. where the crunching the mass of the pelvis, so there’s no point Nowadays, the distance between the effect of the rearward in adding extra bones down there at all. two camps is starting to diminish as spinal placement will FIGURE 2 The four major regions of the The inadequacies of standard smooth- game characters get more complex. become unpleasant. spine are shown. skinning mean you don’t get much visual Models with higher vertex counts can Usually, a very reward for having more bones than produce something closer to the simple fix-up is usually vertices. As a rule of thumb, you probably appearance of a real abdominal crunch, all that’s needed to bring won’t need more bones than you have instead of the disturbing accordion folds crunch-collapses under edge loops in a model’s torso. that result from realistic spinal placement control. The easiest fix is to One minor issue to watch out for when on low-poly models. Moreover, we now use a single extra bone building naturalistic spines is that many have the horsepower to spare for volume- located behind the navel in animation packages are unhappy with re- preserving fix-up bones in the belly. As it the mass of the abdomen. curved bone chains. After you’ve laid becomes easier to avoid the abdomen Parent this to the vertebra down the bones for your spine, problem, the upsides of proper spinal closest to the navel, and use remember to check the local axis placement—better rhythm in the curve of driven keys to push it forward arrangements before you add the arm or the body, less counter-animation when in the parent bones’ local head bones. Be sure that the local axis twisting the torso, and more realistic space as the lumbar region systems in the spine are lined up so they separation of the ribcage and pelvic flexes. all respond the same way to pitch or roll masses—become more attractive. The key to making this inputs. If you’re going to use Euler angles If you’re used to working with central work is never to weight any for rotation, make sure that the twist of spines, it may be time to start verts exclusively to the belly the spine corresponds to the first term of experimenting with a more anatomically bone. Instead, make sure your Euler rotation angle so you get more correct position. If you want to use an that it has a gentle effect reliable twists and can use the Euler anatomically correct spine, don’t make (less than 50 percent on any numbers to drive expressions (for more the common mistake of placing it too given vertex) and a soft details on dealing with twists, see “Twist close to the skin of the back. The visible falloff. Also, take care that it and Shout,” April 2004). bumps you see on the human back aren’t has little or no effect on the FIGURE 3 Because the rest pose of the vertebrae—they’re caused by the fin-like solid mass of the ribcage. cervical vertebrae is curved, raising your SOMEWHERE extensions called “spinous processes,” Pushing the “belly bone” head and lowering it produce noticeably BETWEEN 4 AND 33 and they can be several inches from the forward along the local different motions. Deciding on the number of spinal bones real pivots of the spinal bones. At the forward axis of its parent is relatively simple. The tricky part of forward most point of the lumbar curve, vertebra helps counteracts building an animation spine is the pivot point is actually almost at the the loss of volume from the determining how strictly you will follow centerline of the body. So check some CONTINUED ON PG 40

