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>> PRODUCT REVIEWS SPEEDTREE RT 1.7 * SPACEPILOT

OCTOBER 2005

THE LEADING GAME INDUSTRY MAGAZINE

>>POSTMORTEM >>WALKING THE PLANK >>INNER PRODUCT ART & ARTIFICE IN DANIEL JAMES ON DEBUG? RELEASE? RESIDENT EVIL 4 CASUAL MMO GOLD LET’S DEVELOP! Thanks to our publishers for helping us create a new world of games.

GameTapTM and many of the industry’s leading publishers have joined together to create a new world where you can play hundreds of the greatest games right from your broadband-connected PC. It’s gaming freedom like never before. START PLAYING AT GAMETAP.COM

TM & © 2005 Turner Broadcasting System, Inc. A Time Warner Company. Patent Pending. All Rights Reserved.

GTP1-05-116-104_mstrA_v2.indd 1 9/7/05 10:58:02 PM []CONTENTS OCTOBER 2005 VOLUME 12, NUMBER 9

FEATURES

11 TOP 20 PUBLISHERS Who’s the top dog on the publishing block? Ranked by their revenues, the quality of the games they release, developer ratings, and other factors pertinent to serious professionals, our annual Top 20 list calls attention to the definitive movers and shakers in the publishing world. 11 By Tristan Donovan

21 INTERVIEW: A PIRATE’S LIFE What do pirates, cowboys, and massively multiplayer online games have in common? They all have Daniel James on their side. CEO of Three Rings, James’ mission has been to create an addictive MMO (or two) that has the pick-up-put- down rhythm of a casual game. In this interview, James discusses the barriers to distributing and charging for such 21 games, the beauty of the web, and the trouble with executables. POSTMORTEM By Brandon Sheffield

26 THE GRAPHICAL STYLING OF RESIDENT EVIL 4 34 DEBUG AND RELEASE Innovative camera use, more immersive , and life-like Using debug and release modes at character expressions are just one part of the layer of freshness for various stages of development has been the long-standing series of survival-horror games. Accompanied by the staple method for longer than many detailed figures and other imagery from the game, Yoshiaki of us can remember. It’s high time we Hirabayashi shares the history of how Japan put RESIDENT questioned why we use them and if there EVIL’s renaissance together. is a better way. 34 By Yoshiaki Hirabayashi By Mick West

DEPARTMENTS COLUMNS

2 GAME PLAN By Simon Carless 37 PIXEL PUSHER By Steve Theodore [ART] Top Cat Pencil Whipped

4 HEADS UP DISPLAY 40 BUSINESS By Riley Russell [BUSINESS] Game Developers Conference wrap, new women’s group forms, Licensed to Steal super genre break out, and more. 41 GAME SHUI By Noah Falstein [DESIGN] 7 SKUNK WORKS By Tom Carroll and Spencer Lindsay Negative Feedback IDV Inc.’s SpeedTreeRT 1.7 and 3Dconnexion’s SpacePilot 42 AURAL FIXATION By Alexander Brandon [SOUND] 72 A THOUSAND WORDS Bring the Noise ’s PETER JACKSON’S KONG

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

EDITORIAL EDITOR Simon Carless [email protected] MANAGING EDITOR Jill Duffy [email protected] ASSISTANT EDITOR Brandon Sheffield [email protected] ART DIRECTOR Cliff Scorso [email protected] CONTRIBUTING EDITORS TOP CAT Alexander Brandon [email protected] Alexander Brandon [email protected] Noah Falstein [email protected] Steve Theodore [email protected] Mick West [email protected] ADVISORY BOARD Hal Barwood Designer-at-Large Dave Pottinger AS YOU MAY WELL HAVE NOTICED FROM THE STAR Ellen Guon Beeman Monolith George Sanger Big Fat Inc. Andy Gavin Harvey Smith Midway design on the cover, 12 months have slowly USUAL SUSPECTS Joby Otero Paul Steed ticked over, and it’s now time for the third annual We’re firing on all cylinders through the rest of SALES Game Developer Top 20 Publishers issue. Our the magazine, with Heads Up Display wrapping NATIONAL SALES MANAGER Afton Thatcher e: [email protected] t: 415.947.6217 yearly round-up of who’s top in the world of up the proceedings of Game Developers SENIOR ACCOUNT MANAGER, EAST COAST, EUROPE & EASTERN CANADA game publishing—based on not only revenue, Conference Europe, regular art, design, and Ayrien Machiran e: [email protected] t: 415.947.6224 ACCOUNT MANAGER, SO. CALIF., SOUTH WEST, CONTRACTORS & MARKETPLACE but also release SKU numbers, average review business columns, and Ubisoft’s PETER JACKSON’S Susan Kirby e: [email protected] t: 415.947.6226 scores, and anonymous feedback—paints a KING KONG cutting a swagger as part of our ACCOUNT MANAGER, NO. CALIF., NORTH WEST, ASIA & CANADA Nick Geist e: [email protected] t: 415.947.6223 fascinating portrait of who’s hot and who’s Thousand Words art feature. ACCOUNT MANAGER, GLOBAL RECRUITMENT/EDUCATION & TEXAS hottest in the game publishing biz. And, well ... In addition, we have a new face on The Inner Aaron Murawski e: [email protected] t: 415.947.6227 ADVERTISING PRODUCTION we won’t say anything else. Let’s just let the Product: Mick West, a co-founder of TONY HAWK’S ADVERTISING PRODUCTION ADVERTISING PRODUCTION COORDINATOR Kevin Chanel rankings speak for themselves. PRO SKATER creator , who, in his REPRINTS Julie Rapp e: [email protected] t: 510.834.4752 inaugural code column, discusses the problems GAME GROUP MARKETING PRESIDENT ELVIS of debug and release modes for game build DIRECTOR OF BUSINESS STRATEGY Michele Maguire DIRECTOR OF MARKETING Tara C. Gibb As for a postmortem to go alongside our special configurations, and intriguingly argues that they DIRECTOR OF MARKETING Tara C. Gibb CMPMARKETING GAME GROUP MANAGER Kathleen Cheng Top 20 Publishers feature, we’ve managed to should be replaced by a single configuration— VP, GROUP PUBLISHER APPLIED TECHNOLOGIES Philip Chapnick CMP GAME GROUP grab Yoshiaki Hirabayashi, the lead cinematics develop mode—that should be used at all stages VP,CONFERENCE GROUP PUBLISHER DIRECTOR, APPLIED GDC Jamil TECHNOLOGIES Moledina Philip Chapnick director on Capcom’s critically acclaimed RESIDENT of development. CONFERENCEASSOCIATE CONFERENCE DIRECTOR, GDCDIRECTOR,Jamil MoledinaGDC Susan Marshall EXECUTIVE WEB PRODUCER Peter Leahy EVIL 4, to discuss some of the efforts that went ASSOCIATE CONFERENCE DIRECTOR, GDC Susan Marshall EXECUTIVEEDITOR, GAMASUTRA.COM WEB PRODUCERSimonPeter Carless Leahy into fashioning one of looking SITTING IN A TREE EDITOR,FEATURES GAMASUTRA.COM EDITOR, GAMASUTRA.COMSimon CarlessQuang Hong GameCube titles of all time. Finally, a rumination on an old friend. Since we in CIRCULATIONFEATURES EDITOR, GAMASUTRA.COM Quang Hong Particularly focusing on the improved the Game Developer office grabbed copies of CIRCULATION DIRECTOR Kevin Regan e: [email protected] CIRCULATION ASSISTANT MANAGER Jessica Ward e: [email protected] graphical development workflow, facial NINTENDOGS and ADVANCE DS, we’ve been CIRCULATION DIRECTOR Kevin Regan e: [email protected] CIRCULATION COORDINATORASSISTANT MANAGERMiguel JessicaMendiolaza Ward e: e: [email protected]@cmp.com animation advances, and skillful use of real-time happily humming a “we love ’s first- CIRCULATION COORDINATORASSISTANT MichaelMiguel Campbell Mendiolaza e: [email protected] e: [email protected] cutscenes in the chilling ratcheting-up of the party games” tune. But, unfortunately, this CIRCULATION ASSISTANT MichaelAdrea Abidor Campbell e: [email protected] e: [email protected] sometimes sedate RESIDENT EVIL franchise, seems to be just about the only tune it’s possible SUBSCRIPTIONCIRCULATION ASSISTANT SERVICES Adrea Abidor e: [email protected] SUBSCRIPTIONFOR INFORMATION, SERVICES ORDER QUESTIONS, AND ADDRESS CHANGES Hirabayashi reveals the workings of a title that’s to hum when playing Nintendo consoles. t: 800.250.2429 f: 847.763.9606 e: [email protected] FOR INFORMATION, ORDER QUESTIONS, AND ADDRESS CHANGES currently rated as one of the top five games of all Although you might know better than I whether INTERNATIONALt: 800.250.2429 LICENSING f: 847.763.9606 INFORMATIONe: [email protected] Salinas time at GameRankings.com. NINTENDOGS will be as much of a phenomenon as INTERNATIONAL LICENSING INFORMATION e: [email protected] t: 650.513.4234 f: 650.513.4482 its currently sold-out status seems to imply, the Mario Salinas CMPe: [email protected] MEDIA MANAGEMENTt: 650.513.4234 f: 650.513.4482 TALK! BANG! PIRATES! DS, and particularly the thus-far mysterious PRESIDENT AND CEO, Gary Marshall CMP MEDIA MANAGEMENT We thought it was about time to feature another Revolution, seem again to be setting Nintendo on PRESIDENTEXECUTIVE VPAND & CEO,CFO, GaryJohn MarshallDay in-depth interview, and this time around we’ve an island all its own when it comes to development EXECUTIVE VP &AND CFO, COO, John Steve Day Weitzner chosen someone a little different: Daniel James, community outreach. EXECUTIVE VP,VP ANDCORPORATE COO, Steve SALES Weitzner & MARKETING, Jeff Patterson EXECUTIVE VP, CORPORATEHUMAN RESOURCES, SALES & MARKETING,Leah Landro Jeff Patterson founder and CEO of Three Rings Design, a San When even long-time Nintendo second-party EXECUTIVECHIEF INFORMATION VP, HUMAN OFFICER, RESOURCES, Mike Mikos Leah Landro Francisco-based developer and operator of MMO developers, such as Factor 5, have transitioned to CHIEFSENIOR INFORMATION VP, OPERATIONS, OFFICER, Bill Amstutz Mike Mikos games for the mass-market casual audience. working on PlayStation 3 games, isn’t it true that SENIOR VP, OPERATIONS,CMP INTEGRATED Bill Amstutz MARKETING SOLUTIONS, Joseph Braue SENIOR VP AND GENERAL COUNSEL, Sandra Grayson Three Rings’ independently developed casual many publishers will grudgingly support The Big N SENIOR VP, CMP INTEGRATED MARKETING SOLUTIONS, Joseph Braue SENIOR VPVP, ANDCOMMUNICATIONS, GENERAL COUNSEL, Alexandra Sandra Raine Grayson MMO YOHOHO! PUZZLE PIRATES has garnered plenty of because they have to, rather than because SENIOR VP, COMMUNICATIONS,CORPORATE MARKETING, Alexandra Kate Raine Spellman fans, due to the way it neatly weaves a casual Nintendo is actively courting them? SENIORVP, GROUP VP, DIRECTORCORPORATE OF MARKETING, INTERNET BUSINESS, Kate Spellman Mike Azzara community aspect and addictive multiplayer Then again, this doesn’t yet seem to have VP,CORPORATE GROUP DIRECTOR DIRECTOR, OF AUDIENCE INTERNET DEVELOPMENT, BUSINESS, Mike Shannon Azzara Aronson CORPORATE DIRECTOR, AUDIENCECREATIVE SERVICES, DEVELOPMENT, Kellie ShannonFerris Aronson puzzle games together with wider persistent- affected Nintendo’s direction or profitability, or, CORPORATE DIRECTOR, PUBLISHINGCREATIVE SERVICES, SERVICES, Kellie Marie Ferris Myers world goals. Now, Three Rings has announced indeed, the delightfulness of many of the game CORPORATE DIRECTOR, PUBLISHINGAUDIENCE DEVELOPMENT, SERVICES, Marie Michael Myers Zane PRESIDENT, CHANNEL GROUP, Robert Faletra plans for a second title, BANG! HOWDY, that will be consoles or software titles the company creates. CORPORATE DIRECTOR, AUDIENCE DEVELOPMENT, Michael Zane PRESIDENT CMP ENTERTAINMENT MEDIA, Tony Keefe free to play but will allow players to purchase in- It’s just, well, obtuse, and the gossiping masses of PRESIDENT, CHANNEL GROUP, Robert Faletra PRESIDENT CMP ENTERTAINMENTHEALTHCARE MEDIA, MEDIA, Vicki Tony Masseria Keefe game items and upgrades with real-world money. game development are wondering if Nintendo’s PRESIDENTVP GROUP PUBLISHER CMP HEALTHCARE ELECTRONICS, MEDIA, PaulVicki Miller Masseria In this exclusive interview, James talks about downfall is now, or ever, imminent. Well ... if it VP GROUP PUBLISHER ELECTRONICS,ENTERPRISE, Fritz Paul Nelson Miller VP, GROUP PUBLISHER SOFTWARE DEVELOPMENT MEDIA, Peter Westerman why he feels this business model is ready to take makes you feel any better, we don’t know either. VP GROUP PUBLISHER ENTERPRISE, Fritz Nelson * VP, GROUP PUBLISHER SOFTWARE DEVELOPMENT MEDIA, off in the West, and the problems of distributing Peter Westerman casual games like PUZZLE PIRATES as an executable, as well as some of his visions for the future of the Game Developer so-called broadcore games that Three Rings is BPA approved

specializes in creating. Simon Carless, editor Game Developer RIDE-ALONGis BPA approved MATERIAL ENCLOSED

2 OCTOBER 2005 | GAME DEVELOPER WWW.CMPGAME.COM What’s under your the hood of physics engine?

Industry proven game-play physics and character animation Unleashes the native scalability of next generation platforms Multi-threaded performance HydraCore™ that smokes the competition!

No special hardware mods required Backed by the most experienced support team in the middleware industry

www..com [HEADS UP DISPLAY]

GOT NEWS? SEND US THE BIG SCOOP AT [email protected] GDC EUROPE SHOWS CARDS

GAME DEVELOPERS CONFERENCE EUROPE, HELD AT THE CAFE ROYAL IN Developer Group at Microsoft, discussed London from August 30 to September 1 and organized by the CMP Game what he and his company envisage Group (also owners of Game Developer), showed an array of talks both regarding consumer and content trends. technical and trend-based, but what really shone were the intriguing Some of the most interesting responses diversity of keynotes and the messages contained therein. came in the Q&A when, quizzed about the On the one hand, Computer Electronic Entertainment executive vice two options for the 360, one president spoke frankly and at length in a Q&A format with including hard disc, and one without, GDC chair Jamil Moledina, discussing both Sony's forthcoming Cell- Satchell simply commented, “Both of powered PlayStation 3 and the state of play on both the PSP and the still- them are gaming devices,” suggesting thriving PlayStation 2. that users with a hard drive are Pressed on the apparent success of Xbox Live compared to the going to be downloading and customizing PlayStation 2's online strategy, Harrison indicated that the PlayStation 3 their experience a great deal more would have significant online capabilities, but stressed its nature as an through Xbox 360 Live, but that would be

“open platform,” commenting, in an obvious reference to Microsoft, the main difference. BY JON JORDAN PHOTO “Distinct from our competitors, we are happy for publishers to make their As for the naysayers regarding lack of Sony’s Phil Harrison own financial agreements directly with consumers.” hard drive support for Xbox 360 titles, In addition, 's Keita Takahashi, creator of the cult classic and Satchell simply stated, “The games look great, they don't need a hard drive, mainstream-covered phenomenon DAMACY used his keynote to they're working great off DVD.” comment on the state of gaming and his experiences in creating the Overall, if you factor in the tutorials and game postmortems alongside sequel, . Takahashi asked a serious question, as much to GDC Mobile and multiple thriving technical and business tracks, most himself as to the audience: “Is it fine to continue to create games that are attendees seemed to agree that GDC's little brother is back in relatively totally superfluous forever?” If they are as charmingly described as the rude health, after a couple of years of not cleaning behind its ears, despite cat controller concept that Takahashi won the Game Design Mash-Up recent confusion on the European trade and developer show scene. roundtable with at GDCE, he should have no problem continuing to exploit The CMP Game Group has confirmed that GDC Europe will return in 2006, his superfluousness and being adored for it. with the location and timing yet to be announced. Finally, in his keynote, Chris Satchell, general manager of the Xbox Game —Simon Carless

WIGI ESTABLISHES COLLECTIVE VOICE

WOMEN IN THE GAME INDUSTRY LACK to give them a common voice,” says been prolific at various different [from other a collective voice. Graner Ray. Additionally, the group conferences, and special women’s groups and Or at least they did until this will dedicate much of its energy to interests groups have events] is it’s about the summer. Women in Games educating both male and female likewise persevered, no role of women in the International (WIGI), founded by Sheri game industry professionals about single group has been industry. ... How are we Graner Ray, a forthright advocate for how to attract women—and other the representative front making games? What women’s issues who also works at under-represented populations—into for all the causes. The games are coming in the Sony Online Entertainment, is a the industry and keep them there. WIGI seems to be ready, future?” says Fryer. newly formed non-profit WIGI co-founder Laura Fryer almost naturally so, to fill “We’re really all about organization that aims to unite the explains. “We’re interested in getting this role, especially Laura Fryer raising awareness of voices (and possibly the pleas) of more diversity. Changing the because Graner Ray, issues,” says Graner Ray, women who work in games. The industry is an individual process, Fryer, and Schoback (among a citing that one of WIGI’s focuses is to group was co-founded and it takes time. We’re handful of others) had been the help women who are interested in by two other highly in it for the long run. people closest to doing it prior to the the game industry actually make it recognizable women: Lifestyle changes take WIGI’s formation. into the career. Laura Fryer of Microsoft time. People want to do Hearing strong interest from the “We’ve got momentum building Games Studio and Kathy the right thing in this rank and file of female game right now,” says Fryer. “There were Schoback of Ageia. industry. People want to developers, the WIGI really formed more women at GDC this year, and I “There are usually only be more diverse. out of a need, says Graner Ray. “It’s don’t know if that means there’s more about two or three Sometimes, they are kind of like we got critical mass. I’m women just attending GDC or if there women at every [game] unaware of the issues.” excited that we have enough women are more women in the field, but company and they tend Though panels on to get this kind of movement.” we’ve got the ball rolling right now.” to feel isolated. We want Sheri Graner Ray women’s issues have “The thing that makes WIGI —Jill Duffy

4 OCTOBER 2005 | GAME DEVELOPER GENREOLOGY

ALL-PLATFORM U.S. GAME SALES DATA BY GENRE, FROM JANUARY TO JUNE, 2005.

