MCV / DEVELOP ISSUE 965
NEW IN THE NEW NORMAL Joining the industry during COVID
JAGEX’S NEW $200BN OWNERS What are its ambitions for Runescape and beyond?
PRESS ALERT! Journalists talk about journalism
THE INTERNET’S FRONT PAGE THE ART AND BUSINESS OF VIDEO GAMES Marketing on Reddit
A NEWFANGLED TRANSMEDIA CAPER! WALLACE & GROMIT THE BIG FIX UP FEBRUARY 2021 ■ DEBUGGING D&I: MONTHLY ■ THE ART OF... ■ SPELLBREAK: ■ WHEN WE MADE... ADVICE FOR DIVERSITY OVER THE ALPS MAGIC ROYALE IF FOUND
01 MCV965 Front Cover v2 flat.indd 1 29/01/2021 15:28 Nominations are now open for 2021
Showcasing the industry’s brightest young talent To nominate yourself or a colleague then head to mcvuk.com/30under30 for all the details plus tips on creating a standout entry
Companies looking to get involved with this year’s 30 Under 30 should contact [email protected]
Brought to you by
MCV 30 under 30 House ad V3FINAL.indd 1 29/01/2021 09:41 FEBRUARY 05 The Editor Stonking!
06 Critical Path The key dates this month
08 Industry Voices Comment from around the industry
10 Ukie on Brexit Practical advice for leaving Europe
12 Wallace & Gromit Cracking app, Gromit
18 Ins and Outs This month's hires and moves 12 22 Debugging D&I 28 Our new regular feature 23 Recruiter Hotseat Team17's new career opportunities
24 New in the new normal Joining the industry during COVID 28 Jagex + Carlyle 38 What's next for Runescape? 32 Liquid Crimson Making first impressions that work
34 Pressing Matters Journalists on journalism
38 Spellbreak The latest battle royale contender 48 42 Marketing on Reddit The expert advice
48 The Art Of... Over the Alps
54 When We Made... If Found...
58 The Final Boss 54 Kwalee's David Darling
February 2021 MCV/DEVELOP | 03
03 MCV 965 Contents_v5FINAL.indd 1 29/01/2021 14:13 We’re Playing...
CONTENT Well Tier 4 was announced Editor: Seth Barton [email protected] while I was on the train out +44 (0)203 143 8785 of London, so I’m stranded Staff Writer: Chris Wallace in the North for a while. [email protected] Thankfully, like the overgrown +44 (0)203 143 8786 child I am, I took my Xbox Design and Production: home with me for Christmas. Steve Williams [email protected] So I’m getting my fill of London from the streets of ADVERTISING SALES Watch Dogs: Legion, while
Senior Business Development Manager: gettings the murders in on Alex Boucher This month I’ve been playing Hitman 3 This month I’m still very deep [email protected] the stock market and laying into playing Assassin’s Creed: +44 (0)7778538431 hedge funds low! Seriously Chris Wallace, Valhalla! I’m not just leading though, I’m still in Night City my vikings to raid the English MANAGEMENT Staff Writer having a rather strained however, I’m also finding the Media Director: Colin Wilkinson relationship with Keanu Reeves. time to explore my musical side [email protected] +44 (0)203 143 8777 My Warzone obsession in lockdown, with Let’s Sing continues, though I spend as Queen, and I’ve also been much time sending passive- dusting off Rock Band recently aggressive tweets to Raven as well. SUBSCRIBER CUSTOMER SERVICE To subscribe, change your address, or about bugs as actually playing. check on your current account status, please Alex Boucher, contact: [email protected] Seth Barton, Senior Business ARCHIVES Digital editions of the magazine are available to Editor Development Manager view on ISSUU.com. Recent back issues of the printed edition may be available please call +44 (0)203 143 8777 for more information.
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04 MCV 965 We_re Playing_v3FINAL.indd 1 29/01/2021 13:59 “A triple-header collision of aggressive competition, incredible technology, and rulesets that have evolved from the very beginnings of society.” TheEditor The morals behind a good game of Stonk
I’m sure by now you’ve either deciphered to your satisfaction just what the hell went on with GameStop. Or you’ve decided it all makes no sense whatsoever… but hey, what does make any sense these days? I’m certainly not going to try and lay yet another explanation upon you for the madness that occurred around the US’s biggest games retailer. Though I will say that I rather enjoyed watching financial journalists try to understand why Reddit communities do something (answers in thesis form please); while games journalists tried to get their heads around the insanity of the financial market. And insane it is. A triple-header collision of aggressive competition, incredible technology, and rulesets that have evolved from the very beginnings of society into something mind-bogglingly complex to anyone who doesn’t play themselves. ...Hang on a second, that all sounds rather familiar. Of course it’s no coincidence that the users of r/WallStreetBets had an awareness of and (arguably) a soft spot for a physical games retailer. Undoubtedly, many are also members of numerous gaming reddits as well. Looked at one way, the financial markets are just another game, one where you can set the stakes as high or low as you like. Technology also means the lines between the financial markets and gambling are now paper thin. Just practically speaking I can jump from Bet365 to Robinhood on my phone with a quick tap, and both can be linked to, and impact upon, the same bank account. Investing in companies is straightforward, you find a stock that you believe will grow and you put your money into it. Simple and positive. But shorting companies, taking a position that they will fail rather than thrive, feels far more akin to gambling. Investing has long been a moral guiding light of our capitalist system: speculate to accumulate as the saying goes. However, at the same time, betting is largely frowned upon, something the games industry is well aware of. But maybe we’re just not trying hard enough. Maybe loot boxes are exploitative not because they are like gambling, but because they’re not enough like a real financial risk. Maybe if we allowed people to win or lose hundreds, thousands, millions of pounds on their next microtransaction we’ll finally live up to the expectations of modern society and be showered with the kind of rewards that London’s hedge fund managers enjoy. Not very likely, but it’s clear that there’s a double-standard here, and it’s one that games are perfectly placed to explore, culturally speaking. Maybe someone should try adding shorting as a mechanism to some games. Allowing you to bet against yourself before you start playing, reducing your losses should you lose as predicted, but capping them, or even inverting them should you win big. It would certainly add something to the roguelike genre for starters.
Seth Barton [email protected]
February 2021 MCV/DEVELOP | 05
05 MCV965 Leader V3 FINAL.indd 1 29/01/2021 15:54 Here are the key upcoming events and releases to Critical Path mark in your calendar...
Super Mario 3D World + Bowser’s Fury
The great ransacking of the Wii U’s best titles continues, with Super Mario 3D World hitting Yorkshire Game Festival: the Nintendo Switch this month. Not only does this bundle feature Game Talks Online one of the best Wii U titles, but a brand new campaign, Bowser’s For 2021, Game Talks will be moving online, but it’s the Fury has been added. A recent same exciting programme of talks, masterclasses and Q&A trailer for the game showcases events featuring high-profile industry guests as the usual Mario facing off against a giant, Yorkshire-based event. Game Talks Online will be hosted by monstrous Bowser. Jordan Erica Webber (podcast host and presenter of The Gadget Show) and Keith Stuart (author and journalist at The Guardian).
FEBRUARY 5th 11th 12th
Little Nightmares 2
The followup to Tarsier Studios’ puzzle- platformer horror title is finally here, again published by Bandai Namco. This sequel sees the player taking the role of Mono, a young boy trapped in a world that has been distorted by an evil transmission.
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06-07 MCV965 Critical Path V3FINAL.indd 6 29/01/2021 14:17 Breakpoint by Backtrace
This is a two-day virtual developer tools event focused on showcasing the tools and best practices that game programmers depend on. The event will feature talks from the thought leaders in the following tools segment areas: Debugging, Performance, Quality Assurance & Testing. Ultimately the event will provide an opportunity for game developers to learn first hand what it takes to successfully deliver the industry’s best games.
Persona 5 Strikers
Originally released last year in Japan, this followup to Persona 5 is finally seeing a worldwide release. Developed by Omega Force and P-Studio (and published by Atlus), the game is a crossover title between Persona 5 and Koei Tecmo’s Dynasty Warriors franchise, and is set six months after the events of Persona 5.
FEBRUARY 23rd 24th-25th 26th
Bravely Default 2
Yet another sequel launches this month, this time a return to Square Enix’s Bravely Default universe. Bravely Default 2 is actually the third installment to the series, because numbers are meaningless, apparently. The game is set in a different world to prior games in the franchise, on a continent named Excillant, divided by five different kingdoms.
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06-07 MCV965 Critical Path V3FINAL.indd 7 29/01/2021 14:17 XXXXXX MCV/DEVELOP gives the industry a platform for its own views in its own words. Do you have a burning Industry Voices hot take for the world of games? Get in touch!