WWW.GDMAG.COM 37 ALEXANDER BRANDON

>> AURAL FIXATION

MINIMAL THEMES

THIS SPACE IS USUALLY RESERVED FOR super enhanced version of the original advice, tips, and tricks for game audio, title. Then the guitars kick in. but I want to take a different approach Rather than present a memorable this month. In this column, I will offer theme, a rather generic riff was used. I some constructive criticism that applies was sorely disappointed. primarily to the action adventure genre. While Bobby Prince’s marriage of power GOD OF WAR, , and FABLE are all good chords and 12 bar blues didn’t exactly examples, but for the purposes of this make the first ’s pop, at article, I’ll be discussing two excellent least you could remember the themes. games—DOOM 3and HALF-LIFE 2. These DOOM was impressive at the time, and a HALF-LIFE 2’s emotional atmosphere would be a games are both utterly beautiful and massive step forward for 3D, but was still good showcase for a strong musical theme. have effective sound effects, but in my a rather cute game, and wasn’t really opinion don’t make many advances with about instilling fear in the player. Bobby their soundtrack. Prince’s soundtrack played on this, and it level’s intended theme, along with its Although they are masterpieces of the truly was enjoyable to watch imps chapter title. genre, DOOM 3and HALF-LIFE 2 just aren’t explode to the driving rhythm of This was the model used for the first as progressive with their music design, a instrumentation that seems quite quaint game as well, and doesn’t heighten the trend I’m noticing more and more. by today’s standards. drama very much. Having said that, the though, has fear written all over absence of music is utterly important to FEAR FACTOR it, and it’s difficult to open a door without games like these, and there really I want to discuss DOOM 3 first—the latest your heart jumping out of your chest. The shouldn’t be any music at least 30 game in the series that IBM and Hewlett game is a triumph of graphic engineering, percent of the time. However, just as with Packard banned from their networks due with some good environmental sounds to DOOM, the soundtrack could have served to lost productivity. boot, so the lackluster soundtrack is to bring the player a sense of dread, or When you start up DOOM 3, the CD launch even more apparent. foreboding, or simply to enhance the window presents you with With the extremely ambient drone feeling you get when staring out over a very loud, low, eerie, and occasional electronic mini motif, the that gigantic bridge that made you sweat ambient drone, which game is relatively music free. In these profusely when crossing. I can’t say that certainly sets the mood frightening moments, music could be the game would have sold better if there and lets you know that this used to increase the tension even more. had been a proper theme, but while is not your dad’s DOOM. Think of movies like Alien, Vertigo, and playing I was constantly identifying After the Id logo screen Terminator 2. Now imagine them without areas that could have benefited from a completes (which has even music—they’re not nearly as effective. well-placed stab, or an Absynth drone, or more creepy imagery, and a DOOM 3 could have used that edge. A few even a theme for Gordon Freeman! The memorable heart palpitation well placed stingers and more use of story, while somewhat sparse, made you sound effect), you meet creepy ambient tension tracks would feel far more heroic, a savior of mankind, the title screen, with music have gone a long way. and while the voice over communicated by Chris Vrenna. The initial that, the music did not. electronic instrumentation A SOUNDTRACK HALF-LIVED There’s no question that both of these DOOM 3 might be even more frightening with is lilting and foreboding, Then there’s HALF-LIFE 2. It’s a great game, titles deserve credit for making great a more dynamic soundtrack. and brings you that much and a constant jaw-dropper, from the steps forward in games. And I’m not closer to reliving a new and clever design mechanics to the incredibly saying that all games should have music, beautiful environments. The game was a either. Music isn’t a prerequisite. huge leap over its predecessor in all However, games that lift you out of respects, save one. The model for music reality, especially those that present remained exactly the same. There’s only drama, deserve an original soundtrack— the odd action track during the more and games that deliver such intense and ALEXANDER BRANDON has been involved with game intense battles (such as one or two incredible experiences as HALF-LIFE 2and audio since 1994 and is currently the audio manager at points during the airboat sequence), and DOOM 3 deserve better ones. * Midway in San Diego, Calif. You can email him at every so often there is an opening piece [email protected]. that will give you a musical sense of the