GENRES UNITS SOLD NET SALES Action 27,035,610 $852,702,600 QUAZAL NETWORKS FOR PSP Adventure 2,425,331 $75,989,740 MONTREAL-HEADQUARTERED QUAZAL, By incorporating Quazal’s technology into Arcade 1,397,017 $24,244,360 maker of the Net-Z and Rendez-Vous online their game titles, developers and publishers Children's entertainment 2,348,405 $52,678,740 multiplayer middleware technologies, has can potentially open the door to novel announced that the company has been interoperable gaming opportunities Family entertainment 5,576,937 $154,203,000 approved for the Tools and Middleware between the handheld and home console Fighting 3,988,296 $122,693,000 program for Sony’s PSP, and that a version of game spaces. The company claims that, its middleware is now ready for evaluation because of the cross-platform nature of Flight 540,809 $12,920,810 by interested PSP developers. Net-Z and Rendez-Vous, which is also Other games/compilations 1,671,175 $36,365,850 “Handheld multiplayer gaming is full of available for PCs and major console systems unique opportunities and challenges, and such as the PlayStation 2, these ideas will Racing 10,530,040 $346,699,300 we’re happy to have our technology be far easier to implement than before. Role-playing 8,550,013 $268,752,800 meeting those challenges,” says Martin Recent Quazal-using titles include Ubisoft’s Shooter 7,032,452 $240,188,400 Lavoie, CTO of Quazal. “Having handheld to TOM CLANCY’S SPLINTER CELL: CHAOS THEORY, Crystal home console cross-platform capability Dynamics/Eidos’ PROJECT: SNOWBLIND, and High Sports 14,055,000 $443,180,000 adds another great dimension of Moon/Capcom’s . multiplayer for developers to work with.” —Simon Carless Strategy 1,675,265 $39,913,250 None 157,357 $7,567,901

TOTAL 86,983,700 $2,678,100,000 NDL, EMERGENT IN MERGER Source: The NPD Group/NPD Funworld, 2005

NDL, THE MAKERS OF 3D GRAPHICS Emergent plans to release some details tools and engine, and Emergent Game regarding new product offerings at the Austin the company is planning Emergent’s “rapid Technologies (formerly Butterfly.net) announced Games Conference at the end of the month. “I expansion in Europe and Asia.” in late August that the two companies will merge think the industry is going to be pretty excited Talk of pipelines, as opposed to specific tools, into one middleware provider under the name about the breadth and depth of what we’re going suggests that now more than ever before, game Emergent Game Technologies. to offer in the next 16 to 18 months,” says Selzer. developers are concerned with workflow, and John Austin, president of NDL, commenting on When asked about how smaller, independent possibly creating a standardized development the merger says, “We want developers to have developers will fit into the middleware market, method, if only to keep a firm handle on larger tools to create better games so they can focus on Selzer says, “I think you’ll see some creative teams, multi-million dollar projects, and the content creation.” business models out there that will enable the not- entertainment technologies that evolve at Geoff Selzer, CEO of Emergent, adds that NDL so-well-funded developers” to stay in business. staggering speeds. saw eye-to-eye with his company about the Austin adds that the “key visible customers” for “The industry is terrified of that word, implications of the middleware market. “The Gamebryo “are mid-sized ones that can really take ‘standardized’,” Selzer says. “The need for Renderware acquisition by EA [which happened in advantage of our technologies,” and include standardization falls into the fact that the 2004, shortly after Selzer became CEO of development houses that have at least one industry is maturing. What comes out of that [for Emergent], indicated two things. One: it indicated strongly established title, such as Emergent] is, yes, we believe in standardization, that middleware was accepted by one of the (’S PIRATES and CIVILIZATION IV), Bethesda but we also believe that standardization is going dominant publishers in games ... Two: it left a Softworks (OBLIVION, scheduled for release on Xbox to mean something else in each studio.” Selzer massive hole in the middleware market.” 360), Mythic (DARK AGE OF CAMELOT), and Irrational also believes that “modular solutions” were the The decision to join the two companies, and Games (FREEDOM FORCE). way of the future—or at least the way of ostensibly fill that hole, was spawned by the “People are going to start seeing that we’re not Emergent’s future. “Flexibility is going to be one desire to be “a broader middleware company,” just looking at middleware but tools ... not just of the keynotes,” he says. “We don’t want to says Austin. “We really needed to have a broader providing middleware, but evolving into providing confine. We want to support.” product offering.” a pipeline,” says Selzer, who also mentions that —Jill Duffy

CALENDAR

Project Bar-B-Q Women’s Game Conference Austin Game Conference 2005 Serious Games Summit DC Canyon of the Eagles Austin Convention Center Austin Convention Center Crystal Gateway Marriott Austin Austin Austin Arlington, Va. October 13–16, 2005 October 26–27, 2005 October 27–28, 2005 October 31–November 1, 2005 Cost: $2,595 (includes lodging) Cost: $115–$195 Cost: $115–$195 Cost: $795 www.projectbarbq.com www.WomensGameConference.com www.GameConference.com www.seriousgamessummit.com

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OUR RATING SYSTEM :

DA BOMB PRETTY SLICK SLICK SO-SO LAME

IDV INC.’S SPEEDTREE RT 1.7 BY TOM CARROLL

HENRY DAVID THOREAU ONCE WROTE, “I frequently tramped eight or ten miles through the deepest snow to keep an appointment with a beech tree, or a yellow birch, or an old acquaintance among the pines.” And I thought gamers had no social life. Because Atari’s PONG was still 110 years away when Thoreau penned those words, maps; and SPEEDTREE how could he know that game fans would SpeedTreeMax and SpeedTree makes not only RT 1.7 share his liking for hiking, often trudging SpeedTreeMaya, plug-ins beautiful trees, but the natural around for hours—days!—in various for the respective shadows that they cast. MMORPGs? Or that they’d be just as picky programs. Although all STATS about the look of those beeches, birches, these tools can work in IDV INC. and pines? Luckily, those trees and 27 conjunction with each 5446 Sunset Blvd. Lexington, SC 29072 others are found in SpeedTreeRT 1.7, the other, you can and 803.356.1999 latest version of IDV’s unique software match the components www..com that’s used for creating and populating that you need to fit your also easily toggle the ground and sky virtual landscapes with trees. development environment. This review textures, various light sources, and the PRICE $5,995 per game title or Put yourself in the shoes of any game focuses only on SpeedTreeRT. wind source. project for full license producer or environmental art lead. Before I begin, let me warn you that (PC only). You’ve got to fill a landscape with realistic this review contains a really big spoiler. THE F5 TRAP $9,995 per game title or moving flora in a timely and efficient And here it is: When I first opened Nearly all other functions within the project for UNREAL Engine 3 license. manner, and within the ridiculously short SpeedTree, I saw—a tree! package require that you press the $9,995 per game title or time allotted. You have two choices. There was, in fact, a beautifully rendered Compute (F5) button before you can project for Xbox 360 First, you could do things the old school picture of a tree in a large window. see your work on the 3D tree. This was license. way, which would mean a) building a I then realized that it was the 3D tree I only a bother at first, since it took my SpeedTreeRT annual support: $2,495 per year. variety of trees within your 3D package would be working on, one that would teensy brain just a few tries to latch of choice; b) providing for lower-poly enable me to edit existing SpeedTree onto the fact that I wouldn’t see any MINIMUM SYSTEM collision objects to match each tree; c) trees or build new ones from scratch. change until I hit F5. REQUIREMENTS rigging them for animation; d) producing After my initial reaction wore off (in Once the software modified my behavior, SpeedTreeRT 1.7 works on most 3D accelerated three to five level of detail (LOD) models seconds), I observed the interface box to I started cooking with gas, partner. While platforms (major of each; and finally e) placing them onto the left of the picture and felt a bit leery some aspects of SpeedTree—most consoles, PCs, etc.). a game panorama that could be as small of it. It had all the ambiance of something notably the Wind and LOD tabs—require (Other SpeedTree family as New York’s Central Park or as big as designed by Sgt. Joe Friday (he of the you to type in values via the keyboard, products have additional requirements.) Washington, Oregon, Wyoming, and “just the facts, ma’am” fame): acres of others let you use curve editors instead. I Montana all stitched together. Most pros gray framing, lots of selection tabs, and took to these quite quickly because they PROS give up half way through step d). white numeric entry boxes, with just were more fun and intuitive. With about 1. Quick and easy to get Alternatively, you could fill your enough colored icons to give it some as much accountability as a kid in a started. 2. Provides the landscape the new school way by using graphical appeal. candy store, I began modifying my tree’s information you need SpeedTreeRT—enough said. It does it all. But get past the menu’s utilitarian look trunk, branches, fronds, leaves, wind, in a graphical way. and you find unabashed functionality lighting, and LOD values. 3. The pro’s choice.

THE $5 SPEEDTREE TOUR that’s so pure it belies the need for a One quick tip: Experiment with the CONS SpeedTree actually has a family of manual at all. Global tab right away. Within the Seeds 1. The graphs are great, offerings, comprising SpeedTreeRT, a C++ If you haven’t downloaded the free section, check Randomize for both Main but would be better if API; SpeedTreeCAD, a stand-alone SpeedTree demo, here’s my quick take on seed and Flare seeds, then hit F5 several mouse sliders were application; Tree what I experienced with the package. times. Each time, you’ll see a randomly added to number boxes. model library, which contains more than Playing with the row of graphical icons generated version of the tree you’re 2. An auto update option 170 species of trees and plants, and across the top of the screen provided me working on. Randomizing allows you to would be helpful to almost 1,000 models, representing with instant gratification, since I was quickly see how much (or little) variety a alleviate all those F5 various seasons, growth phases, and able to see or not see various object forest of your trees will have. button presses. 3. Moderate pricepoint. graphic densities for those species, as types on my visible tree (specifically But I digress. Before you could say, well as bark maps, leaf maps, and normal branches, leaves, and fronds). I could “Miracle Gro,” I had experienced all the

WWW.GDMAG.COM 7 [SKUNK WORKS]

SPACE PILOT individual textures it required and made substitute ones. Upon loading them into STATS the package, my new textures needed beautiful trees using a wide array of 3DCONNEXION madcap hi-jinks that I’m sure most adjusting to make them appear the way I mesmerizing and destructive weapons. 180 Knowles Dr. people do when they how easy wanted. To fix the tree, I needed to make Why not? It’s their game. Los Gatos, CA 95032 408.376.2500 SpeedTree is to use. I made a mutant Red the same changes to all four leaf types. In another , a helicopter www.3dconnexion.com Oak the size of the Sears Tower, adjusted In retrospect, I should have made one being flown around terrain clad in the wind to hurricane status, and set the leaf, loaded into all of the slots for the SpeedTree-style flora generates wind that PRICE trunk values such that my tree bent tree’s leaves, observed the results, then, makes individual trees sway in a realistic $499 (though academic discounts are available) nearly horizontal. I also increased the leaf when the leaf was perfected, create three manner. Changes in prop speed are size to such an extent that they looked variations to match it. As they say, reflected in real time. Remember games SYSTEM REQUIREMENTS like elephant ears waving on pick-up stix. hindsight is 20/20. that had trees looking as though they Intel Pentium 4/III or And was I ever pleased. were frozen in amber? Those days are AMD Athlon processor based system. GETTING FROM OUT HERE TO IN THERE going, going, gone. 20MB free disk space for STEMMING BEYOND THE Once I got my custom trees in shape, it and plug-in Working with SpeedTree’s trees was time to put them to use in a real-time BARK UP THE RIGHT TREE installation (CD-ROM enabled me to make flora that had more application: my game. If misery loves company, so does device required). USB 1.1 or 2.0. than enough verve to suit my needs, but I I had to make a composite map of all excellence. SpeedTreeRT is the choice of pushed myself still further and that’s the textures my trees would use within so many game developers because it is OPERATING SYSTEMS when I could tell I was making mistakes. the game world. After consulting the simply the best at what it does: making SUPPORTED That was when I reviewed SpeedTree’s manual (real gamers use manuals), I trees ... and bushes, and cacti, and, well, Windows 2000 & XP manual and the help section it provides. opened the package’s Export Composite whatever you’d like. Think about that when APPLICATIONS Creating an entire tree from scratch is Leaf/Frond/Billboard menu. To the left is a you’re contemplating a little eight- or nine- SUPPORTED for the birds, especially if you’re new to list of all available trees, so I selected the mile trek through the deepest snow. More than 100 the package. You’ll get going much faster new ones I had created. Once you take in the full measure of applications supported, including 3DS Max, by simply modifying one of the basic I was able to set the values of some SpeedTree, you’ll realize the amount of Maya, Softimage, Rhino, trees that are provided in the package. variables, such as the size of the resulting flexibility it gives you. The only limitation and Photoshop. For example, when I wanted to create composite map, and include various is how bad you desire to do something

PROS new foliage, I had far less to worry about billboards of the finished tree to use as cool—with trees, that is. 1. Out-of-the-box if I simply substituted my custom leaf the lowest LOD. This menu also allows for installation and startup texture for the one specified in the 360 degree views of the tree to be stored TOM CARROLL is a 3D environment were amazingly easy. aforementioned Red Oak. to provide the most convincingly real low- artist with . He also 2. Great tutorials get the I also found that no matter how much I level LOD. user familiar with a tries not to abuse the English language pretty unusual piece of tried, my hand-painted leaf textures After clicking Add, I could preview the hardware. didn’t look as believable as when I started maps required for each tree. I then clicked (too much). Contact him at 3. Incredibly intuitive with downloaded images of real foliage. Create In Folder to move the composite [email protected]. device once the Although Photoshop allowed me to add map and all associated files to a folder of relatively short learning curve is hurdled. detail and completeness to the textures, my choosing. It was that simple. as well as the alpha channel, real leaves Although I didn’t need to use it for my 3DCONNEXION’S CONS are the best starting point. own purposes, the Export Composite SPACEPILOT 1. Moderately expensive One of the mistakes I made more often Leaf/Frond/Billboard menu also lets you By Spencer Lindsay for a peripheral device. 2. Because Autodesk than I’d like to admit (and you will too if it’s export single images of trees—to use as probably never foresaw late at night or right before a deadline) was billboards, or to use within Photoshop for ABOUT FIVE YEARS AGO, WHILE WORKING people being able to to leave the pivot point for a 3D leaf cluster numerous other reasons—as well as on a game deadline, my right wrist rotate the view and in the centered position. Once I imported various components for constructing a started to tingle. I ignored it. render simultaneously, Max freezes when the cluster and loaded it onto my tree, my self-shadowing tree. A few days later the whole edge of my moving the SpacePilot leaves tended to twirl around and around Once the correct files have been right hand had fallen asleep and was controller cap and instead of waving as they should do. You exported, a programmer can use seemingly un-responsive. I couldn’t work hitting the render have to manually move the pivot point to SpeedTreeRT to interpret and manipulate on my project and had to sit around button at the same time. the spot where the stems join together. the tree data within the framework of a testing the game instead of building it for 3. The SpacePilot is Simplicity really works well for real-time . At this point, a few days. A technical artist co-worker sometimes un- SpeedTree. For example, I wanted to anything within reason is possible. For was using a Wacom tablet instead of a responsive when Max create new leaf textures for a rather instance, those crazy guys at NCsoft mouse for all of his 3D and 2D work and, is left idle for an hour or so. complex tree that had four individual leaf have made it so people playing AUTO seeing as he had no problems with his types, so I took a look at how many ASSAULT can destroy the gently waving, wrists, I ran out and got one. It was a