In January 2020, Google announced that it on the content. Since blended ads are part was planning to phase out third-party cookies of the content, the level of attention to ads is within two years and would comply with Apple’s high, exactly what major brands are looking changes to IDFA in early 2021, and the digital for. Second, with blended ads being part of the marketing world shook. By 2022, all major game, they do not disrupt the gameplay and browsers will have blocked the collection of third- can add value by increasing realism. Gamers party data via cookies, and digital marketers and feel respected and have more positive feelings advertisers will need to utilize other methods of toward ads being shown in this manner. data collection to personalize their content. How is audience targeting done in-game The world is moving toward prioritizing privacy without cookies? There are several solutions over personalization and that’s not a bad thing. that provide precise audience targeting across With cookies, users don’t know who is collecting platforms and devices without using persistent their data, and the results can feel invasive. user identifiers. Statistical demographics data This is a major shift in the world of digital involves combining estimated user non- marketing, especially for companies who precise locations with statistical location-based rely mostly on third-party data to target their demographics data. This provides advertisers audience. Performance marketing, in particular, with diversified audience targeting options related will need to adjust in a big way, as it relies on a to age group, gender, family status, and more. The value deep understanding of online behavior to target Contextual targeting is achieved by matching users and personalize their digital experiences. game titles to distinct audience types with of blended On the other hand, brand awareness defined demographic properties and interests. marketing that already relies on contextual When publishers choose to share this information in-game targeting, first-party data, and statistical location with advertisers, ads can match a nameless data won’t need to make major adjustments user’s age, location, language, and gender but advertising in to business-as-usual, perhaps just some not a specific individual user and their behavior minor tweaks. And since brands are moving across different devices and apps. toward increasing brand awareness efforts and These solutions enable large-scale global a privacy-first more synergy between their performance and brand awareness campaigns in the gaming awareness marketing silos, this is a good thing. sphere, unified across all platforms and devices, world With the swing of the pendulum toward without the risk of invading the user’s privacy brand awareness, media such as digital OOH or violating privacy laws and regulations. As Ben Fenster, co-founder and and in-game advertising can help brands reach persistent user identifiers and cookies continue CPO of Anzu.io their target audiences. The goal of these media to disappear, blended in-game advertising is is first and foremost to get brands in front of a valuable solution for brands wanting to run consumers, with a secondary goal of generating effective campaigns that respect gamers. consumer action down the line. In the games industry, the move away from Ben Fenster is Co-Founder and CPO of cookies and persistent identifiers is compounded Anzu.io, the world’s most advanced in- by the need for developers to respect gamers game advertising solution. Anzu’s full suite of to ensure user retention. Blended in-game AdTech integrations includes ad viewability in advertising provides the solution to both of these collaboration with Comscore and Moat, brand issues. First, it is perfect for brand awareness lift measurement in collaboration with Kantar campaigns due to the high level of attention and Nielsen, as well as audience verification, that games have as interactive 3D media. When data enrichment, and fraud detection. To find people play video games, they are focused out more, visit www.anzu.io.
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08-09 MCV 965 Industry Voices_v4FINAL.indd 8 29/01/2021 09:04 If there is one thing that Ukie knows about conversations. The goal of this new charity, games, it’s that our industry benefits enormously an offshoot of Wellcome, is to enable those in from drawing on a wide range of perspectives. games, the wider screen industries, the breadth The first UK Games Industry Census, which of social and scientific research, and the diversity was published in February 2020, demonstrated of global lived experiences to build on one the growing diversity of games and found it another’s strengths through the exchange of to be a workforce that is highly international, ideas, expertise and perspectives. youthful and particularly welcoming to the And that’s why this month I hosted OKRE LGBTQ+ members. Development Rooms, an opportunity to connect While data like this is important, we also and get a creative boost at a time when many of know there is much to do to broaden our reach us need it. The theme was Urban Worlds: Lives further. Being surrounded by people of different and Landscapes, offering a lateral look at our backgrounds, expertise and outlooks makes our changing cities and their communities. thinking more varied and our approach more As a geographer by training, I have always dynamic in an industry that depends on these been drawn to games that visualise or qualities. Diversifying the workforce isn’t just represent urban environments and how these something businesses should be doing; it’s a environments are shaped by and through necessity for running a successful business. humans. These are rich and complex systems OKRE: There is plenty that we, as an industry, are that can be fertile settings for compelling doing to diversify the field. The #RaiseTheGame interactive entertainment. It’s exciting then to be Opening pledge is helping businesses enact meaningful working with the OKRE Development Rooms to change today; our outreach to schools and delve deeper into this theme and be inspired and Knowledge colleges is going further than ever to reach stimulated by fresh, diverse perspectives and others. And the plethora of groups dedicated expertise from around the world. to raising up different communities is making a With each year that passes, our expectations Across major positive impact on our sector. of games seem to grow exponentially, and 2020 But we can go further by reaching beyond demanded different things from our games Research and our own corner of the creative industries to pool to satisfy an even more diverse audience. our knowledge with people working across the Whether it’s innovation on technical, narrative or Entertainment screen industries and other disciplines. gameplay levels, this is an industry defined by its Games are the product of collaboration ambition but one that is also deeply aware of its between people with diverse expertise. Games responsibilities to its players and broader society. Dr Jo Twist OBE, CEO of UKIE benefit as much from great programmers As a powerful ideas and communications as they do from brilliant performances, from medium, the way games handle representation having the best artists to provide a meaningful and deal with subjects of societal importance visual identity and the best storytellers to bring within games themselves and the industry as a a narrative alive. Yet meaningful collaboration whole will be examined with ever more scrutiny. between different sectors and industries has Over the last year, we’ve built great momentum often been lacking, meaning we’re not always for games by meeting such challenges head on. benefiting from insights gained from the diverse We must use every tool at our disposal to creative and research communities. ensure that we maintain that. Embracing cross- So how do we take these ideas and use them sector collaboration, and the exchange of ideas to inspire people across the industry? As is often with others to enhance our work, our ideas, and the case with innovation, it starts by having our ambitions, can only make us even better. the right conversation with the right people at the right time. And as we’ve learned through For more about OKRE head to okre.org. Dr Jo our work with #raisethegame, we need to put Twist OBE has been CEO of Ukie since 2012. in place welcoming spaces to ensure those Before this she was Channel 4’s Commissioning conversations can happen. Editor for Education. She’s a London Tech That’s why we’re supporting the work Ambassador, a VP of Special Effect, and serves of OKRE: Opening Knowledge Across on various boards and advisory groups, including Research and Entertainment to facilitate these the Bafta Games Committee.
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08-09 MCV 965 Industry Voices_v5 NEW FINAL.indd 9 04/02/2021 14:40 The UK-EU Deal: What does it mean for games?
Ukie’s policy and events officer Grace Shin explains the impact of the Brexit deal upon the games industry. From data to physical goods, freedom of movement to IP.
he Brexit transition period has now come to an companies put in place alternative measures such as end, and a trade agreement has been reached on standard contractual clauses before the end of the the UK and EU’s future relationship. temporary bridging arrangement. TWhat does this mean for games, and how will the This is because although achieving a data adequacy industry be affected? Here, Ukie provides an overview agreement is very much in the interest of both parties, on the major areas impacting the games industry – from and despite how data regulations between the two data flows, to changes to trade. are currently broadly the same (GDPR is retained in domestic law after the end of the transition period and DATA FLOWS so the key principles, rights and obligations remain the Continuing the flow of data between the UK and the EU same), the UK can expect more scrutiny by the EU in is a major issue for our members. how it processes its data as it becomes a third country. Grace Shin, Ukie With the UK becoming what is known as a third country to the EU, there were concerns that the free PHYSICAL TRADE – CE MARKING flow of EU data into the UK would come to an end on If you currently manufacture goods for or distribute January 1st 2021. goods to the UK market with the CE marking, there are As a data adequacy agreement was not included in a few actions you must take. part of the trade deal, a temporary bridging arrangement Products which previously required CE markings will has been agreed in order to allow data to continue being need to carry the new UKCA marking for importation transferred from the EU to the UK for four months, into Great Britain. However, please note that Northern which may be extended up to six months. During this Ireland will still require the CE marking. time, the EU has committed to completing its ongoing Products are allowed to carry both the UKCA and CE adequacy assessment. until there is divergence between the two; divergence is The UK Government remains confident an adequacy not expected to occur for the foreseeable future. agreement will be reached within this time. However, it Businesses should endeavour to phase in the UKCA is still advised as a measure of contingency that games marking as soon as possible. However, to allow
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10-11 MCV 965 UKIE and Brexit_v4FINAL.indd 10 29/01/2021 12:20 businesses time to adjust, CE UK companies will also marked goods can continue miss out on EU funding to be placed onto the GB schemes such as Creative market until 1 January 2022. Europe and Ukie will continue Existing stock already fully to work with Government in manufactured, CE marked and the development of schemes ready to be placed on the market before 1 January 2021 which can support the games industry including the do not necessarily have to meet this deadline. Global Screen Fund announced in the November Until 1 January 2023, you have the option to simply Spending Review. affix the UKCA marking on a label affixed to the product, or on an accompanying document (as opposed MOBILITY to physically on the product). The end to freedom of movement is a key pillar of Manufacturers based within Great Britain will need Brexit. British citizens will no longer be entitled to work to identify a representative based within the EU whose in EU member states without a visa, and vice versa. name and address can go on the product as a contact Despite this, UK nationals do not generally need a point for the Market Surveillance Authorities. This can visa when travelling to and from within the Schengen be a contact with importer responsibilities or authorised area for short stays of up to 90 days in a rolling 180 day representative. The latter is a legal party that acts on period. This includes short business trips or stays related behalf of the manufacturer and ensures products comply to attending conferences, and trade fairs. with UKCA/CE markings. In addition to this, each Member State has its own The opposite is also the case for manufacturers based list of activities it allows to take place visa-free. You can within the EU who export into the UK. check them on the gov.uk website. Most importantly, Great Britain will no longer Meanwhile, for recruiting EU workers, UK employers recognise authorised representatives and responsible should take note of the new immigration system in place persons based in the EU. If you use an authorised which now applies to both EU and non-EU nationals. representative, you will require one based in the UK for Employers will need to obtain a sponsor license to products being placed on the GB market. Again, the vice issue work visas to foreign workers. It is recommended versa also applies. You will have to appoint this as soon that employers apply for sponsor licenses now in order as possible. to prepare. The address for the authorised representative must Employers should also ensure that any EEA employee then be included on product labelling where the UKCA currently in their UK organisation should apply to the mark has been affixed. EU Settlement Scheme. The deadline for this is 30 June.