38 DECEMBER 2005 | GAME DEVELOPER NOAH FALSTEIN

>> game shui

RULES OF INTEREST

AT THE UPCOMING GDC IN MARCH 2006, opportunity so the game stays fresh and Hal Barwood and I will present an update engaging across the entire difficulty PLAYERS SHOULD SEE THEIR GOAL to The 400 Project, the quest to collect ramp-up. This rule is a specific case of an BEFORE THEY CAN ACHIEVE IT—Ron rules of good game design. We don’t have earlier, more general rule “avoid player Gilbert, ex-LucasArts (SECRET OF MONKEY 400 rules yet, but we’re well on the way, fatigue,” the admonition to avoid the ISLAND 1 AND 2), , and others and it’s almost time to make the list paired threats of boredom and frustration. public. As a preview, here are brief This is another common rule that I first versions of rules from various designers DON’T MAKE YOUR OBJECTIVE YOUR heard Ron state in the old graphic that all address the issue of how to keep PRIMARY THREAT—Brian Upton, Red adventure days: “No backwards puzzles.” players interested in a game. Storm (RAINBOW 6) Letting players see (or at least hear about) their goals before they can Brian explained that if the main quest for achieve them builds anticipation and the player is killing an chieftain, the makes the payoff sweeter. Don’t give smaller challenges along that quest them the key they need before showing cannot consists only of defeating weaker them the lock, whether a literal key or a ogres. This is also a specific version of piece of information, a critical tool, the “avoid player fatigue” meta-rule. artifact, or weapon. One trump to this rule is to give players the key but disguise it MAKE THE PLAYER FEEL SMART—David or mask its power, only to reveal it at the “Zeb” Cook, Cryptic Studios (CITY OF right moment for effect. Remember VILLAINS), Gordon Walton, ex-Three-Sixty Dorothy’s ruby slippers! Pacific (HARPOON), and others MONKEY ISLAND II followed the rule: “Players should see their MAKE CHALLENGES REQUIRE SKILL— goal before they can achieve it.” Many designers suggested this rule; a Raph Koster, Sony Online ( GALAXIES) practical suggestion on how to implement My favored description of a good game it is to give the player a deliberately Raph Koster expounded on this rule is “A series of interesting and meaningful imperfect tool or set of characteristics that colorfully: “Don’t make a task so simple a choices made by the player in pursuit of he or she can improve over the course of dead monkey could do it.” A trumping a clear and compelling goal.” Here’s how the game. For instance, you may start domain where this rule is weaker is the to make those choices interesting and them in an RPG with a weapon that is tutorial or first level of a game, where meaningful to the player. merely average, and let them find or make tasks should be easy and painfully one that is perfect for their character, or obvious—but even there it would be good MAKE CHALLENGES VARY IN MORE THAN start them with a sports team that has a to require at least a modicum of skill. DEGREE —E. Daniel Arey, Naughty Dog few sub-par players. Then let the player (JAK AND DAXTER) “discover” a fix for that problem in a way TUNE FOR PLAYERS AT THE CENTER OF that lets the player feel smart. THE SKILL CURVE—Gordon Walton, Sony Dan Arey warns that a series of Online challenges that vary only in degree, for PROVIDE MULTIPLE SOLUTIONS TO example enemies that come in waves of PROBLEMS—Warren Spector, ex-Ion Gordon Walton clarified that if you tune increasing numbers but are otherwise Storm (DEUS EX) for power gamers, who may be the vocal identical, will bore the player. Instead, minority, you will leave behind the vast make enemies that vary the player This rule suggests a good way to avoid silent majority of players. Users of this response in terms of strategy, tactical frustrating the player. If there are multiple rule also should take into account the button presses, timing, reaction, and solutions to a problem, there is less audience for which the game is intended. chance of getting caught in a dead end. But even if most of the players of GOREFEST The different solutions should also take VII: THE BLOODLETTING will probably have into account the different preferences played GOREFEST VI: THE CRIMSON FLOOD, it NOAH FALSTEIN is a 25-year veteran of the game industry. and abilities of players. One tried and true makes good economic sense to keep the His web site, www.theinspiracy.com, has a description of The 400 method is to provide at least one solution game accessible to new players who can Project, the basis for these columns. Also at that site is a list of that requires fast action and good expand the franchise. * the game design rules collected so far and tips on how to use reflexes, and another that depends more them. Email him at [email protected]. on intellectual prowess.