8 OCTOBER 2005 | GAME DEVELOPER moment of discovery that you don’t get very often. Suddenly, I could move around PILOTING IN 3D in 3D and in 2D without having to crimp The SpacePilot is compatible with more my hand into some grotesque claw. I was than 100 applications, including 3D happy. I was satisfied. Studio Max, Maya, and Adobe Photoshop. Until now. Although I didn’t try it out, I understand you can even use it with . SPACE GENIUS Setting up the SpacePilot was a breeze, Now, I’ve found a new gizmo, a gizmo that and the software tutorials that started has again transformed my workflow and immediately after I finished installing comfort in ways I never thought possible. were extremely helpful. I had all the 3Dconnexion’s SpacePilot is a device information I needed to start working that sits to one side of your keyboard and with this thing within five minutes of acts as a conduit into your 3D scene. It’s opening the box. designed to work effectively for both right- The SpacePilot was recognized by all handed and southpaw artists. the applications on my system it was After a few minutes of fiddling with it, I compatible with, and I encountered very was able to edit and maneuver my 3D few problems upon starting up. scene in a very intuitive and comfortable However, if the computer was left idle way. long enough for the screen saver to come Sleek, with display panel glowing blue, on, the SpacePilot was sometimes sluggish the hardware itself is both attractive and for a few seconds when I came back to it. ergonomic. It looks like something Captain Also, 3DS Max would crash if I rotated the Picard would have embedded in his model and hit the render button at the command chair. A series of six buttons same time. (This last issue will no doubt be across the top allows for a vast array of handled by a new driver release.) user settings so you can set it to have different functionality based on which LAUNCH task you’re performing. In order to give the SpacePilot a fair shake, In addition to the user-configurable I decided to use it for the full cycle of one buttons across the top, there are four of my modeling and animation projects. For The SpacePilot is a peripheral hardware device for artists—and handy keyboard modifier keys to the left of the first few hours, I found it to be a bit indispensible for carpal tunnel syndrome sufferers. the controller cap (Shift, Escape, Control, disorienting. I wasn’t used to being able to and Alt) that allow for fast selections and pan, zoom, and roll simultaneously; but de-selections without having to return to once I broke through the rather shallow efficiently while simultaneously rolling my the keyboard. This feature may seem learning curve, and after a solid day of work around the screen. It gives you the superfluous at first glance, but after using working with it, I found that being able to do ability to move the model and tweak verts, this piece of hardware for a few hours, I all three of these functions at the same animation keyframes, and found I could do all the maneuvering I time sped up my modeling and animation parameters, all while maneuvering around needed without putting my left hand on the tasks dramatically. the object like a dogfighter. keyboard at all. Being able to rotate and pan my camera I’ve also noticed that the cramped To the right of the controller cap is a very while scrubbing the animation slider gives feeling I usually have in my mouse hand useful set of buttons that provide access artists the ability to view and edit models after a few hours of modeling has to Top, Side, Bottom, and Front views as and their keyframes at the same time. This disappeared. well as a handy Fit button that I used quite is something I hadn’t been able to do In the projects I’ve used it with so far, the a bit while figuring out how to operate this before without making a camera rig to maneuverability and ease of use of the thing; it lets you easily jump from looking attach to parts of my animation. SpacePilot has made for some of the at large and small scale models. Above the My animation tasks were greatly sped fastest and most accurate production I’ve orthogonal Fit button is a set of tuning up by virtue of the SpacePilot because I been able to accomplish. * keys which let you adjust the sensitivity of didn’t need to stop the animation, move the device, a feature that really comes in the camera, and restart the animation. I SPENCER LINDSAY is an independent handy when learning how to use the simply scrubbed back and forth through consultant who works with game SpacePilot. my keyframes while keeping the camera Not only is the device itself easy to install on the object of interest. development teams and design firms. and use, but the customer support system The SpacePilot also increases modeling Email him at [email protected]. that 3Dconnexion provides is stellar. productivity. I was able to edit quickly and

WWW.GDMAG.COM 9

>> tristan donovan

>> THIS YEAR MARKS THE THIRD ITERATION OF THE GAME DEVELOPER TOP 20 PUBLISHERS RANKING, and we’re confident that while the list certainly has its share of familiar faces, it’s also home to a TRISTAN DONOVAN is a freelance journalist few surprises. As the market shifts and consolidates, so too do the denizens of our ranking. based in the U.K. Email him The obvious non-appearance this year is Acclaim, which lapsed into bankruptcy between last at [email protected]. year’s guide being written and published. Stronger international showings by and Capcom Brandon Sheffield have knocked Koei and Empire out of the top 20, and with more acquisitions in 2005, and more contributed to this article. likely on the horizon, our list is likely to be even more interesting as time goes by.

ELECTRONIC ARTS IS ONCE AGAIN, FOR THE THIRD straight year, the Top 20 Publishers’ top dog. The company boasts an annual revenue of more than $3.1 billion, and EA also shows the biggest number of releases of any top 20 publisher, thanks to its commitment to multi-format releases. EA increased its 1. internal development division with the incorporation of Year formed: 1982 Criterion Software in 2004, upped its investment in cell Headquarters: Redwood City, Calif. phone games, and has growing plans to establish a Studios: Criterion (Guildford, U.K.); EA Black Box (Vancouver); studio in China. In late 2004, EA bought a 19.9 percent EA Canada (Montreal and Vancouver); EA Los Angeles (Playa Vista, Calif.); EA Japan (Roppongi, Japan); EA Redwood Shores (Redwood share of Ubisoft, which was met with strong resistance City, Calif.); EA U.K. (Chertsey, U.K.); Maxis (Walnut Creek, Calif.); from the French publisher. EA also struck long-term EA Tiburon (Orlando) deals with ESPN and the NFL, giving EA Sports’

WWW.GDMAG.COM 11 forthcoming football titles the distinction of being the only games that may been added to the empire. Even after those purchases, the company, bear official player names, stats, and logos. which has joined the ranks of publishers boasting an annual turnover in excess The company also took on retail publishing duties for HALF-LIFE developer Valve, of $1 billion, has more than $700 million in cash to play with, proving that which had previously been held by Vivendi Universal Games, and co-founded a Activision’s policy of leaving studios more autonomous after purchasing them record label, Next Level Music LLC. EA’s particularly notable titles for 2004 works just as well as EA’s consolidation method. Always adventurous, Activision include BURNOUT 3: TAKEDOWN, from aforementioned newly-incorporated studio released games on even the most obscure of consoles, with games licensed for Criterion, successful THE LORD OF THE RINGS and THE SIMS franchise extensions, and the now-defunct Tapwave Zodiac PDA game system and ’s N-Gage. of course, multiple branded sports titles across multiple genres.

2. ACTIVISION 3. MICROSOFT GAME STUDIOS Year formed: 1979 Year formed: 1975 Headquarters: Santa Monica, Calif. Headquarters: Redmond, Wash. Studios: (Quebec City); (Encino, Calif.); Studios: Studios (Redmond, Wash.); Ensemble Studios Luxoflux (Santa Monica, Calif.); Neversoft (Encino and Woodland (Dallas); FASA (Redmond, Wash.); (Twycross, U.K.); Hills, Calif.); Raven Studios (Madison, Wis.); (San Microsoft Game Studios Japan (Tokyo); Redmond, Wash. Francisco); (Novato, Calif.); (Santa Monica, Calif.); (Mountain View, Calif. and Troy, N.Y.); SINCE THE LAUNCH OF THE XBOX, MICROSOFT’S RISE UP THE TOP 20 HAS Z-Axis (Foster City, Calif.) been swift. In 2003 it came in respectably at ninth, but has since pushed its way up the charts. Aided by smash hits like 2, Microsoft is increasingly A HIGH NUMBER OF RELEASES AND BOOSTED REVENUES HAVE PROPELLED focused on Xbox titles, and has arguably focused less on its PC game Activision to number two on our list, well up from last year, on the back of releases, though some, such as RISE OF NATIONS and 2, still thrive. strong releases such as the critically acclaimed ROME: TOTAL WAR, a second Because the Xbox has continued to struggle with market penetration in iteration of the TONY HAWK’S UNDERGROUND series, and a host of successful license Japan, a significant part of the market is largely closed to Microsoft titles tie-ins, from X-MEN LEGENDS to SPIDER-MAN 2. Armed with years of know-how as (though the Microsoft Game Studios Japan-developed title was the first ever third-party publisher and a healthy bank account, Activision has critically appreciated in all markets). With the impending launch of the Xbox also been expanding its already sizeable roster of internal studios during the 360, Microsoft will increasingly focus its efforts in that direction, also signing past year. As a result, Toys For Bob, Beenox, and Vicarious Visions have all high-profile deals with several Japanese developers, such as FINAL

Rank No. of Percent of externally Producer Milestone Pay and Average game Publisher 2005 2004 2003 Score releases developed titles rating payment rating perks review score

Electronic Arts 1 1 1 254 126 17 8.52 8.50 8.91 81

Activision 2 7 4 229 76 63 9.25 9.60 9.40 65.40

Microsoft 3 2 9 227.5 20 60 9.60 9.85 10.00 80.56

Nintendo 4 10 3 219 69 32 8.50 10.00 8.50 76.08

Sony Computer Entertainment 5 3 2 213 41 37 9.18 9.55 8.50 75.07

Ubisoft 6 5 12 205 65 55 9.48 8.05 9.25 70.25

Konami 7 15 8 203 78 15 8.80 10.00 8.50 67.03

THQ 8 4 13 199.5 94 55 9.31 9.42 8.50 65.68

Sega Sammy 9 14 10 198.5 75 31 8.65 7.60 9.40 70.55

Take Two 10 8 6 195.5 42 67 9.40 7.60 8.50 69

Namco 11 20 16 194.5 35 51 9.10 9.40 10.00 74.30

Vivendi Universal Games 12 11 5 180 43 72 8.73 8.92 9.00 68.93

Atari 13 9 7 174.5 67 70 8.84 7.68 8.20 67.63

SCi/Eidos 14 6 19 167 35 51 9.70 9.70 8.50 70.94

Capcom 15 – 14 142 39 21 8.50 8.50 8.50 73.39

Square 16 16 11 134.5 19 21 8.50 8.50 8.50 71.90

Bandai 17 – 15 123 49 51 8.50 8.50 8.50 63.44

Codemasters 18 12 – 121.5 17 29 7.60 9.40 8.50 75.86

Midway 19 17 20 121 22 32 8.50 8.50 8.50 78.20

LucasArts 20 – – 115.5 9 89 8.50 8.50 8.50 81.60

12 OCTOBER 2005 | GAME DEVELOPER creator Hironobu Sakaguchi’s new company WindWalker and Tetsuya studios into a single entity, Nintendo Entertainment Analysis and Mizuguchi’s Q Entertainment. Development. This brings the makers of WARE together with the makers of While Microsoft has some important studios under its wing— Bungie, THE LEGEND OF ZELDA, which could potentially produce some interesting properties. Ensemble, and Rare—it continues to use external studios heavily, with outsiders producing around 60 percent of its titles. 5. SONY COMPUTER ENTERTAINMENT Year formed: 1993 Headquarters: Tokyo Studios: Bend, Ore.; Cambridge, U.K.; Contrail (Tokyo); Foster City, Calif.; (Salt Lake City); Liverpool, U.K.; 4. NINTENDO London; (Tokyo); San Diego; Year formed: 1933 Naughty Dog (Santa Monica, Calif.); Seoul; Headquarters: , Japan SN Systems (Bristol, U.K.); Tokyo; Zener Studios: Brownie Brown (Tokyo); Works (Tokyo) (Kyoto, Japan); NDCube (Tokyo); Nintendo Entertainment Analysis and Development (Kyoto, Japan); Nintendo of America THE ARRIVAL OF THE PSP AND THE EVENTUAL RELEASE OF THE PLAYSTATION 3 (Seattle); (Austin); Systems Research & have prompted a small expansion in Sony’s impressive collection of internal Development (Kyoto and Osaka, Japan) development studios. To help produce games for the PSP, it set up a studio in South Korea and more recently purchased British middleware developer ANOTHER YEAR OF STRONG SALES FOR ITS SOFTWARE, AND THE SUCCESS OF SN Systems to aid PlayStation 3 game creation. Interestingly, as the console the DS and Advance show that Nintendo can still hold its own hardware market leader, Sony’s internal development has been largely against Sony and Microsoft. Software for the DS in particular has been strong, original IP-focused. Games such as the critically acclaimed and and Nintendo continues to develop its POKEMON franchise on the Game Boy RATCHET AND CLANK 3 have served to boost Sony’s credentials as a triple-A Advance and elsewhere, which has boosted the company back into our top developer and publisher, but without the sheer software revenue volume of five. Though Nintendo certainly likes to reuse its characters, there’s no an EA, and releasing on fewer SKUs than the third parties, Sony slips to shortage of innovation from the granddad of Japanese game developers. The number five this year. DS was a bold hardware-based move, and Nintendo has followed that with bold, critically acclaimed software, such as ELECTROPLANKTON and NINTENDOGS, also strengthening revenue by virtue of first-party game dominance. Internally, 6. UBISOFT there have been some changes: the firm has merged its main Kyoto-based Year formed: 1986 Headquarters: Montreuil-sous-Bois, France Studios: Annecy, France; Barcelona; Blue Byte (Düsseldorf, Germany); Bucharest; Casablanca; Milan;

Titles by platform (percent) No. of internal Montpellier, France; Montreal; Quebec City; Paris; Red Storm Computer Console Handheld Mobile studios (Morrisville, N.C.); Shanghai; Wolfpack (Austin)

17.46 66.67 14.28 1.59 10 WITH 13 STUDIOS AND ABOUT 3,000 EMPLOYEES, UBISOFT’S INTERNAL

39.48 39.48 18.43 2.63 10 development setup is one of the largest in the world. The company has long been keen to reduce its reliance on external development, and the continuing expansion 10 85 5 0 6 of its internal studios in Quebec and Shanghai will, in the short term, doubtless 0 24.64 75.36 0 7 help. The company also fended off an acquisition attempt from American rival EA, 0 78.05 19.51 2.44 14 with several potential methods floated before ultimately settling on restructuring, and a push toward further expansion, to that end buying up the development 30.77 58.46 10.77 0 13 division of Canadian publisher Microids, and announcing a new line of sports titles. 10.26 61.54 23.07 5.13 6 The company continues to intelligently balance original IP, such as 20.21 32.97 22.34 24.47 11 and : THE WARRIOR WITHIN, with key licenses, such as the Tom Clancy

16 66.66 11.99 5.33 7 line of games.