DIGITAL TRADE IP The digital trade of software and games is another key IP rights are broadly unchanging. The trade agreement aspect for games companies to consider. enforces a baseline of IP rights which neither party can If you are a UK business supplying digital services to weaken – however, it also provides flexibility for both consumers in the EU, you must either register for the sides to go further in the protection and enforcement of Non-Union VAT MOSS scheme in an EU member state, IP rights in the future. or register for VAT in each EU member state where you supply digital services to consumers. OTHER NOTABLE ASPECTS Equally, supplies of digital services to UK consumers The trade agreement includes commitments from both are liable to UK VAT. This is particularly relevant for the EU and the UK Government to provide clear and marketplace platforms. accessible online information about the agreement. We look forward to clear guidance being made available for FUNDING our games companies. The UK is no longer bound by EU state aid regime. This In the meantime, should you have further questions means that there is potential for the UK Government on Brexit, feel free to contact the Ukie policy team at to enact more beneficial subsidy schemes, however the [email protected]. We are also able to connect you to terms of the Brexit agreement means that there are still one of our legal members. limitations over what the Government (or the EU) is For more details and links to additional guidance head to able to introduce. https://tinyurl.com/ukiebrexit
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10-11 MCV 965 UKIE and Brexit_v4FINAL.indd 11 29/01/2021 12:20 Wallace and Gromit’s Big Fix Up Chris Wallace takes a look at the pair’s most ambitious adventure yet – a transmedia AR title that brings together numerous storytelling elements. And which, pre-COVID, was all set for a big finale on the streets of Bristol
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12-17 MCV 965 Wallace and Gromit_v8 FINAL.indd 12 29/01/2021 16:11 allace and Gromit: The can bring different types of storytelling Big Fix Up promises to techniques together and take users be a significantly more on a real time journey, and reimagine Wambitious experience than you’d what it is to experience a story, thanks perhaps expect from many titles to augmented and mixed reality and with a big-name IP attached. mobile apps.” The app, which released on January Aardman shared this vision, 18th on Android and iOS devices, is Cummings says, resulting in a a joint effort between Wallace and mutually beneficial partnership. Gromit creators Aardman Animations “We were really looking for a and Fictioneers – itself partner that wanted to be involved, a collaboration between Welsh studios we didn’t just want a licence. Because Susan Cummings, Potato, Sugar Creative and Tiny it’s so new, we didn’t want to take executive producer Rebel Games. someone’s story and just retell it this and co-founder of As an augmented and mixed way. This had to be a new story. It had Tiny Rebel Games reality title, The Big Fix Up makes to be about giving a user agency over use of transmedia storytelling – something. How can you feel clever players will experience the app’s and discover things along the way if it narrative across AR gameplay, CG was a story that everyone had heard? animations, in character phone calls, There’d be nothing to discover.” comic strips, Extended Reality (XR) The collaboration with Aardman portals and more. allowed the team to overcome the If that wasn’t ambitious enough, the challenges of the transmedia approach, story slowly unravels to players (acting working alongside Wallace and Gromit as Wallace’s employees) over a period creative director Merlin Crossingham of roughly 28 days, culminating in a and the rest of Aardman’s creative dramatic final act in February. team to flesh out the app’s narrative. There’s quite a few famous names Cummings is hugely appreciative behind the project too: the app’s cast of the support Aardman provided includes the likes of Downton Abbey’s throughout the project, Jim Carter, Peep Show’s Isy Suttie and “No one’s done this before,” says Harry Potter’s Miriam Margolyes. Cummings, “no one’s really tried to The app’s month-long story began tell a story in this way. It was really rolling out on January 25th. So as we complicated because we have to first wait to see how this ambitious project come up with a viable story that would plays out, we sat down with Susan serve our purposes. Everything was Cummings, executive producer and driven by the story in this project. co-founder of Tiny Rebel Games. Every single decision has been about what’s best for telling the story.” WORKING WITH AARDMAN Helping to navigate how best to Cummings tells us that Aardman was tell each element of the story was immediately on board with their plan just one element where Aardman’s for a transmedia title. expertise proved useful. The Aardman “The concept of transmedia has connection helped to ground The Big been this sort of beleaguered term over Fix Up in the distinct Wallace and the years,” says Cummings. “People Gromit universe. tried to do it. Usually, it’s like a comic Tiny Rebel Games has history with book that maybe two people read working with beloved British IPs – the before going to see a Marvel film, Newport-based developer previously because of that discoverability issue. worked on mobile titles Doctor Who: “And so what we pitched was that we Legacy and Doctor Who Infinity. Still, can bring all this together in-app. We Cummings acknowledges there’s a
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12-17 MCV 965 Wallace and Gromit_v8 FINAL.indd 13 29/01/2021 16:11 “heavy weight to bear” when dealing with such an Asking Aardman expectant audience.
Merlin Crossingham, creative director CRAFTING THE CHARACTERS of Wallace & Gromit at Aardman, gives Which makes the love Aardman has put into this us the inside story of Wallace & Gromit’s project all the more important. From smaller relationship to games and entertainment details, such as a list of pie-related puns along a apps like the Big Fix Up. bookshelf, to getting hands-on in the creation Does the format of The Big Fix Up allow of the app’s new characters, literally leaving the you to explore stories that you might be Aardman fingerprint on the project. unable to tell in Wallace and Gromit’s “So there’s three new characters,” says more traditional format? I don’t think there are any stories that can’t be told in any format, so no Cummings, “but two of them, Bernard Grubb, and from that point of view we could have told this story in a traditional format. Hackerby’, had to actually be crafted in clay and However the story we created was specifically tailored to make the most then scanned, which is something we didn’t know of having our audience not only interact directly with the various media and going into the project. technology but also to be a part of the narrative. “But when you think about it, if you’re going The Big Fix Up gives our audience the opportunity to dive into Wallace & Gromit’s world. Bringing the characters and contraptions directly into their to do that for both Wallace and Gromit, you have homes using the latest augmented reality technology - which is even more to do it for the others. It was an unexpected thing appealing while we’re all stuck at home at the moment! to actually have Aardman modellers create these characters, which was just amazing watching them Wallace and Gromit have long existed in multiple mediums. Do you come to life from the drawings through to the clay feel the property is inherently suited to transmedia projects? Wallace & Gromit’s heart and soul lies in traditional stop motion film making. models and to the real thing. However their strength as characters and the well-defined world in which “And then they do these LIDAR scans, high they live does mean that they have the fortitude to dip their toes into almost resolution scans of the characters, and then we any form of entertainment. The Big Fix Up takes this to the next level by turn that into CG. But you even see thumb prints incorporating so many different forms of media to tell one story. The great thing about Wallace & Gromit is that they are national treasures! They appeal to all ages, from 8-80, so being able to offer multiple ways to connect with the characters is important. It’s particularly interesting that The Big Fix Up consolidates multiple forms of media, from comic strips to AR, and phone calls to XR portals.
Given the series’ long history as a beloved British IP, do you see a mobile app as a way to introduce a new generation to Wallace and Gromit? No, I don’t see it as a way of expanding the Wallace and Gromit audience base, however that would be a lovely side effect if it does happen. We entered into this project eyes wide open that it was a research and development project funded by the UKRI specifically to look at new ways to tell stories with emerging technology. So from that point of view I do hope it will open the doors to new and exciting story telling techniques to a generation who have become accustomed to interacting with the world via their mobile devices.
Wallace and Gromit have been largely absent from gaming in recent years, with more of a focus on the Shaun the Sheep titles. Is there more of a desire to bring these characters to games again? We are always looking for the best opportunities for our characters and gaming is certainly one we recognise works fantastically for us but more importantly our fans. The last few years have indeed seen Shaun taking the limelight on the gaming front but rest assured Wallace and Gromit will be back within a game in the future. Watch this space!