WWW.GDMAG.COM 39 >> CREATIVE CAREERS PIXEL PUSHER

CONTINUED FROM PG 37 crunching of the abdomen. Moving it up in the bone’s local space helps keep Full-Time, Tenure-Track Faculty the mass of the abdomen from sliding down into the pelvis during the bend. If Interactive Arts and Media your engine supports non-uniform scaling at runtime, you can also try some We are a diverse, open admissions, urban institution of over 10,000 subtle scaling to reflect the drooping of the belly mass (unless, like the undergraduate and graduate students emphasizing arts and communications in author of this column, your character has rock-hard six-pack abs). a liberal education setting. The Interactive Arts and Media Department (IAM), is seeking a full-time, tenure-track faculty member with expertise in Game Design, Naturally, the belly bone is a great place to add some secondary motion Game Art and/or Game Programming to begin mid-August, 2006. to the soft mass of the belly. If you need hand-animated secondary on top The IAM Department offers degrees in Game Design, Interactive of the automatic volume fix-up, add an animatable child to the automatic Multimedia and Digital Media Technology. The new Game Design belly bone for the manual tweaks. major has four concentrations, including design, animation, sound and programming. The candidate will demonstrate the creation of innovative games and SKELETAL FUNCTION game paradigms in a sustained professional or academic capacity. The focus of this series is on deformation skeletons, rather than animation Experience with serious game design is desirable. Responsibilities rigs, so this isn’t the place to delve into the details of rigging spines. It’s will include teaching game-related courses which include media theory, interdisciplinary approaches and industry practice. worth mentioning, though, that using naturalistic spines is a great counterpart to using spline IK rigs, particularly if you’re building the spine The successful candidate will have an advanced degree in addition to significant professional accomplishments and teaching experience using more than six or seven bones. Properly built spline rigs do a great job at the college or university level. All new tenured and tenure-track faculty of capturing the fluid lines of a well-built spine. Unlike simple FK rigs, they members must show evidence, prior to being hired, of active involvement in their discipline. Recent graduates must show distinct and clear promise. also keep the number of keyframes to manage to a reasonable minimum. For more detail about the pros and cons of different spinal rigs, check out We offer a competitive salary and excellent benefits package. Minority and women applicants are especially encouraged to apply. Applicants seeking the return “Get Some Backbone” (November 2004). of their portfolio samples should include SASE. Please send a letter of application, That’s about it for the topic of spinal anatomy for animation. Next month a statement of teaching philosophy, a CV, work samples/portfolio and three names with contact information for references to: David Gerding, Interactive Arts and we’re going to take a break from the anatomy lesson, but we’ll return to the Media Faculty Search Committee, Columbia College Chicago, 600 S. Michigan boneyard in a few months. In the meantime, take the opportunity to check Ave., Chicago, IL 60605. Alternatively, submissions may be submitted electronically out some anatomy resources on the web and experiment with some to [email protected]. For serious consideration all application materials must be received no later than January 15, 2006. alternative construction methods. It’s always a good idea to revisit settled habits once and a while. Equal Opportunity/Affirmative Action Employer M/F/D/V * www.colum.edu

40 DECEMBER 2005 | GAME DEVELOPER Jobs at Nintendo of America Redmond, WA

3D/2D ARTIST (NST) UI ARTIST (NST) CONTRACT – CONCEPT ARTIST (NST) BILINGUAL PROJECT SPECIALIST ASSOCIATE SOFTWARE ENGINEER/ SOFTWARE ENGINEER SR. SOFTWARE SUPPORT ENGINEER BUSINESS DEVELOPMENT MANAGER BILINGUAL PROJECT SPECIALIST MANAGER, MARKETING SUPPORT