7.14 88.10 4.76 0 13

0 71.42 28.57 0 2 7. KONAMI

37.21 37.21 20.94 4.65 6 Year formed: 1973 Headquarters: Tokyo 32.84 44.78 20.89 1.49 6 Studios: (Tokyo, Sapporo, 28.57 65.57 3 2.86 5 San Francisco); Konami Computer Entertainment (Tokyo); 2.56 64.10 25.65 7.69 4 Konami Digital Entertainment (Honolulu, San Jose); Konami

15.79 31.58 15.79 36.84 5 Software Shanghai (Shanghai); Kojima Productions (Tokyo)

28.57 60.57 8 2.86 3 AFTER YEARS OF KEEPING ITS INTERNAL DEVELOPMENT GROUPS SEPARATE, 23.53 76.47 0 0 2 Konami has rolled its Japanese studios into a single Tokyo-located entity. 9.09 81.91 9 0 6 Improved efficiency is the main impetus behind this move, Konami claims,

33.33 66.66 0 0 1

WWW.GDMAG.COM 13 9. SAMMY HOLDINGS Year formed: 1952 (Sega); 1975 (Sammy) Headquarters: Tokyo which doesn’t seem to have slowed it down any. The company also Studios: (Horsham, divested itself of all interest in Japanese niche game company and U.K. and Fortitude Valley, Australia); toymaker Takara (through stock owned by ), which went on to merge Racing Studio (Birmingham, U.K.); Red with fellow toymaker Tomy. As a result, Konami now owns just three Entertainment (Tokyo); Sega Shanghai Studios (Shanghai); Sega Konami-branded studios and three under the brand of Hudson, a developer Studios (Tokyo); Sega Studios USA (San Francisco) and publisher it acquired in April 2005. These studios pump out games at a regular pitch, so just 15 percent of WITH THE MERGER WITH SAMMY DONE AND DUSTED, SEGA HAS UNDERGONE Konami’s games originate outside its own studios. Konami’s American some serious changes in a bid to get the company back to profitability after a publishing arm has been working hard to increase that number, though, decade of losses. Among the changes were the sale of Kush Games and Visual bringing externally-developed games such as DEATH JR. to consoles, while Concepts to Take Two, the purchase of Creative Assembly (developer of ROME: maintaining popular internal series such as SOLID, CASTLEVANIA, and TOTAL WAR), the loss of high-profile developer Tetsuya Mizuguchi, who formed his PRO EVOLUTION SOCCER/WINNING ELEVEN. own studio (Q Entertainment), and the merging of Sega’s seven Tokyo studios. In addition, Sammy’s U.S.-based internal development team Sammy Studios became an independent company called Studios, and Sega’s 8. THQ American and European management was merged. Finally, Sega has begun Year formed: 1989 putting together a U.K.-based studio dedicated to developing racing games. But Headquarters: Calabasas Hills, Calif. while the restructuring has been significant, troubles remain. In Japan the Studios: Blue Tongue Entertainment company was hit by a tax-evasion scandal and the death of a customer at one (Melbourne); Concrete Games (San Diego); Cranky Pants Games of its amusement arcades. Even so, the merger has largely been successful, (Kirkland, Wash.); Heavy Iron Studios (Culver City, Calif.); Helixe with Sega back in the black, floated by tie-ins with Sammy’s lucrative pachinko (Burlington, Mass.); New York; Rainbow Multimedia Group business and somewhat more cautious development and publishing choices. (Phoenix); (Vancouver); THQ Australia Sega loves original IP and has continued its SONIC, SHINING FORCE, and PHANTASY STAR Studios (Spring Hill, Australia); THQ Wireless (Calabasas Hills, brands to decent success, and in this year of restructuring, has spent more Calif.); Volition (Champaign, Ill.) time re-releasing its back catalog, and developing unique licensed IP.

DESPITE SLIPPING BACK DOWN THE TOP 20 A LITTLE, THQ HAS BEEN building its industry presence greatly during the past 12 months. It now 10. TAKE TWO INTERACTIVE boasts 11 internal development studios, including the recently acquired Year formed: 1993 Blue Tongue Entertainment, and is now the Top 20’s second most prolific Headquarters: New York publisher—only Electronic Arts beats THQ in this department. Studios: Cat Daddy Games (Bellevue, Wash.); Frog THQ is one of the foremost developers with interest in Australia, with two City (San Francisco); Indie Built (Salt Lake City); studios in the up-and-coming area, and is still best known for its licensed Kush Games (Camarillo, Calif.); PopTop Software (Fenton, Mo.); titles, publishing everything from Sega- and Rare-branded Game Boy (Leeds, U.K.); (Edinburgh); Advance titles, to its lucrative Nickelodeon and Pixar licenses and Game Rockstar San Diego (San Diego); (Toronto); Boy Advance titles, through major wrestling licenses. Even so, the (Vancouver); (Vienna); company is moving further into original IP, DESTROY ALL HUMANS! being one of (Newcastle, U.K.); the more notable, thanks to developer Pandemic. (San Rafael, Calif.)

WITH THE MULTI-MILLION SALES OF : SAN ANDREAS (12 million at the last count), Take Two has enjoyed another bumper year. The methodology cash from its flagship series has fueled the buyout of several developers,

The Game Developer Top 20 ranks payments; and the quality of staff pay sites and dedicated gaming web sites. The received a rating of 30. This was repeated publishers using a score calculated from and perks. average review score ratings were based for all measures and the totals were each publisher’s performance in several Annual turnover figures come from the on information from .com. A weighted and added together to give a measures. First, a list of the top 30 publishers’ annual accounts or, when confidential online survey of developers final score which determined the Top 20 publishers is drawn up based on revenue these are not public, from our own provided the data for the quality of Publishers list for 2005. or, when revenue data is unavailable, estimates based on the sales of games producers, reliability of milestone Every effort has been made to ensure estimates. they release. The number of releases, payments, and the pay and perks. the accuracy of the information contained Then each publisher is given a score which counts the publication of the same The top 30 publishers were ranked within this article. But we cannot based on the following six measures— game on different formats as separate according to each of the six measures. The guarantee its accuracy or completeness. annual turnover; number of releases; releases, comes from the publishers or, lowest scoring publisher received a score We do not accept liability for any direct, average review score; quality of when they were unable to provide this of one, the next lowest a score of two and indirect, or consequential loss arising producers; reliability of milestone information, from information on their web so on until the highest scoring publisher from its use.

14 OCTOBER 2005 | GAME DEVELOPER . . image courtesy of Ubisoft™ image courtesy of Ubisoft™ Chaos Theory™ ® Tom Clancy’s Splinter Cell Splinter Cell Clancy’s Clancy’s Tom

Idea: Create the most gripping and realistic stealth on the market. So real it renders fear. Realized: Ubisoft™ modeled and animated the realistic characters and backgrounds of Tom Clancy’s Splinter Cell® Chaos Theory™ with Autodesk’s 3ds Max to build on one of the most popular series ever. The work-horse capability of 3ds Max helped Ubisoft stay on top of their grueling production schedule and garner a 9.9 out of 10 by Offi cial Xbox Magazine. To see how Autodesk can help you realize your most innovative ideas, visit www.autodesk.com

Autodesk and 3ds Max are registered trademarks of Autodesk, Inc., in the USA and/or other countries. All other brand names, proproductduct names, or trademarks belong to their respective holders. © 2005 Autodesk, Inc. All rights reserved. including Venom Studios and Sega’s Visual Concepts and Kush Games. The 13. ATARI expansion has prompted the creation of two new publishing labels for the Year formed: 1983 firm— Games and 2K Sports—to add to its existing ones: Headquarters: Lyon, France and Global Star. But there has been some bad news too. The “Hot Coffee” mod Studios: Atari Interactive (Beverly, Mass.); for SAN ANDREAS, which allows players to access previously inaccessible sex Atari Melbourne House (Melbourne, scenes, has forced a recall of the game. An SEC investigation into the Australia); Eden Studios (Lyon, France); Paradigm Entertainment publisher’s accounting has ended with Take Two paying out a $7.5 million civil (Dallas); Reflections (Newcastle, U.K.); Shiny Entertainment penalty, while neither denying nor admitting any wrongdoing. Our current (Newport Beach, Calif.) methodology lumps reviews for any given company’s titles into one group, and Global Star’s value brand has hurt Take Two here, as budget titles are STILL STRUGGLING TO COPE WITH A CASE OF INDIGESTION AFTER ITS LATE generally reviewed less well. These factors account for Take Two’s slip in the Top 1990s buyout bonanza, Atari has steadily been descending the Top 20. 20, but as the company aggressively turns out its well-rated 2K Sports brand Though Humongous Entertainment was still internal for the financial year with content from Visual Concepts, and continues pushing the boundaries of the ending March 2005, Atari sold Humongous to parent company Infogrames for M rating with innovative original IP, next year is anyone’s game. $10.5 million in April. As has been its modus operandi for the past few years, Atari is still largely relying on key, potentially large-selling titles such as THE MATRIX: PATH OF NEO, and is banking on its original IP (MISSILE COMMAND, CENTIPEDE) for 11. NAMCO use in a range of retro compilations. Year formed: 1955 Headquarters: Tokyo Studios: San Jose, Calif.; Yokohama, Japan 14. SCI/EIDOS Year formed: 1988 (SCi); 1990 (Eidos) NAMCO SEEMS TO BE AGGRESSIVELY PURSUING TWO VERY DIFFERENT Headquarters: London directions with its two studios. First, the Japanese branch seems keen on Studios: Beautiful Game Studios (London); Core Design (Derby, developing original IP, such as TAIKO NO TATSUJIN and , both cult hits U.K.); (Palo Alto, Calif.); IO Interactive in the U.S. as well as their native Japan. The company also fleshes out its (Copenhagen); Pivotal Games (Bath, U.K.) established series whenever possible, with new iterations in the TEKKEN and RIDGE RACER series, the latter of which seems to show up as a launch title for WHILE SMALL UK PUBLISHER SCI FAILED TO MAKE THE TOP 20 IN 2003 AND every new console. 2004, its ambitious takeover of Eidos (a far bigger company) has propelled Second, the U.S. division is ramping up its publishing business with a it to global attention. Since the merger has only just gone through, SCi is still number of deals in the children’s sector. The company has supplemented working out the new structure for the firm, but so far Eidos’ four studios and this with the creation of a handheld game division at its San Jose studio SCi’s Pivotal Games (CONFLICT: DESERT STORM) remain in place. But one studio and a significant push to improve its presence in the PC games market. that won’t be part of the new venture is , the former Eidos studio The company’s efforts in these various areas have boosted them up the that was shut down prior to the merger. Since a joint revenue figure for the Top 20 into a stronger position. Also of note: Namco announced this year post-merger company is not yet available, we calculated the group’s that it will be merging with Japanese toy, game and animation maker revenue by adding the last year-end results from both firms. SCi/Eidos has Bandai, a deal that will be official in late 2005, and will marry Namco’s also made another major shift, though this one is internal—the key TOMB internal original IP development with Bandai’s marketing power and RAIDER franchise has made a lateral move from original developer Core multimedia approach. Design to Crystal Dynamics, a team with more contemporary critical acclaim after the popular series. 12. VIVENDI UNIVERSAL GAMES Year formed: 2000 15. CAPCOM Headquarters: New York Year formed: 1979 Studios: Blizzard Console (Aliso Headquarters: Osaka Viejo, Calif.); Blizzard Studios: Clover Studios (Osaka); Entertainment (Irvine, Calif.); Studio 8 (Sunnyvale, Calif.); Team 1 (Osaka); Team 2, (Osaka); (Malmö, Sweden); (Vancouver); Sierra CAPCOM HAS ALWAYS ROOTED FOR THE UNDERDOG, WHICH LED TO THE Entertainment (Bellevue, Wash.); company’s rash of exclusive titles for the GameCube throughout the life of (Birmingham, U.K.) the console. The years 2004 and 2005 marked a generic end to this exclusivity, though, as the tactic was hurting Capcom financially. As such, VIVENDI UNIVERSAL GAMES HAS SPENT THE PAST YEAR BOLSTERING ITS critically lauded titles RESIDENT EVIL 4 and KILLER 7 have made their way from internal development activities with a hat trick of buyouts—Radical GameCube exclusives, to a PlayStation 2 port for the former, and Entertainment (most notable for reviving The Simpsons brand in video PlayStation 2 simultaneous launch for the latter. Capcom has also been games), Swingin’ Ape Studios (now Blizzard Console), and Swordfish Studios. investing in other developers, partnering with Grasshopper Manufacture Coupled with the massive success of both in the U.S. and for the development of KILLER 7 and Nudemaker for TEKKI. The Japanese internationally, things are looking up for the firm. The rather bitter, lawsuit- parent is now trusting the U.S. branch far more than in the past, granting spawning end of its relationship with HALF-LIFE developer Valve is a bit of a the FINAL FIGHT license to Capcom USA’s Studio 8. Capcom has also become blow, but even so, while a relatively new entity, Vivendi Universal remains a increasingly bold when it comes to publishing the work of others. It has potent player, and studio names such as Blizzard only strengthen its position. brought the GRAND THEFT AUTO series to Japan, and with it, the wrath of

16 OCTOBER 2005 | GAME DEVELOPER "ADDABING "ADDABOOM &OREVERYACTIONINGAMESTHEREISANEQUALANDOPPOSITEREACTION .EWTONS4HIRD,AWOF0HYS8

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¹!'%)!!LLRIGHTSRESERVED!LLLOGOSANDTRADEMARKSAREPROPERTIESOFTHEIRRESPECTIVEOWNERS Kanagawa prefecture, in the form of a regional ban. Capcom’s increase in 18. multi-SKU games, combined with solid reviews and a firm dedication to Year formed: 1986 original IP keeps the company in the Top 20, but relatively low revenue and Headquarters: Leamington a slightly reduced number of releases keeps the firm from the top 10. Spa, U.K. Studios: Leamington Spa, U.K.; New York

16. THE DECISION BY VENTURE CAPITAL FIRM BENCHMARK CAPITAL EUROPE Year formed: 1975 (Enix Corp., as Eidansha Boshu Service to buy 40 percent of Codemasters has ushered in several changes at the Center); 1986 (Square Co. Ltd.) veteran U.K. publisher. First off, co-founder David Darling has handed the Headquarters: Tokyo reigns to Rod Cousens, the former head of Acclaim. In addition, the Studios: Beijing; Los Angeles; Osaka; Tokyo; UIEvolution company has been bracing itself for the next generation of consoles with (Bellevue, Wash.) the help of a multi-million dollar war chest to buy into the games that it hopes will take it into the big league. While the company did not release THE PAST YEAR HAS SEEN SQUARE ENIX INCREASING ITS EMPHASIS many games in the financial period analyzed, those titles it did release on online and mobile games through the purchase of U.S.-based network were reviewed quite well, COLIN MCRAE RALLY 05 and TOCA RACE DRIVER 2 being applications business UIEvolution and the creation of a mobile phone and particularly appreciated within their genre. network games studio in Beijing. The company, whose 2004 flagship title was VIII, has also made a significant investment in development talent by continuing the Digital Entertainment Academy, a 19. MIDWAY division that runs game design schools in Japan. In addition to game and Year formed: 1988 middleware development, Square Enix publishes comics and books in Headquarters: Chicago Japan and has a licensing division for its game brands (the most notable Studios: Adelaide, of which are DRAGON QUEST and ). China is also high on Square Australia; Austin; Chicago; Los Angeles; San Diego; Surreal Enix’s agenda, and the company has been quick to establish a presence in Software (Seattle) the country. Remakes and re-releases were a big part of the company’s last year, and SINCE GAME DEVELOPER’S LAST TOP 20, MIDWAY HAS BEEN BUSY SNAPPING history is clearly important to Square Enix, as the company made a bid in up developers. Beginning in 2004, Midway added Surreal Software, August 2005 to integrate publisher and developer , Japan’s first Inevitable Entertainment (now Midway Studios Austin), Paradox arcade game maker and owner of the SPACE INVADERS IP. Taito is known for Development (now the Los Angeles studio), and most recently Australian being a more niche and arcade-based publisher, while Square Enix is firmly studio Ratbag Games (now Midway Studios Australia). On top of this in the RPG camp, and anything outside of that realm, up until now, has Midway has expanded its international operations, opening a sales and been little more than dalliance. marketing office in Germany in order to get a bigger slice of Europe’s biggest market. Midway has been working more and more in the field of original IP, publishing the company’s own properties, MORTAL KOMBAT and THE 17. BANDAI SUFFERING, as well as putting out Japanese RPG SHADOW HEARTS: COVENANT in the Year formed: 1950, as Bandai-ya U.S. Midway was once well known for its BLITZ and JAM lines of sports titles, Headquarters: Tokyo and with the new NFL deal to EA, is now looking to revive its alternative, Studios: Banpresoft (Tokyo); non-licensed sports lines in a big way. Bec Co. Ltd. (Tokyo); Tokyo

THOUGH NOT IN LAST YEAR’S TOP 20, BANDAI HAS HAD A VESTED INTEREST 20. LUCASARTS in the industry ever since the Nintendo Entertainment System days, with Year formed: 1982 its million-plus selling game MUSCLEMAN-MUSCLE TAG MATCH. The company is Headquarters: San Francisco well-known for its animation and toy divisions in America, but is not as big Studios: San Francisco of a player in the U.S. game space. Bandai, like Sega and Nintendo, has launched several home consoles, from its ambitious handheld Wonderswan AFTER SOME SHAKY MOMENTS IN 2004, LUCASARTS HAS COME BACK line, to the recent Western-targeted Bubble edutainment system. with a vengeance. Last summer the company cut back its San Francisco- Aside from the Bubble, though, no Bandai console has ever seen a based development studio, laying off 31 people and reducing the amount Western release. In the game publishing arena, Bandai has a penchant for of games in its pipeline. The cancellation of fan favorite SAM AND MAX 2 external developers, owning only a few internal teams. Instead, the added to the gloom. But a year later, the games division of George Lucas’ company either relies on third parties or invests in them heavily for future privately-owned Lucasfilm empire seems to have a new lease on life. Its collaboration. This lack of a large internal team is likely one of the prompts access to the Star Wars franchise was, predictably enough, central to this for the company’s merger with Namco, in which each company will profit recovery, with several smash hits including STAR WARS BATTLEFRONT, the from the strengths of the other, in a fashion not wholly dissimilar from biggest-selling Star Wars game of all time. LucasArts has also pledged to Square Enix’s model. Key Bandai titles are generally based on Japanese release more original products, doubtless encouraged by the strong sales anime, from One Piece to Inu Yasha to Cowboy Bebop, but since the of MERCENARIES. Despite few releases, the company’s success is not just a company also makes anime (Digimon), some of this work could be story of sales, since it boasts the most critically acclaimed games of any considered original IP. Top 20 publisher, scoring an average of 82.2 percent, though this is spread out across the fewest releases. *

18 OCTOBER 2005 | GAME DEVELOPER Simply cool. Mobile gaming with 3D.

int n=0; for(int i=2; i= 4096?0:TEXTURE[i] + (int)((4096/ 360)*ROT[n]); n++; } for(int i=0; i

It’s easier than you may think to add cool 3D effects to your mobile games with 3D sprites and transparency. For the ubject latest and greatest in mobile Java 3D development, go to www.SonyEricsson.com/developer/java3d. s reserved.