Right: Head outdoors and enjoy some quality time with your Techno Trousers
14 | MCV/DEVELOP February 2021
12-17 MCV 965 Wallace and Gromit_v8 FINAL.indd 14 29/01/2021 16:11 and stuff on the characters, and we had to keep all Above: The team at that. So when we put out our first trailer, there were a Aardman working lot of people fooled, and totally thought it was clay.” on key character Of course, even with all the love and support in Bernard Grubb the world – telling a coherent story across multiple different mediums is a tall order. Left: Gameplay revolves With the app ranging from AR gameplay, to around constructing comic books, to in-character phone calls, it’s hard gadgets and gizmos and not to wonder if the team had created a huge putting them to work on challenge for themselves. plot-related tasks “Yeah, it’s hard!” says Cummings. “It’s hard to do any one of those things well. It’s really complicated to make videos to try and make augmented reality because it’s so new. And it’s hard to write for those things, and to get the gags in as well, because Wallace and Gromit is all about humour. I think we may be the first company that has tried to do AR comedy, it’s super funny throughout.” Still, the transmedia approach allowed the team to focus on what elements would be best used for the sake of the story – even tailoring the medium to the specific characters. “But like I was saying with the story beats, we had to figure out the best way of telling each aspect of the story. So for example, Gromit doesn’t talk. So we had to figure out how to bring him into the story, what was the way of telling Gromit’s story? And so we settled on these noir full motion comic strips. And so that was a decision as being what is best for the story.”
February 2021 MCV/DEVELOP | 15
12-17 MCV 965 Wallace and Gromit_v8 FINAL.indd 15 29/01/2021 16:11 Above: ‘Local reporter’ TELLING A TALE (apart from Sundays, even Wallaces need a Clarissa Kent talks to Splitting the story across multiple different break sometimes, trust me on this one), before the game’s characters mediums runs the risk of an audience getting lost, its dramatic final act in February. Of course, the and builds the story, though. The app has a clear framing device: upon entire story will still be available after February, to which is set in Bristol downloading the app, the user is signing up to be cater to any latecomers. an employee of Wallace’s company – tasked with It’s certainly an interesting experiment, and helping him with a job to fix up Bristol, as the the daily rollout of content over the 28 day beloved character once again finds himself in way period opens up the opportunity for water-cooler over his head. conversations – something that we haven’t had a But when a narrative that began in AR lot of this year. With all the players receiving the continues into a comic, only to end in a phone call, content at the same time (time zones depending) there’s a chance audiences might lose the thread each day, it’s a chance to give players a sense of a of it. It’s a potential concern the team is all but shared experience. too aware of, though Cummings seems confident “I feel like we are missing those,” notes about the final result. Cummings. “There’s so much out there to watch. “The past month or two has just been I end up telling somebody about something I integration and going over and over again, to watched, but no one’s watching it at the same make sure that the story flows. I think one of the time. I really miss the Game of Thrones experience most important outputs of this project is going of ‘could you believe what happened last night?’ to be: ‘did you get the whole story? Did you feel That’s what we’re really hoping in this experiment, like you missed something, because of the way we is to find out if people actually care about that.” delivered it?’ And you know, we feel really good The Big Fix Up is very much a narrative-driven about it, We can only get it out there now and see.” experience. While there are gameplay elements, The app’s narrative will take place over roughly they’re skippable for those who would simply 28 days, with new content available every day rather focus on the story and the app’s AR features.
16 | MCV/DEVELOP February 2021
12-17 MCV 965 Wallace and Gromit_v8 FINAL.indd 16 29/01/2021 16:11 Cummings stresses that the app is not a everyone come together for this rich finale Feature and cover ‘game’ in the traditional sense, with no involving crowds of people. Obviously, that images © and TM failure states. suddenly isn’t going to be a thing. Aardman/W&G Ltd. “We know that this is a broad audience, “So what we’ve done is we’ve taken All Rights Reserved. And and we’re not trying to make people the LIDAR scan data of Bristol, and our © Fictioneers Ltd. 2021 uncomfortable” says Cummings. “There Unity team has been able to turn that into are a lot of people out there who are scared something akin to a diorama and made it of games, who think that they’re too hard, scalable. So you can either make it really and they’re getting punished and so forth. small on your tabletop if you’re confined to The audience for Wallace and Gromit a small space, or you can make it really big runs the gamut, and we want parents and and you can put it in your back garden or in grandparents to be able to interact with this your local park. with their children, and teach them about “You’ll have a series of about a dozen AR something that they grew up with.” experiences all open up at once, and you What gameplay there is focuses around a get this experience that you would have traditional gameplay loop of collecting parts had on the streets of Bristol, but you can do and building gadgets. Players can send their it from home.” contraptions out for less important jobs, The work done to adjust to the changing similar to sending Fallout Shelter’s vault situation is certainly impressive, but we can’t dwellers out on tasks. More urgent jobs take help but wish we could take to the streets place in the app’s AR mode. For instance, of Bristol in February. Still, there are plans the first urgent job players will encounter is for this to take place, once it is safe to do to fix the Wrong Trousers, which have once so, across three yet to be determined cities. again gone haywire. It’s certainly in-keeping with the idea of The gameplay itself promises to be fairly bringing people together through Wallace simple, and can be repeated at any time. and Gromit. For players particularly impressed by the It all sounds very promising, and if AR technology, there’s even a sandbox all goes well there’s certainly hope for mode called the Playground, Unity’s MARS future collaboration with Aardman, or technology and allows players to send more transmedia narratives coming in a Wallace’s bizarre contraptions whizzing (hopefully less locked down) future. around their own houses. “We love working with Aardman, we have a great relationship and we’re really excited A GRAND DAY OUT with what we’ve managed to pull off here. So Which brings us to the elephant in the room. I think there’s definitely interested in doing Not only was the app originally scheduled more of both with Aardman, and just more to release last year, but was due to culminate of these types of experiences generally. You with players coming together on the streets know, we hope we’re right, that that this of Bristol for the story’s dramatic final act. is something that that users want and that Of course, our current COVID-reality blended storytelling is something viable, put an end to those plans. This unexpected and a fun way to interact with experiences.” spanner in the works forced the app to delay until 2021, so that the story’s final act could be reworked to fit our new normal. “What we’ve done is we’ve taken the “The finale of the story, which is going LIDAR scan data of Bristol, and our to happen in February, was meant to be on the streets of Bristol,” says Cummings. Unity team has been able to turn that “Something was going to happen, and everyone had to get to Bristol to help. And into something akin to a diorama and so we partnered with a company called Fantasmo to LIDAR scan the sections of made it scalable.” Bristol that we needed, so that we could have
February 2021 MCV/DEVELOP | 17
12-17 MCV 965 Wallace and Gromit_v8 FINAL.indd 17 29/01/2021 16:11 Brought to you by RECRUITMENT
Ins and Outs: Industry hires and moves
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Splash Damage continues Game developer LEE ADAMSON (9) also Future Publishing has Liquid Violet, part of its regular appearance on Sharkmob is starting joins Sharkmob, joining undergone a series of Keywords Studios has this page, with four new the new year by adding the team as a lead vehicle promotions and new hires announced that KATIE hires at the company. several new names to artist. Adamson previously at the company. YOUNG (17) has joined the London studio’s worked at Rocksteady, its audio production, voice First, DIEGO LLORENS leadership team. where he spent over 13 First, OSCAR TAYLOR- casting and recording RICO (1) joins the years working on projects KENT (13) has been facilities located in studio as an assistant First, SIMON LASHLEY such as Batman: Arkham promoted to deputy editor London’s West End as gameplay programmer, (5) joins as a principal City and Arkham Knight on Offi cial PlayStation head of studio. Young Rico previously spent technical designer. Magazine. Taylor-Kent was has nearly 18 years ve months working Lashley joins the team Sharkmob’s next hire is previously games editor at of experience in the as a game developer from Wargaming, and CHRIS ROYALL (10), who the magazine. industry—including 12 for Simedis, working has previously worked joins the team as a studio years working in various on LapEntryCoach, a at companies such as IT lead. Royall previously There’s some change over roles at The Walt Disney laparoscopy simulator. Guerrilla and Rockstar, worked at King, where he at EDGE magazine, too. Company as well as at Sumo. spent six years working as CHRIS SCHILLING (14) Still at Splash Damage, an IT support team leader, has been promoted to Publisher No More Robots RICHARD HAYDEN Next up, ASHLEIGH and has also worked at deputy editor – with Tony has made a series of new (2) signs on as a lead WEBB (6) joins Sharkmob Acxiom Corporation. Mott rejoining the team as hires at the company. product manager. Hayden as a HR director. Prior acting editor. First, SOPHIE SMART has worked as a product to joining the team at Finally at Sharkmob, (18) joins the team as a consultant for the past four Sharkmob, Webb STEFAN VALASEK Also at EDGE, ALEX senior producer. Smart years, and has previously worked at PlayStation (11) joins as a concept SPENCER (15) joins as will be helping to organize worked at Oneserve, as London Studio. artist. Valasek joins from features editor. Spencer No More Robots in head of product. Staffordshire University, has been working as preparation for the 4+ Still at Sharkmob, SERGIO with a bachelor’s degree in a freelance journalist games that the publisher is ANTHONY KYNE (3) FRANCO (7) joins as Concept Art. since 2011. planning to announce and also joins, as a production technical director. Franco launch this year. director. Kyne joins from joins from Amazon Game Hypercasual mobile Keywords Studios Mediatonic, where he has Studios and has previously publisher Kwalee has hired has appointed SONIA Additionally, STACEY spent the past two years worked at Rare and MAX EVERINGHAM (12) LASHAND SEDLER SATCHELL (19) joins the working as lead producer. Microsoft Studios. as head of PC & console (16) as the Group’s Chief team as QA. Satchell is publishing. The former Operating Of cer (COO). a game design graduate The last hire at Splash KELVIN JANSON (8) also Team17 head of publishing Sedler has 20 years of from the University of Damage is ETHAN PAGE joins, as an art manager. is already working to build experience, most recently Central Lancashire. (4) joins the company as Janson joins Sharkmob his new team and identify as global head of managed an associate gameplay from Playground Games, exciting new games to services and banking Finally, JOE BOGNAR (20) programmer. Page has where he worked for over publish, following the strategy at Diebold has joined ASUS & ROG worked for ve months as nine years. Janson has recent launch of Kwalee’s Nixdorf, a global retail and in the systems division, a teaching assistant over also worked for both rst externally-developed banking technology and working as a public at Kingston University. Sony and Codemasters. PC title, Eternal Hope. services organisation. relations specialist