Jobs at Retro Studios Austin, TX

LEVEL DESIGNER CONCEPT ARTIST GAME DESIGNER STORYBOARD ARTIST GAME PROGRAMMER WORLD ARTIST CONTRACT – WORLD ARTIST

For more information on these positions, please visit the web sites below:

www.nintendo.com www.retrostudios.com

>> CREATIVE CAREERS

>> GET EDUCATED ADVERTISER INDEX 3Dconnexion ...... 10 Academy of Art University ...... 45 Ageia...... 3 Alias Systems...... C3 Anark ...... 6 Autodesk ...... 15 Center for Digital Imaging...... 47 Collins College ...... 44 Columbia College...... 40 Datascope Recruitment Ltd...... 40 Full Sail Real World Education...... 46 Guerilla ...... 44 Havok ...... C2 Integrity Ware Inc...... 47 ...... 42 The MIT Press ...... 25 Neversoft Entertainment...... 43 Nintendo of America Inc...... 41 Rad Game Tools ...... C4 Replay Solutions LLC...... 13 Vancouver Film School ...... 46 Xoreax Software Ltd...... 8

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44 DECEMBER 2005 | GAME DEVELOPER Game Developer (Dec).ai 10/28/05 11:02:00 AM >> GET EDUCATED

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46 DECEMBER 2005 | GAME DEVELOPER >> GET EDUCATED DESIGNING PAC-MAN

CONTINUED FROM PG 30 the high profile of the franchise, and although there have been some critical highlights for the PAC-MAN series, some argue that the lack of a consistent creative overseer has caused the series to lack direction. In fact, with his fun-yet- simple design tactics, one wonders what a second Iwatani-helmed PAC-MAN game might look like.

FRANCHISES CAN BE BUMPY. Every franchise has them—from THE LEGEND OF create 3 ZELDA's horrid interactive CD-i games through some of CASTLEVANIA's stuttering 3D iterations. Unfortunately, the same is true for the PAC-MAN franchise. Along the 25 years of fun, there have been a few mis-steps. This is particularly true of YOUR WORLD titles that try to stray too far from PAC-MAN's original maze chase genre. Many humanoid CERTIFICATE PROGRAMS AVAILABLE mascot characters have multiple natural extensions; as ambulatory humans, they can be Game Art & Design 3D Animation Visual Effects Recording Arts in a platformer, a racing game, a tennis game, a baseball game, all without changing their Intensive nine-month programs for the skills and tools you need to turn your ideas into reality. Financial assistance and career services available. APPLY NOW. intrinsic nature or design. PAC-MAN, on the other hand, needs to sprout arms and legs, neither of CONTACT US TODAY: call 800.808.2342 or visit www.cdiabu.com which are part of his original design, in order to leap out of his 2D maze. Although these changes can work in video game form (as in PAC-LAND), other extensions >> MARKETPLACE can just end up feeling a bridge too far for our plucky friend. A prime example is probably party game PAC-MAN FEVER, which traded off the PAC- MAN name to relatively little interest and unfavorable critical reception, though early, quirky titles such as PROFESSOR PAC-MAN also seemed to take the franchise name down an inappropriate cul-de-sac. The bottom line, as with all franchises: things work less well when their branding or characters are added to genre-based titles that aren’t actually enhanced by their presence in terms of gameplay.

PAC IT UP There’s no disputing the pervasiveness of the PAC-MAN iconography, and in that sense, the little yellow fellow's quarter century has been overwhelmingly successful. As journalists and former game developers ourselves, we've been interested by the ways that the PAC-MAN franchise's game designs have grown and morphed over the years, despite the apparent perfection of the original game concept. Though it's clear that PAC-MAN's genesis has made him a handful during his teenage years, now he's in his 20s and settling down to a life of contented ghost-chomping. And who knows— another golden age of power pill consumption may be just around the corner. Here's to another 25 years of “wokka wokka wokka!” *

Brandon Sheffield contributed to this article.

WWW.GDMAG.COM 47 >> A THOUSAND WORDS

JAMES BOND 007: FROM , under art director Dave Carson. RUSSIA WITHood City art team LOVE Art: Electronic Arts Redw This digital recreation of the classic EntertainmentBond film stars Tonight Sean Connery, as well as EA-exclusive Bond girls in the form of pop star Natasha Bedingfield (left) and correspondent Maria Menounos (right).

48 DECEMBER 2005 | GAME DEVELOPER