Creating cool 3D effects in your mobile games is easier than you may think. At Sony Ericsson Developer World you’ll fi nd everything you need to get up to speed in mobile JavaTM 3D development. From technical documentation to responsive tech support. Not to mention mobile plug-ins for Mascot Capsule v3 and JSR-184 (m3g) that let you use your favorite tools like 3D Studio Max, Maya and Lightwave. And while you’re exploring all the new dimensions of development, Sony Ericsson Developer World is there to help you on the fast track from mind to market. Go to www.SonyEricsson.com/developer/java3d to get the best in mobile Java 3D development. And to fi nd out just what mobile Java 3D can mean for your games and your business. to the trademark and other rights of Sony Ericsson or its content providers. Java is a trademark of Sun Microsystems. All right Java is a trademark of Sun Microsystems. to the trademark and other rights of Sony Ericsson or its content providers. © 2005 Sony Ericsson Mobile Communications AB. The products, screenshots, names, logos and company names displayed herein are s are names, logos and company names displayed herein screenshots, © 2005 Sony Ericsson Mobile Communications AB. The products,

www.SonyEricsson.com/developer

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$/.4-)334(%/.,9%6%.4$%$)#!4%$4/3%2)/53'!-%3 2%')34%24/$!9!43%2)/53'!-%335--)4#/- >> brandon sheffield

A PIRATE’S LIFE

INSIDE THREE RINGS’ STUDIO WITH DANIEL JAMES

>> YOHOHO! PUZZLE PIRATES IS A MASSIVELY MULTIPLAYER some money from friends, and then about a year ago, just online game that thrives in an atypical crowd that includes about 9 months after launching the game, we got some teenagers, middle-aged women, and disgruntled ex-hardcore funding from external investors. Not much in the overall gamers, all participating together in the same online society. scheme of things. San Francisco-based Three Rings Design, which owns PUZZLE PIRATES, has carved out a unique business model to sustain its BS: What have you learned in terms of attracting and employees and its flagship game despite the disparate player keeping customers? base. Game Developer recently caught up with Daniel James—designer of PUZZLE PIRATES and CEO of Three Rings—to DJ: We’re pretty good at keeping them! Attracting them is more of discuss the evolving business model of online games, the an issue, which we learned after a year and a half of operating future of MMOs, and Three Rings’ newest (though still in the game and trying to keep it appealing. You know, we didn’t development) game, BANG! HOWDY. go through the traditional big launch route, where you sell a lot at the beginning, then it sort of trails off. We’ve been doing Brandon Sheffield: Can you tell us some details on the gradual growth. PUZZLE PIRATES launch? In terms of what we’ve learned by gradually accumulating players, it’s tough to do without substantial marketing or the Daniel James: We started PUZZLE PIRATES with three people: two big bump from something like a successful retail launch. engineers and myself. Within the first year, we ramped up to I think one of the biggest barriers for us is that downloading six: three engineers, two artists, and me. With that team, we software at all is becoming a huge issue for a lot of potential put the game into open alpha testing. It was a year and a half players. A lot of players, particularly in the casual gaming until we could get it to where people could play it, and then space—the older, predominantly female market that groups another year and a bit before we could charge money for it. like Pogo specialize in, and the younger audience like teenagers—they’re just not into downloading software. BS: Did you have investors? Probably it’s because their parents have told them that if they break the computer by installing any adware-ridden DJ: A few. Three Rings was founded by myself and Michael software, they’ll maybe kill them. I think that’s increasingly Bayne, and most of the money came from us. We also took going to be a problem.

WWW.GDMAG.COM 21 A PIRATE’S LIFE

BS: In terms of the executable issue, what do you think about DJ: Sure, yeah. I think it depends on who cares. browser-based delivery? There are two groups of people who care. There are game developers, who think, ‘Oh, wouldn’t it be nice to work in a small DJ: Web browsers are really interesting, and when we made the company?’ The other group is the people actually involved in the decision to make PUZZLE PIRATES a stand-alone game, we weren’t game and the community. They care. aware of the executable barrier. I think it’s gotten even worse One of the luxuries we have as a small company is that we can with Windows XP and virus protection and so on. But also, we be very present and available to the community. That’s were convinced that we wouldn’t get the right performance something we’d like to continue, even if we get quite a bit bigger. running inside a web browser. If I were to start from It’s a huge help for how the players feel in the game, their scratch now, I would probably address that issue head- loyalty, and so on. on and try to build something within a browser. If you look at RUNESCAPE, I think one of the reasons it BS: Can you introduce BANG! HOWDY from a design standpoint? has done so well is that it runs inside a web browser. In some ways, it’s kind of contrary to common sense, in DJ: BANG! HOWDY is trying to do some different things from PUZZLE that you’d think that having something on the players’ PIRATES. It’s an experiment in doing 3D for us as a company, and desktop would be a good thing. But actually, it turns out an experiment in the ‘pay for stuff, free to play’ model. We’re that people just don’t want to install software. It depends on doing that with PUZZLE PIRATES, but we wanted to make a game out the audience as well, like for the Penny Arcade guys, or the core of the gate using that model. gaming sorts of people—those guys are fine. They’ll install It’s an experiment in what they call casual games in Korea, software with no problem. It’s the kids and older casual players which are games with short play cycles. Each round of the game who are scared of it. is five to 10 minutes. You can drop in, play a round, then leave. It’s much more of a pick up and play strategy game. It’s also a BS: How is the internationalization of PUZZLE PIRATES going? much smaller project than PUZZLE PIRATES, which was kind of a kitchen sink game. In PUZZLE PIRATES, we had all these great ideas, DJ: It’s interesting. We have a version out in Germany, and it’s and we put most of them in, then we got some more great ideas, doing okay. It’s not as successful as we’d hoped, but it has a and now we have a feature list as long as my arm. small community and is trucking along. With BANG!, we’ve got two guys working on it right now, hope to We did have a Chinese partner, and they imploded. That was a have three or four working on it by the end of the year, and hope small company that got the rights, and then basically just fell to have it shipped pretty much around the beginning of next over and kicked its feet in the air. year—and in public testing before that. We’re optimistic. It’s a We’re looking now at China, Korea, and Japan. good model. If we can make games in six to 12 months instead China is really interesting, but it’s very difficult to get any of 18 to 24 months, then we can make more games, which we’d money out of China. There may be one and a half million people like to do. This sort of game is really big in Korea right now, and playing WORLD OF WARCRAFT, but I don’t think Blizzard’s actually we’re really curious to see if it’ll getting paid very much for that. It’s kind of the Wild West. Maybe work in the U.S., and if we can if the right partner comes along; it’s not the sort of thing we can export it to Korea. do ourselves. The other thing is, even if we could, marketing and so on is very difficult in those countries, so we wouldn’t really BS: Do you gauge this as being know where to start. potentially profitable in the U.S.? I guess it’s a bit untried here. BS: Do you want to keep support for existing games as you bring out new ones? DJ: The is fairly untried, but the big thing is the item DJ: Absolutely. The way I look at PUZZLE PIRATES, and pretty much payment model. With item any game we do, is that it’s never going to go away. People are payment, it’s kind of untried with going to be playing PUZZLE PIRATES in 20 years. We may not be the Western audience, and nobody’s supporting it anymore, but we might just open-source it and really doing it in the U.S. apart from give it to the community, but there will be people playing that us on the games side. Item game. And that’s cool. I started another game 15 years ago, and payment is looking pretty good people are still playing that. for PUZZLE PIRATES. I don’t think there’s anything BS: What game is that? intrinsic about the U.S. audience that’s going to turn this model down. DJ: It’s called AVALON. It’s a text MUD. With smaller products, like Habbo Hotel, which is more of a chat site than a game, BS: Do you think it helped your initial street credibility to be a small it’s doing crazy business purely in independent developer, rather than part of a larger corporation? furniture sales, where you can buy things

22 OCTOBER 2005 | GAME DEVELOPER for your little hotel room. That’s driving nearly a $20 million business for them this year. It’s clearly something that people will do in Europe, and increasingly in the U.S. as well. I don’t know that there are any big question marks there; the question is really how best to deliver it. the big We have an exchange that’s player-driven in [PUZZLE PIRATES]. barrier that says You can exchange one currency for another [there are two you’ve got to give currencies in the game]. Right now, you can log onto one of the your credit card, and servers and buy the fruits of people’s labor, which they’re being you’ve got to connect to this reoccurring charge. paid the equivalent of 25 to 50 cents an hour to create. That exchange is taking place, so people who just want to buy stuff BS: Do you feel like you have any competitors? are essentially facilitating free play for those who don’t want to It seems like the casual MMO market isn’t really pay for anything. You can just roll up with your credit card and exploding with content. buy things, but you’re basically subsidizing other peoples’ experiences very directly. It’s a fair trade. I think that model is DJ: The thing I’m particularly concerned peculiar but gentle. about in terms of competition is that there’s a lot of venture capital being BS: So how did you plan the game with the international market thrown around right now. We’re in mind? getting calls every day from venture capitalists, and I worry about that a DJ: UTF encoding, so it’s easily localized. To some extent, we’re bit—it just disturbs me that people working a bit in the dark because it’s difficult to play all of these throw silly money into this and cause Korean games and really understand what’s going on, since a kind of frothiness and bad they’re all in Korean. But we’ve done some of that and kind of ideas, but ultimately worked it out. that may not matter A lot of the feedback we’ve gotten about PUZZLE PIRATES is that it’s either. not anime enough for the Korean audience, even though the I’d like it if people pirates are like big-head guys. So this time [with BANG! HOWDY] tried a lot of different we’re going a little more anime, but we’re trying to bridge that things. We’re all about gap between Western and international tastes. I think the proof experimentation and so on, so we will be in the pudding, ultimately. don’t claim to own the market at all. It’s just that no one yet We’ve got some interest from potential partners, and then has managed to bring something exactly the same. That said when the game’s up and running we’ll shop it around and see if of course, I think a lot of people have looked at PUZZLE PIRATES we can find someone who will take it out there. They’ll and said, ‘Well they did okay, but they didn’t blow it out of the probably want us to adapt it as well. Everyone who’s park, so maybe we won’t do that. We’ll make a WORLD OF wanted to take PUZZLE PIRATES into another territory has WARCRAFT clone, because those guys blew it out of the park.’ said, ‘We want to change this, and we want to do And you know, good luck with that one, and have fun raising that.’ We’re okay with all of that. Making the characters the $30 million you need. have bigger heads, that’s okay. BS: In the casual market, do you think the console space is at BS: How does this model work with people who all viable? Microsoft seems to be doing some pretty interesting pay set fees for services like Pogo has? things with .

DJ: It doesn’t. It would be a value add. Like on DJ: I think Arcade’s cool, and Microsoft is doing a great job of Pogo they could have the basic PUZZLE PIRATES, with leading the market there, and I think Sony and Nintendo will some of the pay-for features, but free to the user have to catch up big time. as part of the subscription. But then there would be I’m a little bit nervous about the console space. We were additional billing on top of that, which is not kind of excited about the PSP and the Nintendo DS, but even necessarily something Pogo wants to do. with those platforms you’re seeing budgets get really big, You’ve got to look at what Pogo’s doing, and you’re seeing production values being kind of a primary part think, ‘They’re getting $20 to $30 out of a of the selling message. All of this just really bugs me, and customer per year,’ and they’re probably looking basically for us to do a , we’d have to have a at that and thinking, ‘Maybe we could make publisher, and that brings us into the whole developer/ more money.’ I know they can make more publisher relationship that’s the bugbear of any independent money than that. third party developer. The whole subscription thing is going to go I’m also very reluctant to staff up my company with a bunch through some mutations. It’s very appealing of people, because if we get a publishing deal and the business, but there are some big barriers there. There’s publisher says, ‘You’ve got to spend all this money, and add

WWW.GDMAG.COM 23 A PIRATE’S LIFE

15 people,’ and we hire 15 people, and the publisher says, ‘We decided we you can put up a web site, and some people are going to find don’t like this idea your game. And if the game’s really good, then they’re going to anymore,’ and then tell other people, and you’ll get some momentum. With mobile they can us, and now there’s no way to do that, and then you’re dealing with a I’ve got 15 people publisher, and then you’re back into developer/publisher on my payroll. relationships, just with smaller budgets. I will say that on the In terms of how to developer/publisher side there are a number of publishers in the fund expansion, I casual games space, like there are for mobile that have smaller much prefer the budgets. I can think of three companies that are funding titles. venture capitalists One of them is PopCap, and those guys are really cool, and because at least they’ve open sourced their code, so you can just download it they give you the and make your game, and either sell it yourself, or you can money. They present it to them, and maybe they’ll pick it up and distribute it. don’t have That’s the way I would do it if I were starting from scratch. And milestones. No—they give me the try not to do the kitchen sink thing. If I were to go back, I’d make money, and I can expect to have PUZZLE PIRATES simpler and more achievable, rather than a more that money in my bank account. ambitious thing. That’s certainly more reasonable. The other thing about console is that you’re in retail. PUZZLE BS: So more of an established design? PIRATES was interesting because it was direct download, but for the most part, console is retail, and then you’re in that DJ: Well, there’s kind of a debate about that. The classic model is nightmare. If you’ve got no long tail to it, if you don’t go big out to pick one thing, and make one part of it better. Lots of games of the door, you’re never going to get anything. It only trails off did this like EVERQUEST, or WORLD OF WARCRAFT. But I think getting it from there, you can’t do a slow build. You have no direct out there with something is the key. The big thing for connection to your customers. It’s just unappealing as independents is getting moving, and not waiting around. I used compared to the interweb. to get a lot of people mailing me saying, ‘We want to make the The interweb’s great! You go out onto the interweb and there next great MMO.’ And I told them, ‘Don’t do that.’ They wanted are just so many options in getting to people, and so many elves and goblins and stuff like that. Do something different. people out there, and that’s got so much freedom to it, and very low cost to build. There’s all sorts of things with console like how BS: Have you looked into the serious games space at all? you have to finish the damn thing before getting any kind of player feedback on the platform. But with the interweb, like with DJ: I think the serious games space is interesting. It’s certainly BANG!, we’re going to put it up in the first stage with very little a way to get started, but it’s basically work for hire. And I don’t content and get a very good idea of how fun it is to play. see a tremendous up side there for the developer. The nice thing To my mind, as a small company, and probably the rest of the about making a game that goes out to consumers is that if it industry is thinking this way too, how can you reduce risk? How catches fire, you could make a ton of money. Like GameLab did can you avoid spending $15 million to find out something’s not DINER DASH, and now they’re in a way stronger position, they’re going to work? getting royalty checks, they can go out and do more publishing deals, and they’ve got a lot of options, because they shipped a BS: Do you think it’s possible for independent developers to hit game. But if you do a serious game, you’re basically doing survive in the current market? client work that gets done, and then it’s done.