Got an appointment you’d like to share with the industry? Email Chris Wallace at [email protected]
18 | MCV/DEVELOP February 2021
18 MCV 965 Ins and Outs_V4 FINAL.indd 18 29/01/2021 16:02 Brought to you by RECRUITMENT Every month, we pick the brain of an Rising Star up-and-coming talent
Grace Shin, policy officer at Ukie, talks about her start in the industry, dealing with Brexit and the joys of finding out what an MP’s favourite game is
How did you break into games? In fact, the process of analysing Growing up, I adored games and couldn’t play and explaining any piece of them enough - whether it was games such as complex policy or regulation can The Sims or Dragon Age. be a challenge. After graduating from the University of York The nature of the industry is with a history degree, I decided that I wanted to that it is so diverse in terms of size work in the policy/public affairs space, and so I and business models. You need looked on relevant job boards. to be aware that any policy aimed When the position of Policy and Events Intern at games may affect a two-person at Ukie turned up, it seemed like a perfect team as much as an international fit. After getting the job and making some corporation, which means it can life changing cups of tea for the team, I was be really tough when taking all promoted to full time. that into account. I am a total geek though, so I What has been your proudest achievement find it immensely satisfying getting so far? my head around the many policy This is going to sound incredibly dry, but the challenges out there - especially first consultation response I led on and wrote, when you’re then able to easily which was our response to the Migration articulate them to members. Advisory Committee on the Shortage What’s your biggest ambition in games? Occupation List to include more games related What do you enjoy most about your job? Not a personal ambition but a broader one for roles. It was just a really good experience to A lot, actually. It is an exciting industry to work the industry – I hope that one day its cultural have so early in my career. in as it is one which is naturally future focused. importance is truly recognised and respected. On top of this, the MAC took up So shaping policy to help the games industry The UK especially has such an amazing games recommendations we made, and although of is motivating in that respect as you’re working heritage and there is often a degree of surprise course it wasn’t our response alone that did it, on some forward-facing issues which have when explaining this to parliamentarians. We knowing that my analysis contributed was really wider societal significance, from Online Harms have amazing creative industries, and games satisfying. It gave me the confidence to trust my to digital connectivity. are a key part. We should acknowledge that. judgement in future work. The people who work in games makes it great as well. In my experience, everyone I What advice would you give to an aspiring What has been your biggest challenge? have met has been so friendly and passionate policy officer? Brexit! Working out the complexities of varying about what they do. It’s an industry full of Find out what you would like to do as a job in scenarios of Brexit and their impacts on wonderful personalities and everyone is any industry and work on gaining experience the industry has been a headache at times, young at heart. and skills in that. Secondly, I really recommend especially when the situation changed so Finally, I love finding out what an MP’s going to industry events (well, virtually) and frequently the past few years (see page 10 for a favourite game is. Strangely, it is nearly always meeting people. You never know what kind of handy summary of Shin’s work on that topic). Civilisation or a Paradox game. Hmm… opportunity could come up.
If there’s a rising star at your company, contact Chris Wallace at [email protected]
February 2021 MCV/DEVELOP | 19
19 MCV 965 Rising Star_v4FINAL.indd 19 29/01/2021 09:06 RECRUITMENT Cherry picked advice to help you reach the next level in your career
Pierre-Antoine Cohade, producer at Sparx*, a Virtuos Studio, talks about wearing multiple hats, the need to be versatile and the opportunity for career progression
each of the artists in our have the same requirements. If you’re a good team individually to make problem solver who can think on their feet, you sure everything is on track could make a good producer. and identify any obstacles. Finally, you need to have an interest in the The rest of the day then games industry, and always be on top of new consists of meetings on trends and the latest new technology. a variety of topics, from team management, to If you were interviewing someone for your visually checking current team, what would you look for? work, to reviewing KPIs, I would certainly be looking for versatility when before wrapping up in the it comes to the artists on my team. We work afternoon with calls to with 18 of the 20 biggest games companies in update our clients. the world, so our projects can be so different that an artist who performed well on one can What qualifications find themselves struggling on another. and/or experience It’s important that my team can work with does someone need different styles (from oil painting style, to to get this job? cartoony, to photorealistic) and are able to I wouldn’t say that there are do different types of work (from environment any specific qualifications or character concept, to set-dressing, to 3D needed for this role, modelling). Having a speciality is great, and all however there are certain my artists have something they are particularly attributes that are important awesome at, but we always encourage them to have and many of these to diversify their skills. do come with experience in similar roles, either inside or What opportunities are there for career outside the games industry. progression in your industry? What is your job role and how would you Firstly, you need to have good managerial The great thing about the games industry is describe your typical day at work? skills, so you should have some experience the variety of paths people can take as they I am a producer, but most days I wear two managing a team. In my role you need to build their careers. For me as a producer, hats in my role. The first is acting as a line manage directors, team leaders, artists, other there is a clear progression path to more producer on our multi-department triple-A producers, and more. senior production roles, such as leading and double-A game projects, working across Secondly, you need to have experience as a up to production director. teams to deliver complex projects for our project manager, with ideally some knowledge For my team of artists initial progression clients. The second is acting as producer for when it comes to managing finances, legal goes from junior artist to senior artist roles. our Brief & Concepts Group. contracts, and measuring against KPIs. At a big global studio like ours, those that Most days start with stand-up meetings Thirdly, you need to be adaptable. The truly excel at team management might well for the multi-department projects currently ability to adapt your processes to those progress to team leader, and in some cases to underway. This is followed by a check-in with changes is crucial as every client will not art director.
Want to talk about your career and inspire people to follow the same path? Contact Chris Wallace at [email protected]
20 | MCV/DEVELOP February 2021
20 MCV 965 Levelling Up_v4FINAL.indd 20 29/01/2021 09:08 MCV965 FEB21 Liquid Crimson:Layout 1 25/01/2021 16:40 Page 1 Brought to you by
Debugging D&I
Amiqus’ Liz Prince introduces our new regular feature, promoting the importance of diversity and inclusion in the industry
e know there have always been many competing a priority, here are a few well documented and researched priorities for games businesses, made only more reminders as to why it should take centre stage in 2021. W complex and challenging by the pandemic, which has A diverse workforce provides a variety of perspectives, impacted our lives in so many different ways. increased creativity, higher levels of innovation and delivers Diversity and/or inclusion have sometimes struggled to make it faster problem solving and better decision making. Diverse to the top of the agenda for many studios, and when they have companies report greater profits, higher employee engagement made it there, for some it hasn’t and retention. Outwardly your necessarily moved past the “A diverse workforce provides reputation is enhanced, and in discussion or initial investigation turn you will attract more top stage. We know that this isn’t a variety of perspectives, talent. Current data suggests generally from a lack of will, but that over two thirds of job through a lack of time, resource, increased creativity, higher seekers consider a diverse focus or knowledge, or all of workforce to be important when these things. Our industry isn’t levels of innovation and comparing companies and job alone in this – a recent report in offers. Looking ahead however, the tech sector revealed that 41 delivers faster problem solving this is going to become even per cent of companies asked more of a focus. When PwC had cited being “too busy” as and better decision making” looked into the statistics the number one reason they surrounding the millennial avoid hiring for diversity. The COVID-19 pandemic has only workforce, they discovered that diversity is something millennials exacerbated this for many. hold in high regard. 85 per cent of females agreed that an So where do we go from here? I remain passionate that the employer’s policy on diversity and equality was important when games industry must and can accelerate its focus on diversity deciding whether to work for an employer. As the workplace and inclusion programmes, despite the ongoing challenges becomes more populated with the millennial and gen Z we’re all facing. And this series of articles is here to offer generations, studios risk missing out on top talent if they aren’t practical advice from those who have made significant changes diverse and inclusive. for the better within their organisations. They will be sharing their There are so many tangible and measurable benefits to D&I, best practice tips, experience and advice to help more studios but there is also a significant moral responsibility to consider, to make good on the diversity pledges they may have taken early do the right thing and demonstrate commitment to social justice last year. as part of your corporate social responsibility. Hopefully, many of you will be aware of our ‘Putting The G We hope you’re ready to make D&I central to your 2021 Into Gaming’ campaign, which is aimed at supporting women priorities and that this series of articles will help. in games, as well as encouraging more females to consider a career in games. We launched ‘Empower-Up’ as a sister initiative last year. The programme has been devised to provide a guided journey to help studios and leadership teams make a change for better. If D&I has become a Covid casualty in your business and you At Amiqus, we have many want to make it a priority but don’t know where to start, we resources available to help, can help. Get in touch any time. If you’re not ready or perhaps so please do get in touch via feel that you are still too busy to make diversity and inclusion [email protected].