DJ: Sure. It’s easier than it has been for a while, if you pick the BS: What do you think is missing from online gaming now? right thing. I split independent developers into two categories. There’s independent, not funded by publishers, and then there’s DJ: I think probably the biggest single thing that really gets on independent, making their dollars by doing work for publishers. I my nerves now is the distribution platform executable problem. think that for many of the reasons I just talked about with Windows executables, virus scanners, and XP 2 cause problems. respect to consoles, business is extremely tough for the third People don’t want to download software. Java: in a bit of a state party developer with a publisher, and I think the guys in this and not very widely installed. Flash: performance issues. area will tell you the same. I just read ’s postmortem Shockwave Director: not very widely installed, neglected, out of [of ], and I can’t imagine the stress those guys must date platform. How can I just make games that people can play? have been under when their product had just gotten canned, Oh please! I know nobody’s just magically going to solve it, but and they’ve got everyone on payroll, and what do you do? that’s one thing I think could be improved. And I think that I guess the only other thing is mobile, which is also becoming anything that makes it easier for people to develop is good. * really really tough. You can’t go direct to carriers anymore, and there’s no way around the carriers. At least with the internet,

24 OCTOBER 2005 | GAME DEVELOPER 8)*$)8": *4:063$"3&&3)&"%&%

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THE RESIDENT EVIL SERIES HAS A imagery rather than a true broad fan base, and in order to meet part of the game. The change players’ expectations, we decided to might be appealing to those create a totally new entry with people who simply enjoy RESIDENT EVIL 4. Because the series cinematics for the higher has been around for so long, we quality of the graphics, really wanted to address the but in terms of keeping players feedback from both our fans and our focused on the game, it’s possible development team in order to that these moments interrupt the revamp the game. This meant flow of the experience. We thought looking at everything from presenting that if we could facilitate a seamless a new way to experience fear, transition between gameplay and the YOSHIAKI HIRABAYASHI joined creating more frightening enemies, in-game movies, people would be Capcom in 2001, working on the implementing new ways of using able to stay involved throughout the GameCube port of the original RESIDENT items, and much more. entire experience without EVIL. He is principally a graphics designer, For this postmortem, we’ll use one interruption. Our solution was to keep element, which was also one of our the cutscenes in real time. specializing in real-time cutscenes, biggest challenges, as the archetype The action button system we which he worked on for both GameCube for the game’s development: the implemented for RESIDENT EVIL 4was RESIDENT EVIL ports. This experience successful creation of the title’s very complementary to our use of earned him the title of lead real-time graphical style. I’ll provide an overview real-time movies. By incorporating an cinematics director on RESIDENT EVIL 4. of what this entailed and how we were action button into the cutscenes, we Email him at [email protected]. able to achieve it with some specific made it possible for players to interact examples from the game. with the in-game movies. In a traditional game scenario, players WHAT WENT RIGHT change from being active participants CUTSCENE INTEGRATION. When to bystanders as the cinematics begin 1 we began the project, one area and play out. The player might not pay we focused on was how playable close attention or might even put the portions of games usually shift into controller down, and either way, that’s atmospheric pre-rendered movies. not what we want. This seemed like an area that, if done well, would improve critical reception. IMPROVED TECHNOLOGY. In the As gameplay shifts to a cutscene, the 2 current generation of consoles, change is usually quite noticeable. It’s the technical capacity of hardware possible that in that moment, players has improved vastly over the last, regard what is on screen as just

26 OCTOBER 2005 | GAME DEVELOPER GAME DATA

TITLE RELEASE DATE SOFTWARE USED RESIDENT EVIL 4 Jan. 11, 2005 (GameCube), (FOR GRAPHICS) Oct. 25, 2005 (PlayStation 2) Softimage XSI and Alias Maya PUBLISHER/DEVELOPER Capcom NUMBER OF DEVLOPERS HARDWARE USED 80, including part-time NEC Workstations PLATFORMS GameCube, PlayStation 2 DEVELOPMENT TIME 3 years, including concept planning

WWW.GDMAG.COM 27 and our technology itself has also increased to the extent that previous system, you needed a programmer to transfer data to we can maximize the full potential of that hardware. the development tool, which put limitations on the Technologically speaking, this advancement has made it programmer’s work capacity. This situation caused a possible to express scenes in real time that would have tremendous loss of time. previously only been possible in pre-rendered cutscenes, for As opposed to the old flow, which put the heft of the workload example those that incorporate complex facial animation. Up on the programmers, the new system (Figure 3, page 30) until now, we didn’t have the processing ability or capacity to actually resulted in the designers being able to contribute more realize complex animation of the sort we have achieved in frequently and more directly, thus minimizing the amount of RESIDENT EVIL 4—it was simply outside the hardware’s time lost. capabilities. We solved this issue through programming and by packaging data intelligently. The same solution was applied to BELIEVABLE IMAGES, APPEALING CHARACTERS. Creating areas that required a lot of special effects, such as projection 4 believable images doesn’t necessarily mean that the lights and explosions. images need to be factual and realistic. Rather, they should Using real-time movies also made it easier for us to change engross players and be believable within the game’s universe. elements of the story according to the game specs and design. For example, in RESIDENT EVIL 4, a long skirt or long hair moves For example, in a pre-rendered situation, if a character or enemy naturally according to the motion of the characters, but in a in a movie had to be somehow altered, all the time and energy slightly enhanced way. This effect helps to immerse players used to create it would have gone to waste. However, by using and create a suspension of disbelief. If something swings in the real-time movies, we could just rewrite a new model onto the real world, it also swings in the game; however, in real life, it existing model data. might not move in such an exaggeratedly beautiful way. We adapted the swings a little and brought the motion close to IMPROVED WORKFLOW. Since we had to basically reinvent what players might expect, even though it isn’t completely 3 the series, we needed to improve our workflow—converting accurate. data, managing data, and troubleshooting—in order to stay on In regard to creating more appealing characters, there’s a wide target. We needed to find a way to complete these tasks more range of opinions on the topic. In our meetings with Shinji efficiently, which was how we came to use the XML data Mikami, the game’s director, he stressed that the most management system. This workflow management method important factor in making a character appealing is to create saved us valuable time that we were then able to apply to the believable facial expressions and gestures. Characters should creative elements of the game design. exhibit appropriate feelings and expressions for a given Figure 1 shows the system we used for converting movie situation, while also expressing their individual personalities. scenes, posting scene data, modeling, and making slight With Mikami’s goal in mind, we put a great deal of effort into adjustments for texture data, among other things. The XML making characters’ expressions believable (see Figures 4 and system allowed us to evaluate the total amount of data in order 5), and to that end, each characters’ fingers have joints that to assess whether there was an excess or deficiency to support move and articulate, for example. Still, we wanted to focus on it. The system also eased the process of making multiple even more refined details. In order to achieve this, we used a alterations to the customized models in each of the game’s very large number of face targets (or facial expressions) for many scenes. each character. Looking at our previous system (Figure 2, page 30), you can At key moments, we conveyed the tension that characters see exactly why our new system has helped us. The traditional might be feeling by using extra lighting elements to highlight a development pipeline in Japan is still quite hierarchical: With the character’s facial expression. We actually created quite a lot of facial expression patterns for the characters. We also used special higher-quality textures to make the expressions look as good as possible. EVENT For Ashley, the main heroine, 36 facial targets were used in total, which is one and a half times the normal number. Regardless of the effectiveness SPECIAL EFFECTS (PROPOSAL) MODEL CAMERA ANIMATION of the increased targets, we couldn’t have that much data for just one character, so we used a VBS CONVERT XSI method called face target packaging. Even though 36 targets were prepared, they were not all MAINTENANCE necessary for each scene. We included targets PROGRAMMER XML SERVER required by each scene into models that SOUND implemented them on a scene-by-scene basis. At first, I talked with a programmer regarding the SPECIAL EFFECTS (PRACTICE) SIMULATION SOUND SE amount of data which could be used for a character and decided to use 30 targets for each. We divided COMPOSITE these into two categories (see Figure 6, page 32). One is the Slot, which is frequently used

LIGHTING EFFECT EFFECT and is the general default slot. The other is the Select Slot, which dictates less frequently used DEVELOPMENT TOOL “DOLPHIN” targets for each scene. We made one package with these two slots. Because the number of Select Slot expressions varied from scene to scene, we were FIGURE 1 Capcom’s system for cutscene implementation. able to efficiently manage the data allocation so

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© 2005 Avid Technology, Inc. All rights reserved. *All prices are USMSRP for the U.S. and Canada only and are subject to change without notice. Contact your local Avid office or reseller outside U.S. and Canada. Product features, specifications, system requirements and availability are subject to change without notice. SOFTIMAGE, Avid and XSI are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries. All other trademarks contained herein are the property of their respective owners. DESIGNERS DESIGNERS DATA STAFF C STAFF B STAFF B STAFF B STAFF B

STAFF B DATA DATA DATA DATA DATA

DATA STAFF D

STAFF A DATA

WEB SERVER PROGRAMMER PROGRAMMER 4’s development, which we call “complete concept DEVELOPMENT DEVELOPMENT changes.” That is to say, we examined all the TOOL TOOL DOLPHIN DOLPHIN previous gameplay features and notions of fear and broke them down to change the entire concept for the game.

FIGURE 2 Capcom’s older, hierarchical workflow. FIGURE 3 The new, improved workflow. DATA CONSTRAINTS. Because this version of 2 RESIDENT EVIL was far more action-based, we often needed to display a very large number of there were only 30 targets in the package at any given time. By characters at once (see Cutscene Images A–D, page 32). As a changing the package according to the scene, we were able to result, we needed to carefully apply model textures for these produce facial animations with higher quality. types of scenes. Normally, an enemy character in the game has about 3,000 polygons and is about 400K of data space. There REINVENTED GAMEPLAY. Even though the series is linked are some scenes in the game, though, that had up to 25 5 to horror, it also has become known for having strong characters on screen simultaneously. We weren’t able to adjust gameplay and a high entertainment value. We wanted to make all the memory and image storage to the level that would be RESIDENT EVIL 4 appealing to an even wider variety of players by required for us to keep those 3,000 models intact. raising the game’s level of entertainment. Early in development, In order to address this issue, we decided to adjust the through trial and error, we found that the game was scary, but amount of data per model in each scene, and even in cuts within had a low fun factor—we needed to rethink both the gameplay the scene. First, we would implement the model that required system and the fear component. We restarted the project four the most data (usually the closest to the camera). Then we times in order to ensure that this title would be interesting and adapted it by deciding how it would be drawn and processed, fun for the consumer; there had to be more to the game than based on memory levels. Limiting the amount of data on all the just fear. models would result in poor quality, so we prioritized the In order to change the gameplay, we challenged ourselves to portions of the models that would require the best modeling. We implement features and elements that had been impossible to came up with three different scenarios for how to distribute the realize previously, in terms of environmental interaction, data for texturing the models, which could then be used in graphical quality, and more frenetic action. We took the existing various situations by combining them. archetype of RESIDENT EVIL and added extra play value that would A normal high resolution model for a Ganado, a generic enemy make sense within that world. The main character’s melee in the game, consisted of approximately 3,500 polygons. attacks were made to be more robust because he’s a police Normally, it would be difficult for us to render several high officer and should be better at close-quarters combat than we resolution Ganados on screen simultaneously. Therefore, we had demonstrated in previous games. Enemies were made to be created two additional variations of the model: mid-resolution FIGURES 4 and 5 Examples of more intelligent and much faster; they can pick up weapons and Ganado, which are approximately 2,000 polygons, and a low- RESIDENT EVIL 4’s detailed open doors. Enemies also talk to each other, communicating resolution model with about 1,000 polygons. These three expressions. plans of attack. This was used as a new way to inspire fear for models would switch depending on the situation. Textures were the series, giving the player a feeling that he or she was up treated in the same way. High-resolution textures were 512x512 against a sentient and unrelenting force, rather than shuffling pixels, mid-resolution textures were 256x256 pixels, and low- zombies, or simple monsters. resolution textures were 128x128 pixels. We had intended from the start to make the project something As mentioned, these models could be switched depending on that we ourselves found intriguing and challenging. In the situation, according to two conditions: how many models demanding this of ourselves, and largely meeting those goals, I the scene required, and how much data was available for the think we were able to provide an exciting game for the fans. given scene. We always attempted to be efficient with our data sizes, so we would reduce the model and texture data by taking WHAT WENT WRONG into account the camera and lighting used for certain scenes. FRESHEN UP. The goal of any game’s storyline is to expand 1 the depth and perception of that game’s universe, as well TEXTURE VS. LIGHT. In addition to the models, we also as to inform players of what they are to do. In RESIDENT EVIL 4, the 3 adjusted textures for each scene. We sometimes faced storyline was primarily conveyed through our real-time movies. problems with how to adjust the way that characters looked We had a hard time achieving our concept of combining when different lights hit them. This happened especially when gameplay with the necessary story elements that could evoke a we used a lot of penetrating or spot lights. We solved this feeling of believability within the in-game movies. problem by creating textures for each scene or each cut. Games are a visual medium, and throughout the series, it Not only was this used for something as detailed as eyes wasn’t always easy to create fresh concepts. It was even more (Figure 7, page 32), but was used widely, anywhere from the difficult to develop visuals that would continue to advance the characters’ bodies, to background objects. This texture series. This is why we thought of a new direction for RESIDENT EVIL adjustment was also useful in addressing problems with

30 OCTOBER 2005 | GAME DEVELOPER B6G8='%"') H6C?DH:!86A>;DGC>6

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CUTSCENE IMAGES A–D Displaying multiple FACE SLOTS TOTAL = 30 SLOTS characters onscreen simultaneously required inventive texture and STANDARD SLOTS = 25 SLOTS model assignments.

SELECT SLOTS = 5 SLOTS

FIGURE 6 RESIDENT EVIL 4’s package slot system.

32 OCTOBER 2005 | GAME DEVELOPER efficient to adjust the images. This technology was used in a scene in which Leon looks at a monitor on the screen. For the “video” displayed on the monitor, we didn’t use pre-rendered movies, but animated scenes which were rendered to a texture in real time. With this method, we did not have to render character motion on the monitor in order to change elements of the scene, and so we were able to make changes quite easily Normally only one camera’s data is used for one cutscene, but data from three cameras had to be used here (see Figures 8 A–D). One was the main camera, which projected the entire scene. The second was camera A, which MONITOR B created the image shown on monitor A. The third was camera B, which created the image displayed on monitor B. The screen images which were created by camera A and camera B CAM A CAM B were cached by memory, scaled down to a lower resolution, and used as the texture for the monitor. After that was done, we compiled the image for the main camera view. This technology was also used for reflections in things like sunglasses and car windows, with translucent adjustments to cached image data.

THAT’S A WRAP As you might have gathered, the development of RESIDENT EVIL 4 was not necessarily based on innovative new technology, but rather on efficiency. Our improved workflow and our intense focus on details in the game allowed us to MAIN CAM achieve the level of quality we had challenged ourselves to produce. Restarting the game multiple times allowed us to take several fresh perspectives on the game, and the survival horror genre as a whole. I think that ultimately we came up with something that was not only enjoyable, but which also helped to advance the series in a positive direction. The next RESIDENT EVIL is planned for next generation consoles, and will present a whole new host of challenges and opportunities. Hopefully we will once again be able to meet our own high expectations. *

PATTERN A MAIN CAM

PATTERN B

ORIGINAL PATTERN C

PATTERN D

PATTERN E

FIGURE 7 Textures change depending on the scenario, as you can see from these five FIGURES 8 A–D Multiple cameras were used to output video-like textures. variations of how an eyeball might look.

WWW.GDMAG.COM 33 MICK WEST

>> THE INNER PRODUCT

DEBUG AND RELEASE PHOTOGRAPH BY DAWN M TURNER BY DAWN PHOTOGRAPH

GAME PROJECTS USUALLY HAVE A NUMBER OF BUILD game, debug mode becomes unusable because it’s so slow. At configurations, which control how the code is compiled and this point, the development team usually switches to release linked into the game executable. Each build configuration or mode for day-to-day development work. build mode builds the game with varying amounts of additional But because the traditional release mode lacks debugging debugging code, and with the optimization options modified to code and assertions, it becomes a lot harder to track down bugs. aid debugging. Microsoft’s Visual Studio has by default just two: When programmers attempt to reproduce the bugs in debug debug and release. The idea is that you will develop your game in mode, they first have to rebuild in debug mode (which can take debug mode, making it easier to find bugs, and then ship it in a very long time), and then the code runs at a really slow frame release mode, with debugging code removed and optimizations rate, making it very difficult to reproduce the bug. Sometimes switched on to make your code small and fast. the bugs can’t be reproduced at all, due to the different This division usually starts out fine. At the start of a game configuration and initialization of memory. development cycle, there are not too many assets in the game. The way I see it, the traditional division of debug and release Level maps are small, not much of the logic is implemented, and is inappropriate for game development. Both modes, as the CPU is rarely taxed. But after a few months of development, traditionally envisaged, should no longer be considered useful game assets, entities, and logic start to get into the game. As options and should be replaced by a single build the quantity of these things approaches the level of the final configuration—“develop mode”—that should be used at all stages of development.

DEBUG AND RELEASE When you set up a project in , you get two MICK WEST was a co-founder of Neversoft Entertainment. He's been in the game industry for build configurations: debug and release. The distinction between 17 years and currently works as a technical consultant. Email him at [email protected]. these seems obvious. You use debug to debug the project, and

34 OCTOBER 2005 | GAME DEVELOPER LISTING 1 when it’s ready to ship, you switch over to release. #ifdef NDEBUG This distinction is usually found in any game development #define assert(exp) ((void)0) project, and sometimes it’s extended to some additional #else configurations, like “extra debug,” “final,” or “submit.” #define assert(exp) (void)( (exp) || (_assert(#exp, __FILE__,__LINE__), 0) ) The intent of debug mode is to make the code easier to #endif /* NDEBUG */ debug. But we’ve become so used to having the distinction between debug and release over the years that it’s high time we stepped back and asked ourselves exactly why we needed a debug mode in the first place. A common misconception that I’d like to clear up right away is that you can’t use the debugger unless you build your code Debug and browse information. For the debugger to work, it in debug mode. This is simply not true. The debugger will work needs to know how to link the code it is executing to the just fine in release mode, but some aspects will be a bit original source. This information is generated during harder to debug. compilation and linking, and is referred to as debug info. In The idea behind debugging mode is to make it as easy as many release configurations, the debug information is possible to track down bugs in your code. This results in two major switched off, which is generally done to make the project differences. First, the code is compiled in such a way that the build faster and the executable smaller. An executable .ELF debugger works as well as possible. Second, extra code is compiled file built with GNU C++ can be anything up to 100MB in size in, usually in the form of assertions, to trap bugs as early as when built with full debug info, compared with a 3 to 5MB file possible, and to provide additional debugging information. without debug info. Optimization. In debug mode, optimization is disabled, so the Memory allocation and initialization. Memory allocation is code runs a lot slower. Why? the source of many bugs, so it makes sense to have extra Optimization involves re-ordering the sequences of assembly debugging code in your memory allocator. Typically, memory instructions so there’s not always a direct correlation between a will be initialized to a known value when it is allocated. The group of assembly instructions and a line of C++ code. When pattern of allocations will also differ, as blocks have extra you step through your code in the debugger, it’s not always debug info added. Since most games use their own custom clear exactly where you are in the code, and the PC might jump allocators, the differences vary. But nearly all games will oddly between lines. have some difference in memory allocation between debug Also, optimizing involves keeping values in registers instead and release modes. of memory as frequently as possible, so local variables that are Un-initialized variables are a common source of error. not used very much are not stored in the local stack frame. In Generally, you should be catching such problems at compile other words, in the debugger, you often can’t examine the time, but if not, you need to realize that their behavior will differ contents of a local variable in optimized code, as once you step in release and debug modes. In debug modes, local variables are past the code that uses it, the value no longer exists. In debug more likely to have actual storage, and depending on your mode, each local variable always has local storage for itself, so precise build configuration and compiler, they will probably be you can always examine its value in the debugger. initialized to zero in debug mode. In release mode, however, the Inline expansion. Another form of optimization is the un-initialized variable will be some random value—whatever expansion of inline functions. This is done to clarify the flow of happened to be in memory or the register used. control in the debugger. If an inline function is expanded inline, Games are real-time applications. They have to run at a then you can’t step “into” or “over” it. It almost becomes reasonable speed in order for you to say that they are invisible to the debugger. working. So if the debug mode is very slow, then it’s not going Debug code. Besides the optimizations, you usually add to be practical to use the debug mode as the development additional “debugging code” to your program to help track build—the build used by artists and level designers down bugs. To this end, you generally have some symbols implementing assets, and by programmers implementing defined that tell you at compile time which build new features in code or script. configuration you are using so you can conditionally compile Nevertheless, games are incredibly complex applications. code for debugging. The game engine is often still in development while the game In Microsoft Visual Studio, these symbols are DEBUG, which is content is being created and implemented. If everyone is defined when you’re in debug mode, and NDEBUG, which is using the release mode for development, then it makes it very defined when you’re not in debug mode (or in release mode). difficult to track down the bugs that inevitably arise in a Assertions. Everyone should be familiar with assertions. development environment. Assertions are additional lines of code sprinkled through Clearly, neither of the traditional build modes is suitable for the program that ensure that everything is as it should be. game development. I’d like to make the case that a single hybrid Basically, they are macros that check (assert) that a mode should be used for 99 percent of all development. This condition you know should be true actually is true. If the hybrid mode (develop mode) should be fast enough so that assert fails, then the program execution halts and you can gameplay is not hampered, but also contain enough debugging see what went wrong. Asserts should be your most useful features so that bugs are caught early and are easily tracked tool in debugging your code. down. Develop mode should also essentially be the Listing 1 shows Microsoft’s implementation of the assert configuration mode your game ships with. macro. The assert is compiled away to nothing when you build in release mode. This makes sense, as when you release the DEVELOP MODE game, you don’t want asserts going off. Plus, they take up Assertions switched on. Developing without assertions is like space, and all those extra checks slow down the game. driving with your eyes closed. You’ll know when you crashed,

WWW.GDMAG.COM 35 DEBUG AND RELEASE

but you won’t know why you crashed, and your crashes will be much worse. Having assertions on all the time during development will greatly improve the rate at which you find and fix bugs. compiler will have in a register; the other is usually a Optimization switched on. Your code needs to be fast if constant. Your assertion should compile to two or three develop mode is going to be used by artists and level instructions that perform the test and then skip over the code designers. Sure, you can’t tell exactly what’s going on in that arranges the parameters and calls the assert handler. the debugger because you’re not able to see the contents You should verify that it’s working by looking at the compiled of local variables. But you will be able to identify the place code in the debugger. in the code where the crash occurs, see the call stack, and Use assertions appropriately. As much as I love assertions, roughly follow the logic flow. If you need more information, there is such a thing as having too many. In very low level then often the solution would be to add more assertions. functions, assertions are often testing the same thing over You can add logging calls to track the contents of variables, and over again. For example, collision detection code might and if all else fails, you can temporarily switch off use unit normals stored in the mesh. Since collision code optimization. runs a lot each frame, then adding an assertion to verify that Inline expansion switched on. The inline expansion is similar the normals were of unit length might make a serious blow on to optimization, but with games, the inline expansion’s being off your framerate. Plus, you’d be repeatedly checking the same is often a far greater source of slow debug code than other normals over and over. In this case it might be better to verify aspects of optimization. Most games will have some kind of the input just once when the mesh is initially loaded, or even custom 3D vector class, usually with accessor functions, or when it’s originally generated. overloaded [] operators that use inline functions. The fact that In addition, putting assertions in at such a low level of the these functions are explicit adds a vast overhead to code code is often a hit or miss affair. The conditions that might execution. The benefit is simpler flow of execution in the cause the code to fail could occur very infrequently. You might debugger, something you rarely need. So in develop mode, you have to play the game for hours in order to hit the triangle with would switch inlining on. a malformed normal. In this case, you would want to use Link without debug information. Linking without debug automated tests that ensure full coverage of the code and information can be a vast time saver. The link stage of the data. These tests can be run constantly and need not be part edit-compile-link-run cycle can take up to several minutes, of the develop build. depending on the type of project. The vast majority of that time is spent generating debug information, when really all BREAKING OLD HABITS you want is the executable. Remember the compilation units Ideally, your develop mode should also be your release are still being complied with debug information, so if the mode, which would automatically eliminate that bane of code crashes and you want to go into the debugger, then game development: the bugs that only show up when the you can just switch debug information back on and re-link, game is in release mode. The problem here is that you’ve got and you’ll have the debug information, but only when you to devote up to five percent of your CPU time—and a chunk actually need it. of memory—if you want to leave in all your assertions. The Make your assertions fast. Assertions should never need solution is obviously to budget for that from the start. more than five percent of your total CPU time. If you turn Establishing a develop mode may seem like a lot to ask, assertions on and your framerate plummets, then there may since the harsh reality that we’re used to is that we’re often be a problem in the implementation of your assertion macro scrambling for a few thousand extra bytes, and CPU time is (many game developers implement their own version of never adequate. That said, consider the benefits of having just assert). The majority of assertions are simply comparisons of one build configuration up to and including the version you two values, and usually one of these values is something the ship. There’s no risk of obscure bugs popping up due to changes in the code. If you ship for console, you can get back more useful information from publisher tests. If you ship on PC, you can add a facility for users to report assertions, which will RESOURCES allow you to get that patch out quicker. If you are going to ship without assertions, for whatever reason, then make sure you budget enough time to test that Rabin, S. “Squeezing more out of Assert.” In Game Programming Gems Vol. 1, ed. version. The majority of your testing should be done on a Mark DeLoura (Hingham, Mass.: Charles River Media, 2000), pp. 109–114. version with assertions in, as you’ll track down ordinary bugs much quicker. But at some point you’ll need to test your final Etherton, D. “Designing and Maintaining Large Cross-Platform Libraries.” In Game version. Just don’t switch off the assertions the day before you Programming Gems Vol. 4, ed. Andrew Kirmse (Hingham, Mass.: Charles River Media, 2004), pp. 37, 38. submit. It actually might be a good idea to occasionally test with assertions removed, as the different code configuration might Hunt, A. and David Thomas. “Leave Assertions Turned On.” In The Pragmatic bring more obscure bugs to the . * Programmer: From Journeyman to Master. (Reading, Mass.: Addison-Wesley, 1999), pp. 123, 124.

36 OCTOBER 2005 | GAME DEVELOPER STEVE THEODORE

>> PIXEL PUSHER

PENCIL WHIPPED

IN MY CONVERSATIONS WITH OTHER poly modeling is simply to go back to artists, we always end up dreaming clay and wire. about the perfect art tool, a tool that is Although the game industry tends fast, responsive, intuitive, and flexible. to prefer all-digital models, some We picture a tool that doesn’t require a Hollywood studios still prefer clay ton of pre-planning or complex left-brain models to computer ones because gyrations, but just lets you get into the they offer both creative flexibility subject and pursue a vision. and a reassuring physical presence That tool exists. Unfortunately, it’s that can help sell a character design called a pencil, and while it’s as fast, during development. intuitive and as flexible as you could Clay excels at developing organic FIGURE 1 PENCIL WHIPPED, an independent first- desire, it doesn’t exactly scream, “next- forms, although in the hands of a good person shooter, might be the only game that directly generation graphics” to your average sculptor it can also embody benefits from good old-fashioned pencils. executive producer. For any task that’s mechanical forms. Even today, many too complex for a pencil, alas, we’re still top industrial designers still rely on clay the conventions that we’ve lived with stuck with typical CG software routine: in preference to computer models. ever since the hoary days of WaveFront plodding workflows and uncannily Clay has a much lower rocket science and Alias PowerAnimator, which makes it prescient planning. quotient than CG techniques, but of extremely disorienting, even frustrating course, it’s not magic. Like with most for old pros. Still, it gets closer than any MODELER’S GRIDLOCK crafts, building up proficiency in other 3D application to the ideal of the Of all the disciplines, it’s modeling that traditional sculpture takes time and pencil, offering speed, simplicity, and suffers the most from the tyranny of the dedication, so it’s unlikely most of us will freedom to experiment. graphics toolbox. When polygon counts find our workstations replaced with As interesting as the Zbrush interface hovered in the hundreds, it was possible potter’s wheels anytime soon. is—and that’s a subject for a whole to manage every vertex by hand; but as Nevertheless, many CG modelers get big column of its own—the real key to the polycounts get larger, the burden of creative benefits from working in clay, if program’s power is really just strategizing gets heavier and heavier. only for hobby projects. astonishing poly throughput. On my Nowadays, technical obsessions, such as undistinguished machine, a 4 million NURBS tangency or subdivision vertex FROM PUTTY TO SCREEN quad model is still fairly interactive. valences, suck up a lot of the energy that The barriers to getting traditional While Zbrush is ultimately a subdivision should be going into experimenting, sculptures digitized into usable CG surface modeler, relying on the same improvising, or just plain messing around format have fallen dramatically. A contact math as a Max MeshSmooth or Maya with new designs. digitizer like the MicroScribe from Subdivision node, the profusion of polys This month, we’re going to look at a Immersion (see Figure 2, page 38) can lets us bypass many of the painstaking novel workflow that aims to bring some be had for around $5,000. Digitizing stratagems we need to generate subtle liveliness back into the art of modeling. service bureaus can turn around a clay details. Subdivision basics like edge loops model, or even a full size human and vertex valences don’t exactly go away CLAY IS MIGHTIER scanning job, for much less. One minor in Zbrush, but they matter much less THAN THE MOUSE caution to sculptors: contact digitizers there than they would in a conventional The pencil might not be quite enough for like the MicroScribe work better on hard face-and-vertex modeling environment. game art, PENCIL WHIPPED, of course, being media, such as baked Sculpey, because the great exception (see Figure 1). But the tip of the digitizing sensor can sink LIMITS FOR GAME ARTISTS one way around the frustrations of high- into softer clays, marring the model and Old fashioned clay and newfangled also messing up the scan data. Zbrush share two important If you don’t have traditional clay skills characteristics. Both mediums are great or are dependent on the comforting for chasing an elusive idea, presence of the Undo button, there’s also experimenting and iterating without a STEVE THEODORE started animating on a text-only Zbrush (see the review in Skunk Works, clearly preconceived plan. Unfortunately, mainframe renderer and then moved on to work on games May 2005). they’re also alike in the kind of data they such as HALF-LIFE and COUNTER-STRIKE. He can be reached at Zbrush is a paradox for many output: zillions of tiny polygons. Even if [email protected]. experienced modelers. It defies most of games were capable of displaying the

WWW.GDMAG.COM 37 PIXEL PUSHER ▼ FIGURE 2 Digitizers, such as the MicroScribe G2, can mend a gap between and clay sculpting.

▼ FIGURE 3 Silo’s topology brush allows you to quickly sketch a network of lines across the surface of a model. When you’ve roughed out your new topology visually, the program generates a new mesh based on the new edge lines.

extremely heavy meshes which support normal maps, or if the costs both processes create, necessary of using them everywhere are busting tasks like texturing and your texture budget, you may need to animation setup would slow to a create medium-resolution models— crawl. Unlike big movie studios, few game models with tens of thousands of companies can dedicate a whole squad polys, but not hundreds of thousands of technical directors to easing multi- or millions. resolution model as a snapping template million poly models through the pipeline. Medium-resolution models can be means that you only need to worry about This doesn’t mean that heavy meshes awkward because they are impossible to two dimensions instead of three, so are useless; it simply means that an work with vertex by vertex. Yet at the laying down faces goes very speedily. extra step is needed to transfer same time, they are definitely subject to Tricky technical problems such as information from that heavy mesh to a efficiency considerations that can be deformation-friendly shoulders are also lighter, game-friendly one. ignored when working on super easier to tackle when the basic volumes Messy, inefficient, ultra-high poly heavyweight models. are firmly established by the high- models are the natural complement to resolution mesh. normal mapping. In a normal mapping RETOPOLOGIZE Even if you don’t need to work on workflow, the modeler can concentrate If you’re working on mid-resolution medium-resolution models, simple on the spirit of the design while evolving models, you don’t have to completely retopologization of this kind is a great way the high-resolution model and backload forgo the benefits of fast and furious high- to quickly build up the low-resolution the technical problems—efficient UV poly tools. You can still separate out the shells for normal-mapped assets. mapping, animation-friendly geometry, creative and technical components of the If you find yourself doing a lot of this and rigging—onto the creation of the process by using your high-resolution kind of retopologizing, you should game asset model. This may not be a model as a foundation, building a new definitely take a look at the topology complete liberation from the computer-y mesh or subdivision surface over it. This parts of computer graphics, but at least technique is known as retopologizing, it allows you to concentrate on the and it can be extremely useful. creative aspects before worrying about The simplest form of retopologization the mathematics. involves nothing more complex than old- If your game engine is normal-map fashioned poly modeling. Using the Make friendly and your high-resolution models Live function in Maya, or the Snap-to- don’t completely sink your interactive Face mode in Max, you can build a low- performance during the technical setup resolution mesh right onto the surface of phase, you may not need to worry about a high-resolution model. refining the process further. There are This technique may seem unduly slow, many situations, though, in which you since it does involve a point-by-point may need to consider a different rebuild of the entire model. However, it’s strategy. If your game engine doesn’t actually much faster than a traditional FIGURE 4 CySlice is a program dedicated to poly model because using the high- retopologization.