22 | MCV/DEVELOP February 2021
22 MCV 965 Debugging v5FINAL.indd 22 29/01/2021 09:09 RECRUITMENT Recruiter Hotseat
Team17 is looking to hire experienced people in QA and Production. Jasper Barnes gives us the inside scoop.
What differentiates your studio from problem solving and your communication skills; other developers? rather than a link to your art portfolio or your The sheer variety and diversity of titles that design website. It can sometimes be worth we get the opportunity to put out there! We’re creating multiple CVs for this exact reason. a games studio and a games label, meaning we are given the chance to work on titles with What advice would you give for a games developers from all around the world, successful interview at your studio? and can really flex our creative muscles by For a successful interview at Team17 we really working in a landscape that is always changing want to see potential in people shining through. and adapting. We’re inventive as a business, The beauty of Team17 is that every game we constantly challenging ourselves with new work on is different from the last, and so we ideas, new genres and new technologies, and want to see people who can be superstars for we do it with Team17 spirit, jumping into every both our immediate needs, but also the future challenge with both feet in the hope that we projects for the studio. This generally means learn something cool! We’re indie at heart, and being able to show a good range of knowledge to work remotely, and on their first day they our passion for indie games and developers within your discipline; perhaps a game designer are virtually welcomed to the team by HR, their is tangible. with experience working in Unity and an manager and their colleagues to make sure that understanding of UX design; or a producer who they have everything that they need to be able What should aspiring devs do with their is able to take ownership of a small project but to get started. From there, they will have regular CV to get an interview? also work in tandem with another or several chats and be welcomed into team meetings It depends on the job you are applying for. other producers towards a larger title. Showing and virtual socials to make sure they feel a part For the more visual roles (art, game design, a bit of inventiveness within your job role or of the team. We’ve had really positive feedback graphics, UX, etc.) I would say that really specialism is certainly a good way to stand out! from people who have joined us throughout the your CV should be as simple as a signpost pandemic. and we’re excited to hang out and to your portfolio, which is where the magic What processes do you have for work with them in person at our studios when needs to happen. We’ve hired people for onboarding staff remotely? we can eventually return! junior and associate level roles on the strength Like the recruitment process, we’ve put of a portfolio, so it really is the most valuable measures in place to make sure that we How many staff are you currently looking tool that you should keep updated with your are giving new joiners a positive onboarding to take on? strongest and most relevant pieces of work. experience to get them set up and integrated Well 2020 was a big year for us recruitment For other roles, I would suggest that into our teams as smoothly as possible. wise and 2021 doesn’t look any different. We you make sure you fully understand the Working closely with the IT team and head of have plans to continue growing our teams requirements of the role that you are applying department across the business we ensure across all of our locations, especially our for before you hit send on your application. that we can get new starters’ workstations Manchester studio which is our newest location Where possible avoid submitting a CV that couriered to their address in time for their first based at Media City. highlights your knowledge in the wrong areas day at Team17, so that they can log in on their In particular, we’re looking for experienced of game dev. For example, if you are applying first day from the comfort of their own home. people in QA and Production. There are roles for a role in QA, you should be drawing focus From day one, new joiners are set up and for all of our sites currently on our website, with to your high attention to detail, your creative ready to go with all the equipment they need many more to follow in the next few weeks!
If you’d like to feature your recruitment team on this page then contact Alex Boucher – [email protected]
February 2021 MCV/DEVELOP | 23
23 MCV 965 Recruiter Hotseat_v4FINAL.indd 23 29/01/2021 09:11 New in the New Normal Many of those who joined the games industry around the first outbreak of COVID-19 in the UK are approaching their first anniversary in their new careers. Chris Wallace discusses what it’s like to begin a career in our new normal
o say that the past year has been year has, I’m sure, felt like an odd pause – without unprecedented and overwhelming is the usual major events that act as checkpoints simultaneously a colossal understatement throughout the year. Tand a very tired cliché at this point. But what of us newcomers? We’re almost at We all had a difficult 2020 – and not to be a the one-year mark since the first UK lockdown, pessimist, but 2021 is going to remain difficult for meaning there will be people across the industry the foreseeable future. Still, there’s light at the end celebrating their anniversary without ever having of the tunnel, and those of us who can work at stepped foot in their office or a games event. home have largely gotten used to doing so. It’s a topic close to my heart. I joined MCV/ Though I’m sure there’s plenty of us still waiting DEVELOP, my first job in the games industry, in for the days of office banter, after work drinks October 2019. So I was lucky enough to be able and industry events to return. For the more to attend a few UK events – stepping bleary-eyed experienced members of our industry, the past around EGX at the end of my first week, heading
24 | MCV/DEVELOP February 2021
24-27 MCV965 New to the industry COVID V4 FINAL.indd 24 29/01/2021 09:14 up to Yorkshire for my first (and only) level of productivity is and a huge learning event outside of London for the Yorkshire curve was understanding and being OK Games Festival, and of course: The MCV/ with not being able to be as effective as I DEVELOP Awards back in March 2019. was pre-COVID. Still, my experience in the games “This has been particularly difficult industry is best described by that scene in because the people that I work with now Community: walking optimistically through don’t have first-hand experience of working the door, pizza in hand, only to find with me pre-COVID, so I did at first put a everything on fire. My first overseas trip, lot of pressure on myself to excel in my new to San Francisco for GDC, predictably industry and role. My manager and Ubisoft did not go ahead. My second, to attend in general have been very supportive and Gamescom for MCV/DEVELOP was understanding of my (and everyone’s) similarly cancelled. situation though, so with that support I While I certainly feel fortunate to be have learned to go a little easier on myself.” here, it feels as if I’ve joined the industry in Nicky Armstrong, senior secret: smuggled in under cover of night. PART OF THE TEAM gameplay programmer at My Twitter feed is full of industry veterans Everyone I spoke to was keen to stress Ubisoft Reflections looking back nostalgically on an industry that their companies have been supportive I’ve yet to experience. I’ve been here for during this time – a good sign, given the over a year now, and by the time I’m initial concerns about onboarding during attending a major event again, I’ll likely this crisis. Despite many people quoted be into my second year – and suddenly here having never physically worked dealing with a very different job than the with their colleagues, they nonetheless one I’ve grown accustomed to. all reported feeling a valued member of But I at least had that 5 month period the company. in the office. I’ve had the (dubious) “I absolutely feel a part of the team,” says honour of meeting MCV/DEVELOP Winona Sharpe, who joined Double Eleven editor Seth Barton, and our colleagues as a junior release associate in May 2020. at other magazines. But there’s a whole “Our channels of communication are very host of people out there about to celebrate open and always getting better as time goes their one-year anniversary, having never on. I’ve been made to feel very welcome. physically worked with their colleagues. Working from home is new to most of us in the business so in that way I haven’t felt like Emily Inkpen, copywriter at GREAT EXPECTATIONS I’m alone going through this.” Marmalade Game Studios We talk a lot about the ‘new normal’, but “Marmalade is really good for this,” adds what about people for whom this is the only Emily Inkpen, who joined Marmalade normal they’ve ever known in the industry? Game Studios as a copywriter in April 2020. How does this match up with their initial “Or, at least, the marketing team is. We “A huge learning expectations for their careers? have daily catch-ups and video is always on. curve was “Before joining, I think I expected to We still have creative brainstorms together hit the ground running at work a bit more for every campaign and release. understanding easily,” says Nikky Armstrong, who joined “The company has a second office in Ubisoft Reflections a senior gameplay Lisbon, which is where my design partners and being OK programmer in March 2020. “I was excited are (copywriters and designers generally about making friends in the wider industry form ‘teams’ and work closely together). with not being and attending conferences and events. We’ll be working remotely even when “I’ve really had to step back and prioritise we are in the office, so video chat will able to be as my mental health, followed by being able be a thing even when (if) things get back effective as I to do my job, which has meant being less to normal.” involved with communities and online What seemed to be a theme, though was pre-COVID” events because I don’t have a lot of energy not a universal one, is that building left over. I have discovered what my new connections at work has been more or
February 2021 MCV/DEVELOP | 25