38 OCTOBER 2005 | GAME DEVELOPER RESOURCES

CySlice www.cyberware.com

MicroScribe www.immersion.com/digitizer

Silo www.nevercenter.com

Zbrush http://pixologic.com

subdivisions straight from CySlice). This experiment comes with a cost. You need is a popular technique with modelers in to build your model twice, and even the film business. Even though they aren’t though the second run through is much bound by our performance considerations, faster than the first, it does take time. they use this trick to separate the Moreover retopologizing is a one way technical business of edgecraft from the gate, so you need to be well satisfied intuitive parts of modeling. with your high-resolution original before It’s likely that your new subdivision you move on to building a new mesh on surface will appear a fraction smaller top of it. than its high-resolution original. If you can live with those limitations, Subdivision surfaces don’t pass exactly however, you’ll have a workflow that’s through their control points. If your very powerful and also a lot of fun. subdivision control mesh is fairly dense, Maybe someday we won’t need to obsess this effect won’t be very pronounced; but over every detail of the construction it if it is, you can usually correct it by process, but for the time being we can at moving all the control vertices outward least enjoy ourselves a little. * along their own normals. Alternatively, you can use the subdivision to generate the extra faces you need and then use a script tool to glue each brush feature in the modeling package vertex in the subdivision Silo (see Figure 3). mesh to the surface of your The process is very fast and mostly original high-resolution painless, although the method of model. You can even use a selecting and editing existing strokes can normal caster to transfer the be a bit confusing. It’s certainly easier finer details from your high- than accomplishing the same task with resolution mesh to the new snaps, and since the entire package sells mid-resolution mesh as a for only $109, it’s definitely worth a look. bump or displacement map, On the higher end of the budget scale allowing you to keep fine is CySlice, a dedicated retopologizing details, like clothing program (see Figure 4). CySlice, which wrinkles, that even a 20,000 ships with most cyberware digitizers, poly model can’t afford to will generate NURBS or subdivision represent with geometry. patches from a high-resolution mesh. Part of CySlice’s appeal is that it can also REINVENTING extract displacement maps and color YOUR ROOTS maps automatically from the original Retopologizing makes for geometry. This feature has become less more powerful workflow, but compelling nowadays with the common it’s still a long way from the availability of normal casters, which can mythical 3D pencil. Working do the same thing. loosely on a high-resolution source model—whether in BRICK BY BRICK clay or in Zbrush’s digital Even with the assistance of the fancy clay—and then tools, building models with more than a retopologizing lets you push couple of thousand faces is too the technical and resource cumbersome to do point-by-point. constraints into the Fortunately, you can use the snap or background. topology brush tools to lay down a solid Alas, those constraints edge-loop network as the foundation for a certainly don’t disappear new subdivision model (or simply get your altogether. The freedom to

WWW.GDMAG.COM 39 RILEY RUSSELL

>>BUSINESS LEVEL

LICENSED TO STEAL

OVER THE YEARS, I HAVE HAD THE based on a licensed property that was portrayed. There is no getting around that opportunity to close licensing deals for innovative, groundbreaking, or awe- a licensed property is a derivative work. If famous mice, singers, speedy inspiring. But I do remember being awed by the property is based on a film, the hedgehogs, and classic monsters; and the speed of SONIC THE HEDGEHOG, intrigued consumer often expects to be able to more recently, I have been a soldier in the (but also bored) by , perplexed with reenact scenes from the movie or battles for the major sports franchises. Mario’s ability to freely roam on the progress through the game in a sequence Licenses have become an important part , and blown away by the 3D very similar to the movie. Developers are of our business—and they’re not going fighting in TOSHINDEN. Maybe I haven’t seldom given carte blanche to innovate in away. Some games need to be based on learned much over the years, but the one a licensed game. licensed properties. It’s hard to imagine a thing I am sure of is that our industry is at It’s true that allowing developers to competitive sports sim today without a its best when developers and producers create new properties in the short term is league and players’ license behind it. Yet if work on products they imagine, create, and a huge risk, but in the long term it may it were left to me, I would opt for creating ultimately develop themselves, all the prove to be the more financially sound original intellectual property every time. while pushing the limits of whatever decision. If a new property becomes a system they are developing for. successful franchise for the publisher, WHY WE LICENSE The game industry is just coming out of the dividends that it repays are the The economic case for basing a game on its equivalent of the film industry’s silent licensing fees the publisher would have licensed properties is straightforward. A era. For the first time, we are on the verge otherwise had to pay to the licensor, and famous property brings with it a built-in of an era when the technology will not the ability of the publisher to create audience and brand recognition. A impede the designer’s imagination. It’s a sequels, derivatives, and licensing recognized title is more likely to get time when the industry will be redefined. revenue of its own. , shelf space at retail. Moreover, a The scale of game production has , and SOCOM all produced successful movie has millions of become staggering. The skill and ability significantly far more revenue for their dollars of advertising that of game developers is amazing, but publisher than most games based on indirectly supports the game. We production costs have become licensed properties. I believe that these have even seemed to work out frightening. Basing a game on a dividends are funds that should be the old bugaboo of trying to successful licensed property is not a bad reinvested in our industry to create even release the game with the decision, given all that can go wrong more new properties. movie. Now if we can’t during development. In fact, the right make the theatrical license may ensure substantial success. OUR OWN TWO FEET release, we get a second Too often our industry is viewed as the chance with the DVD SKIRTING CREATIVITY stepchild to the other entertainment release, which comes But there are some nasty elements to the industries. The game business is younger just a few months later, before the economics of licensing. For one, not all than film, music, television, and book buzz of the film has completely faded. licensed properties succeed. Anyone still publishing, and is just coming into its A game based on a licensed property is playing THE LAST ACTION HERO? own as an entertainment medium above a good hedge to ensure that a publisher Second, while the license may buy a and beyond the previous portrayal of will at least be able to sell enough units to built-in audience and retail shelf space, if games as children’s toys. To rely too recoup its investment. Making games a game is successful, ultimately, the much on properties created for the other from licensed properties is a little bit like licensor will extract an ever-larger share entertainment industries will stifle the attaching a well-known star to a movie. It of the profit. You simply can’t publish an potential for new creativity and may cost more to produce, but it also NFL licensed game without financially perpetuate our industry’s second-class minimizes risk. involving the NFL. Licenses can become status in the minds of media consumers. However, our industry is at its best licenses to steal. Groundbreaking games, not licensed when it takes risks. Third, and most concerning for our properties, will define interactive When I think back, I can’t recall a game industry, the licensor can control the entertainment. We should try to get there creative process. Even if the licensor is sooner rather than later. * completely hands off (and most are not), RILEY RUSSELL is general counsel for Sony Computer the very fact that the property was Note: All statements are my own opinion and not Entertainment America and oversees legal and business designed for another medium establishes the opinion of my employer or former employer. I am affairs for the company. Email him at consumers’ expectations and dictates the an unapologetic video game lawyer, love the industry, and as such, admit that there might be more than a [email protected]. manner in which that property is hint of bias in my opinions.

40 OCTOBER 2005 | GAME DEVELOPER NOAH FALSTEIN

>>GAME SHUI

NEGATIVE FEEDBACK

AS MANY OF MY CLIENTS CAN ATTEST RULE IT IS TRUMPED BY from my design advice, the following rule armor, and so on. It’s fun at first, but the The rule regarding negative feedback is is one of my favorites: Use negative character may grow to be so powerful the trumped by this one: Make the game feedback to balance variations in game game becomes boring. appear to be fair to the player. Some difficulty and player skill. Or consider a different player in the designers shun negative feedback Negative feedback, when used properly, same game who loses a battle and is so because they assume that it amounts to is one of the hallmarks of great game weak that winning the next battle punishing the victor and rewarding the design, and yet it is under-appreciated becomes nearly impossible. Positive vanquished, which seems inherently and under-utilized. In fact, I continue to feedback can be a dangerous tool. unfair. But this is where the artistry of see comments that games need more Negative feedback has often been proper use of negative feedback comes in. positive feedback, surely equivalent to implemented by designers to keep good Many military games impose an saying that fast food restaurants need to players from getting bored or poor increasing maintenance charge on include more fat in their cooking. players from becoming discouraged. military units, charging more for larger or Providing feedback involves returning a Thinking about that same RPG, negative more sophisticated armies, which results portion of a system’s output to its input. feedback might take the form of in reducing the funds available to create If the feedback enhances the trend of the introducing a few higher-level enemies to new units, making it easier for weaker system, for example balance the power of the stronger player, opponents to make up lost ground. making an or some extraordinarily weak rats Another very common way that increasing output carrying implausible amounts of gold and negative feedback is applied is the increase faster, or a health potions to help the weaker one. It’s practice of most RPGs requiring that a decreasing output not necessarily logical, but to the have a geometric increase in diminish faster, it is it makes the game seem fair, and hence experience points to advance to the next called positive more fun. level, while the points available increase feedback. It can more slowly, often linearly. Also, realize make a microphone THE RULE’S DOMAIN that a game should appear fair, but it’s squeal, or a car skid The rule can apply to any game which has fine to achieve this by changing on ice. rewards and challenges that change over underlying and hidden algorithms to Negative feedback, time—an overwhelming majority of video increase the players’ enjoyment. It’s the logically enough, games. It is often used to best effect in illusion of fairness—not fairness itself— works the opposite games that would otherwise become that’s important. Sid Meier’s CIVILIZATION way. If an output is increasing, negative quickly unbalanced, making it easier for series uses appropriate feedback slows it down and vice versa. weaker players to rebound from a minor EXAMPLES AND negative feedback to Think of a thermostat cutting off power to setback. It’s particularly important (and COUNTEREXAMPLES balance the games. a heater when the temperature in a difficult to apply) to games with multiple The negative feedback rule is used house rises. human players, as the implementations throughout good games. It shows up Positive feedback is designed into most must feel fair to all players, while everywhere in the CIVILIZATION series, for games in many ways. It’s hard not to put computer opponents can be designed to example, to balance the player’s it in. A player in an RPG kills an enemy, act in the player’s favor if necessary. civilization against the others’ in the and gains a special sword, making the game, handicapping it with increasing tax next battle easier, and as a result of RULE IT TRUMPS and “citizen happiness” spending. winning he gains enough gold to buy new The negative feedback rule trumps this In 64, the player who is in the one: Make rewards proportional to the lead can win power-ups, but (and one difficulty of the task required to earn might notice the subtlety of this trick) them. Though it’s a good basic rule, they are fairly useless. On the other hand, almost all games are more exciting if the when the player in last position earns a NOAH FALSTEIN is a 25-year veteran of the game player who does well feels that victory is power-up, it’s highly powerful. industry. His web site, www.theinspiracy.com, has a always in question, while the player who I’d love to hear more examples from description of The 400 Project, the basis for these columns. does poorly feels that there is still a readers of their favorite uses of negative Also at that site is a list of the game design rules collected so chance to come from behind and win. feedback too—even as it is applied to my far and tips on how to use them. Email him at design of this column. * [email protected].

WWW.GDMAG.COM 41 ALEXANDER BRANDON

>> AURAL FIXATION

BRING THE NOISE

SINCE GAME AUDIO HAS home theater or impress someone with a emerged as something bandwidth to play with. Imagine your old standard 12-inch television. comparable to film and boomboxes and Walkmen from the Start with understanding what the television audio (in all 1980s, with their nifty graphic EQ design needs of your title are. If your title areas except voice controls for high, mid, and low (treble is action based, be ready to set priorities, acting), expectations and bass, as they are also known) ducking groups, and mixing requirements and paradigms have frequencies. If two sounds are playing for each level as much as possible before changed. Ten years ago, with the same narrow frequency range, testing them in the game. anything was fair game, they add significantly to the loudness of Your initial assets don’t have to sit and the closer in-game that range, while everything else is there waiting. Get a demo with non- assets were to film or TV softer. There’s only a limited amount of textured art assets or even an animatic FIGURE 1 A fairly well rounded piece of looping in quality, the more loudness (known as headroom) to go and plug away at a prototype. Show the music with a bass heavy range is shown in the people were impressed. around within each range, so once you prototype to your leads and have them spectrum analysis. Now, audio developers go beyond it, the sounds begin to distort. get a good idea of what the soundscape worldwide are hearing Before that, both sounds are just muddy. will be before anything graphical is an almost constant So if you have two sounds that are bass ready. Yes, friends, it is the heyday of mantra of requests from heavy with slightly different frequencies audio concept art. producers and project within that range, you stand a better Once you’re in production (and here’s leads: “I want more chance of creating a cleaner and more the real pearl I learned recently) and bass,” and, “That needs professional sounding mix than if you you get yet another request for more to be more powerful!” have eight or more sounds with mostly power or more bass, demo your title Sound designers the same bass frequencies. next to a comparable one in its category. constantly fight back, Take a look at Figures 1 and 2: a fairly Recently, I did this with SOUL CALIBUR 3. chanting their own well rounded piece of looping music with It’s easy to notice how un-spiffy a mantras: “You have no a bass heavy range and a piece blasted gigantic swing of an axe might be on a idea what you’re talking to the max with bass. Figure 2 will sound TV in your fantasy themed title, but FIGURE 2 A piece blasted to the max with bass about,” and, “I can’t wonderful in a coffee-can exhaust Honda watching the character make the same is shown, almost reaching 0 decibels in the possibly do that!” Civic with the windows down, but it will swing and have the same weak sound lowest frequencies. Both groups have do no good for in-game sound effects will prove the point that TVs just aren’t good points. Games that might have any bass. They will be good delivery mediums for bone need to stand out in the lost to the ear. crunching and heavy linebacker tackles. marketplace, and bigger and badder In addition to headroom, you have to The same goes for music and voice over. sounds will accomplish that. consider your delivery system. Are you Finally, demo and compare a TV to a Unfortunately, big and bad are relative playing on a TV with tiny speakers, or on pair of monitors as well as a surround terms when it comes to audio. But there a full blown B&W Nautilus system? The system to your leads. Do this early in might be a way to satisfy both the lead difference in headroom and ability to play the project so you can filter those and the audio developer so everyone is more frequencies at a louder volume is wasted requests for a “badder” sound. happy, hopefully, once and for all. tremendous between a television and a However, if it still doesn’t jam on the $300 surround sound system. The more high-end systems, you’ve got THE LEAD: DYNAMIC RANGE problem is, you need to consider these work to do. Every project lead needs to understand delivery systems separately. You won’t that you have a limited amount of get great sound on a TV speaker; you will TURN IT UP! on a home theater system. With these guidelines, you should be able to satisfy everyone on the team with SOUND DEPARTMENT: what the concept of a mix is, and sound COMPROMISE designers can better address concerns of Understand that sounds make graphics a demanding team. After all, we wanted ALEXANDER BRANDON has been involved with game pop when done properly. Interactive this kind of creative control, but with audio since 1994 and is currently the audio manager at mixing using SCREAM and/or XACT, or your great power comes great responsibility. Midway in San Diego, Calif. You can email him at own custom system is just the beginning Audio sense ... tingling! * [email protected]. of creating a solid mix that will fill a cushy

42 OCTOBER 2005 | GAME DEVELOPER |!BEWFSUJTFNFOU!~ """*3'9732

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'03*/'03."5*0/0/$"5&(03:%&4$3*15*0/4  &/53:'03.4 "/%&-*(*#*-*5:36-&4(050 888*('$0. >> CREATIVE CAREERS

54 OCTOBER 2005 | GAME DEVELOPER

JOBS.EA.COM

GET IN THE GAME™ ELECTRONIC ARTS IS LOOKING FOR CREATIVE TALENT TO JOIN OUR AWARD-WINNING TEAM!

POSITIONS AVAILABLE IN: THE WORLD’S NUMBER ONE INTERACTIVE Art Game Testing ENTERTAINMENT COMPANY is hiring for a wide range of Audio Human Resources Distribution IT positions. Electronic Arts (EA) develops, publishes, and Engineering Marketing distributes software worldwide for video game systems, Finance Production personal computers, and the Internet. Our world-class studios Game Design Sales create massively popular products that we market under the LOCATIONS: EA SPORTS, EA GAMES, and EA SPORTS BIG brands. EA remains Asia Orlando committed to hiring and retaining the industry’s best talent. Chicago San Francisco Bay Area Get in the game, and help us shape the future of entertainment. Japan Montreal Los Angeles UK Louisville Vancouver Great People Make Great Games! VISIT US AT: jobs.ea.com

© 2005 Electronic Arts Inc. Electronic Arts, EA SPORTS, EA SPORTS BIG, EA GAMES and associated logos are trademarks or registered trademarks of Electronic Arts Inc. in the U.S. and/or other countries. Electronic Arts, EA SPORTS™, EA SPORTS BIG™, EA GAMES™, and "Get in the Game" are trademarks of Electronic Arts in the U.S. and/or other countries. All trademarks are the property of their respective owners.

Rockstar North Tools Programmer Environment Artists Character Artists Animators Vehicle Artists Level Designers Rockstar San Diego Tools Programmer Animation Programmer Graphics Programmer Networking Programmer Concept Artist Rockstar Vienna AI Programmer Rockstar Vancouver Art Director Rockstar NYC Specialists Rockstar Toronto AI Programmer Rockstar Leeds Audio Programmer MUNICH

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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

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>> CREATIVE CAREERS GET EDUCATED >>

64 OCTOBER 2005 | GAME DEVELOPER Game Developer (Oct).ai 8/18/05 9:40:34 AM

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68 OCTOBER 2005 | GAME DEVELOPER >> GET EDUCATED

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Art by art team

72 OCTOBER 2005 | GAME DEVELOPER [Other competitive solutions require multiple supporting packages to handle our assets. With Alienbrain, everything we need is in one package.]

Christopher Bretz Art Director, Secret Level

Brainpower Avid Alienbrain Studio 7.1 has the intelligence to help your team work faster and smarter.

Its intuitive interface tells you more than the what, where and who of an asset. It tells you what an asset references, what it’s referenced by, and whether it’s buildable, it’s optimized, or it’s redundant. It knows what platform an asset is for and what should happen to it next. It even knows an asset’s location in a texture map, its resolution in level three, and how much damage it inflicts when eaten. Alienbrain knows. You know. Your pipeline knows. ASSET MANAGEMENT FOR CREATIVE TEAMS

Free eval copies available at www.alienbrain.com

www.alienbrain.com

© 2005 Avid Technology, Inc. All rights reserved. Product features, specifications, system requirements and availability are subject to change without notice. Avid is a registered trademark of Avid Technology, Inc. in the United States and/or other countries. Alienbrain and the Alienbrain logo are trademarks of NXN Software AG. All other trademarks contained herein are the property of their respective owners. NewNew VersionVersion 7!7!

Bink Granny 3D Pixomatic Video Animation Software Technology System Renderer

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