24-27 MCV965 New to the industry COVID V4 FINAL.indd 25 29/01/2021 09:14 less uninterrupted. But when it comes to making Q&A segment. Ideally I don’t want it to feel like connections outside of the company, things become another meeting, but like a fun social event or an a lot more complicated when working remotely. educational activity. Something to do together with “I definitely think making connections in the other people is quite appealing to me.” wider industry has been much more challenging in But all that isn’t to say that, should the pandemic the current circumstances,” says Venezia Georgieva, be over tomorrow, that returning to large-scale who joined Mojiworks as a junior game designer in events won’t be an emotionally complicated October 2019. experience. While the people I spoke to remained “Going to a new place for a talk or conference optimistic about adjusting back to the old normal used to be an event in itself for me as it broadened when the time comes, there’s certainly a risk of a my horizons not only to what the speakers had culture shock once this is all over. to say, but also to all of the other developers and “I am a bit worried I will be wary of going to professionals in the audience. It was a great way to events,” notes Ubisoft Reflections’ Armstrong. meet people of all walks of life and be surrounded “Even when they are up and running again, I Venezia Georgieva, junior by healthy discussion. may miss out on opportunities through being games designer at Mojiworks “Under the current circumstances working almost overly cautious, but I imagine that will get better exclusively in front of the monitor, it can be difficult with time” to attend extra events due to screen fatigue. I have Though as Marmalade’s Inkpen notes, these attended a few online events since the first lockdown fears will hardly be unique to those new to the and have enjoyed my time on the UK Game games industry: Industry Slack, but they don’t quite fill the gap.” “I think the whole country is going to be a bit agoraphobic. I’ve got a really good sense of the GETTING TOGETHER team remotely and I actually can’t wait to be in the Online events and communities are welcome for a office with them all in person! Perhaps I’ll be easily number of reasons. Not only are they safe during overwhelmed by the crowds in London at first, and these troubled times, but they’re infinitely more I imagine a lot of headphone time in the office, but accessible than physical events – without any of that was always the case. It’s hard to do words when the costs associated with travelling and attending everyone is talking around you.” events, not to mention much more approachable for people with disabilities. CAREER CRISIS? But while we hope online events are here to stay, The limitations on social interaction is one thing, for many, they simply aren’t the same experience. but what of the potentially more long-lasting Matthew Denny, development Many struggle to make meaningful connections consequences of spending your entire career QA engineer at Codemasters from behind a screen, making networking an even working remotely? Do our new starters feel that this more hellish experience than it ever was. pandemic has hindered their career development? “My ability to make connections in the wider “I think it may have hampered my ability to be industry has been hampered in a way, yes” says as impactful at work as I would like,” says Ubisoft Matthew Denny, who joined Codemasters as a Reflections’ Armstrong. “Both in terms of reduced development QA engineer a few days before the capacity and not being able to create relationships first lockdown in March 2020. “Although I’ve with a wider range of team members as easily. been able to attend online seminars from software “I think it has been more difficult to demonstrate companies, I do feel it’s harder to make connections the value that I bring with me from outside the over online events than in person ones.” industry when I’m concentrating so hard on staying “The main reason why online events are not as afloat. I also have put a lot of my study and personal enticing to me is because it’s largely impossible to projects aside because I want to shut the door on facilitate them without the screen,” adds Mojiworks’ my work area at home at the end of the day.” Georgieva. “I often find myself a bit drained after The pandemic has been awful in many hours of work in front of the monitor, which can ways – and while they don’t even come close make it difficult to get excited about what would to counteracting the negative aspects, there are otherwise be a wonderful event. positives to be found if you look for them. “Nonetheless, I am very interested in online “Personally I don’t feel that the pandemic events which feature an interactive activity or a has hampered my career development,” says
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24-27 MCV965 New to the industry COVID V4 FINAL.indd 26 29/01/2021 09:14 Double Eleven’s Sharpe. “If anything, joining the “But I miss the atmosphere and friendship of an games industry when I did meant that I had the office, and I haven’t been able to experience going opportunity to start a new career while at the to work at Ubisoft with the logos and memorabilia same time prioritising my mental and physical and things on the walls. That’s a superficial thing, wellbeing. I’m not spending several hours every but it was something I was looking forward to!” day commuting, resorting to fast food, and coming “Ideally I would love a mixed option,” adds home exhausted after a long day at work.” Mojiworks’ Georgieva, “with some days spent On the note of benefits, one thing I’ve personally working from home and some days spent in the found liberating about the past year is the move to studio. Even though countless game professionals remote work. While there’s certainly a few elements have proven that we can do outstanding work of office life that I miss, no longer having to factor remotely, I believe it is important to nurture the in the costs (and misery) of an early morning relationships within the team and to get to know London commute was one of the few perks of 2020, each other on a personal level.” and one I hope to be able to hang on to in some With all that said – this has hardly been the first form going forward. year any of us had hoped for, I’m sure. If people Winona Sharp, junior release Is this a desire we can expect to see spread across had known their first year in the industry would be associate at Double Eleven the industry? like this, would they still have joined? “This is really tough to say,” says Ubisoft “Yes definitely,” says Codemasters’ Denny. “The Reflections’ Armstrong. “I enjoy not having a industry is very hard to break into and I would commute, and as difficult as it has been to write recommend anyone looking to join the industry to code with my dog sat on my lap, it is very nice to not be put off by remote working. There are even take him for a walk when it’s still light out, and he some perks through remote working like being able will have severe separation anxiety issues for us to to be around family, but also some disadvantages work through if I do go back to the office. I also like higher energy bills!” don’t miss catching every cold that anyone brings “Yes!” says Marmalade’s Inkpen, emphatically. in with them. “Hands down, I’m home.”
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24-27 MCV965 New to the industry COVID V4 FINAL.indd 27 29/01/2021 09:14 Has Jagex found the one?
Jagex has new owners, a huge private equity firm, but what does that mean for the company and the industry? Seth Barton talks to Phil Mansell about expansion, acquisitions and some new Runescape games
onsolidation has been the buzz around the game about gaming five to ten years ago, when they started industry in recent years, with Microsoft, Tencent, on the fringes. And now, while it’s newish, it’s not heart and many more buying up developers at a pace. stoppingly shocking that it’s happened. CHowever, incumbents aren’t the only financial power in “You can understand it from their perspective as well. the land, and last week it was announced that Runescape You’ve got the games industry becoming more mature, creator Jagex had been acquired by The Carlyle Group. better known throughout the world, whether it’s in The Carlyle Group is big business. Considered to live games or mobile or in AAA, you know that those be the second largest private equity firm in the world, franchises can be robust, long term, growth vehicles. it manages over $200bn of assets. So it’s somewhat “We’ve shown that with Runescape, but I think at an surprising to discover that Jagex is its first proper games industry level, you’re seeing that increasingly over the last Phil Mansell, industry acquisition. number of years, and COVID has only accelerated that. CEO Jagex So we caught up with Jagex CEO Phil Mansell to When other sectors have really struggled, games have discuss what the new ownership means for the company, remained resilient as we have through recessions and it’s strategy, and for the games industry more broadly. other things in the past. “It’s a good milestone, certainly for us as a company, NOTHING VENTURED... but also a good signal of the confidence that the “I think [the deal] talks not just to the journey Jagex has investment world has in video games.” been on, but also what’s going on in our industry and And Jagex has confidence in its new owner as well. As the renown and resilience and maturity that we’ve now we went to press, there were allegations from third parties got,” Mansell responds when we ask about the broader that the dealings of previous owners had not been entirely environment around the deal. transparent. Nothing there reflected on the behaviour of “It was certainly not the case that the very largest Jagex itself, though, and the company is very confident private equity companies were getting really serious that this move is both proper and correct. After all, the
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28-31 MCV965 Jagex_v4FINAL.indd 28 29/01/2021 11:40 Carlyle Group certainly looks to know its business. sponsor our vision for growth, and support us and “We’ve decided not to go into the details on the accelerate that. And I think it was that alignment mechanics of the transaction. But certainly, as and that meeting of minds that really made us just you allude to, it has been something of a journey,” really happy.” Mansell tells us when we ask about the short period under previous owner Macarthur Fortune. “The SAGE ADVICE ultimate destination with Carlyle is absolutely ideal So what can Carlyle offer Jagex? Apart from access and we’re genuinely, really, really happy with it. It’s to funds, of course. Just how does a non-endemic been a bit of an intense period, but the destination owner assist running a company in an industry has made it worth it for sure.” that’s historically misunderstood from the outside? “One of the reasons they have acquired Jagex, is TATE AND CAR-LYLE that they found a really strong management team,” So just what makes their new owners such a Mansell begins in answer. “I’ve been at Jagex for sweet deal for Jagex? 10 years, I’ve been running it as CEO for four, “They genuinely embraced our vision for the running the games for many years before that. But company,” says Mansell. “We’re in a good place, I’ve also built a really strong management team. My we’ve had a strong track record for many years executives have built their own teams as well over of growing the company, we rejuvenated the the last few years. And all of that really inspires a Runescape IP, and we pretty much doubled the size lot of confidence. of the company in four or five years. “We don’t need someone to come and run the “But you can’t just reflect on the past, you’ve company, what we need is support and help. So got to know where you’re going. And we’ve always some of that is wisdom and advice. It’s the Carlyle wanted to really establish ourselves as a premier, tech fund, so they do understand the world of global level, living games company. digital, business to consumer, and the internet “Certainly, we’ve done a lot with Runescape, and services side of things. So there’s certainly going to Old School, and moved to mobile, with massive be a lot of wisdom about infrastructure and general growth of the communities that we’ve had there. tech company running which as we expand, that’s And the next thing we’re doing is we’ve got even going to be really helpful.” more expansion for our existing games. And Carlyle is providing top-tier advisors too. “We have new platforms, new territories, loads “We’ve been really fortunate to bring on two non- of cool features that we have in the pipeline. We do executive directors,” explains Mansell. “We’ve got want to do more with the Runescape IP which has Niccolo de Masi, who is currently the chairman 300 million users in its lifetime. of Glu Mobile... and was also the former CEO “There’s a groundswell of fondness for the there. He’s got tons of experience in not just mobile world and its stories and characters. Obviously, we games, but the mobile ecosystem as a whole. We love it, we’ve been telling chapters of this story of know mobile offers more opportunity for us, so Runescape for 20 years. We think there’s a lot more that wisdom at a corporate level and investment to do there. So we’re really excited by the creative level is going to be really helpful. potential there as well. I think they could see that, “And the other non-executive director we’ve and they really bought into it. They wanted to been lucky enough to bring on is Mike Griffith.
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28-31 MCV965 Jagex_v4FINAL.indd 29 29/01/2021 11:40 partner, in order to sell it and build communities around the world. “For us as a company we’re building this expertise overlap between our current games and our new games. But certainly, as we’re bringing new games to market, we expect to cover a much wider reach with those games.” Taking a couple of steps back, we ask what the strategy is for new titles, which would be a huge change of direction for a company that has, in recent years, concentrated on its crown jewels of Runescape and its Old School iteration. Above: Jagex is And he’s a former CEO of Activision. So there’s another “When we think about new Runescape games, we know having a year- whole angle, developing franchises, developing IP... an that our players have got homes in Runescape or Old long party in understanding of high production value development.” School, we’re not looking to jolt them and move them out. Runescape for its To their role Mansell adds: “They’re not managers in Where we are looking at new Runescape games, multiple 20th anniversary our business, what they are is sage counsel for me and the I would say, not just a third, is where we think there is a leaders of Jagex to bounce ideas off, get good advice from, really great creative idea. One close enough to home that utilise their contacts in the industry.” we’ve got the skill set, generally within RPGs to realise that, although RPG means a lot of different things these PLACES AND PLATFORMS days,” Mansell notes. And those contacts will come in handy as Jagex looks to “Is there something that isn’t going to cannibalise or grow its reach globally. confuse our current players, or players who come and go “We certainly have ambitions... to play in more from the games we already have?” he continues. “How markets. And that might mean we need presence in can we extend that portfolio, but in a really constructive more places in the world. Someone like Carlyle, who has way, rather than forcibly migrating players? hundreds of companies, has the resources and help that “We’re going to run Runescape and Old School can assist you in doing those growth expansions, finding successfully in perpetuity, and hopefully continue to grow new markets.” and grow for many more decades. But what else does “We’ve got our two MMOs at the moment. Runescape the Runescape IP offer? What else does our skill set and and Old School, which have some degree of localization, our creative energies want to conjure up that can sit as a but I don’t think we’ve fulfilled the potential there. So complimentary addition.” that’s not something we’ve got a plan to announce today. We’re sure that Runescape’s passionate player base But it’s an ambition that we’ve got, we know there’s would be hollering out answers to that question, but we demand and interesting stuff to do there.” won’t indulge in any of that here. But it’s not just the current games that will allow Jagex to reach new regions, it’s also thinking more globally STEAM POWERED about its new titles. With all that in mind, Jagex’s recent move to place “When Runescape came out, originally 20 years ago, Runescape on Steam, the first time it’s appeared on it probably wasn’t too surprising it was only in English. another platform, makes a lot of sense. So was that But in 2021, you’re launching a new game, you’re simply an experiment for the future we wonder? expecting not just the game to be really well localised and “A lot of things we do, we do treat as experiments, the culturised, but for you to have the ability to publish, or best thing you can do as a company, especially for games,
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28-31 MCV965 Jagex_v4FINAL.indd 30 29/01/2021 11:40 is experiment and learn from it... and capitalise on the I think that we do expect to be a bit more punchy, we things that you’ve learned,” Mansell replies. “So Steam want to grow our business a bit more aggressively. So I was a bit like that.” think we’ll speed up a bit on a number of fronts.” That said, it was also simply a good move to build the Mansell explains what the new, punchier, Jagex will brand. “I think the main reason we went to Steam was it look for in terms of opportunities. helps us reach more players. There are some players for “Are there studios that we want to invest in ourselves, whom Steam is their number one venue. It’s got a great that could be part of the third-party publishing? It toolset behind it. And we want to be exposed to as many might be separate to that, just our own acquisitions. players as possible to be building up our communities. That’s something we know we’re going to be looking at “We’ve managed to grow as far as we have on our own, more actively. So that’s also an exciting change, with our but we want to further expand our reach. And some of acquisition, that has opened more doors and potential. that is from distribution platforms, Steam has had the “For us, it’s what are the games that make sense? Runescape release and Old School is coming very shortly What’s the right size of deal or game where we really as well.” On the 24th of February to be precise. think there’s value that we can add, we can team up with The company is also looking to make its first move a partner and give them something they don’t already onto console, Mansell reveals: “We are also looking have. Some of that is capital, some of that’s funding for at the potential of console platforms in the future as marketing, a bit of development funding, absolutely. well, there’s some work started on that, again we’re not “But it’s as much about, do we think a big community announcement-ready, but we’re really interested. can be built around that game? Do we think the game has “We’ve got some of the most successful MMORPGs a special place in the market? The test we talk about a lot in the world. And, yes, Runescape has a retro vibe to is ‘can this game be the new favourite game of millions of it, but in terms of their growth and the size of their players?’ And that’s the test we want to go through. And communities they’re really up there. We want to continue we’re very fortunate that we have the war chest to be able to expand that reach. So whether it is Steam, whether to do those things. it’s innovations we can do with the products ourselves, whether it’s other platforms, and ultimately other regions. CONSOLE-IDATION We’re working on all of that.” Which brings us right back round to the industry’s And speaking of that retro vibe, it’s worth noting that current consolidation spree. So does Mansell believe that Jagex is having a year-long party to celebrate Runescape’s the current buy-outs are healthy for the industry? 20th anniversary. Although those plans have had to be “Each to their own,” he replies. “I think it very much rethought without a tentpole physical event such as its depends on the company and the people there, about huge annual Runefest fan gathering. what they want to achieve. Jagex has always been, “There’s a silver lining, which is it prompts you to through different ownership, independently spirited. rethink things. And you have to innovate a bit as well, We’ve got our own IP, we’re not particularly dependent what it’s meant is we’ve rethought how to celebrate these on other parties. kind of events with players, we’ve got a lot more in-game “Carlyle really makes sense for us, that independent events, and they’re not just like a moment in time, we spirit. We only need to think about ourselves,” which is have different chapters of celebration going through in stark contrast to say Microsoft’s acquisitions, which both games throughout the year. We think of it as a are then aligned heavily with the company’s Game Pass rolling year’s celebration.” strategy. That doesn’t seem the right course for Jagex of course, although an alternative to venture capital WORLD OF WARCHEST ownership could be an IPO. Returning to what Carlyle brings to Jagex, we wonder “Long term, we’re open, and we know Carlyle is open if its new parent will enable the company to make to those sorts of things,” Mansell muses. acquisitions of its own? But funds were never the issue, “With Carlyle, we will be working on plans that Mansell replies. build the long term value and growth for Jagex. “We’re very, very fortunate as a company, we’re not Whether things lead to IPOs, or that sort of thing in particularly constrained by cash. You can see in our the future, we remain open minded, that’s not the accounts we have over £100m in revenue, and around driving consideration, the driving consideration is half of that as pure profit. So we don’t lack for cash to put to build our community, make our players happy, do into things. I think the difference with Carlyle is probably some great creative work and continue to run a really more about confidence and accelerating our growth. healthy company.”
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28-31 MCV965 Jagex_v4FINAL.indd 31 29/01/2021 11:40 HOW TO MAKE A MONSTER TRAILER...... AND EMPOWER IT WITH SOCIAL WEIRDNESS Liquid Crimson aims to take your incredible game and make an incredible first impression. We caught up with Lauran Carter, head of comms, to discuss its work during the pandemic, the new demands of next-gen titles, and bringing the Guildford Games Festival to the masses
ames are inherently interactive experiences, but practically Prior to lockdown, we had many interviews lined up for the year for every first look for a potential player is a video trailer. While various projects, the planning for which we had to quickly adapt as the content around the game, such as developer diaries and situation changed. We have been very fortunate to have worked with Ginfluencer campaigns, can be essential in explaining a title’s USPs. teams that inhabit large, but currently empty, studios so we have been Liquid Crimson has been creating just such content for over eight able to use that to our advantage to set up a socially-distanced crew years, with the team’s experience stretching back over two decades. for some of the interviews. Also, Guildford has a fantastic venue, The Which all came in handy when 2020 stating throwing curveballs. Boileroom, that offers ample space for a socially-distanced ‘set’ so we’ve filmed interviews there as well. 2020 WAS A YEAR LIKE NO OTHER, HOW DID THE We’re very passionate about supporting and curating the local game PANDEMIC AFFECT THE STUDIO’S OUTPUT... dev scene. Liquid Crimson helps run the regular Guildford Game Dev One of the few good things (from the games industry’s point-of- evenings, the game awards and the festival – and being ‘detached’ from view) about lockdown was that people needed to be entertained more the community due to lockdown has been tough. We’re really keen to than ever, so both die-hard and casual players were picking up their get back to IRL events once we’re clear of the pandemic! controllers in their droves. This meant that we were called upon by many games studios to announce and tease their games, as well as … AND CREATIVELY IN TERMS OF HAVING TO THINK UP produce developer video diaries to keep their audiences entertained. NEW APPROACHES TO CAMPAIGNS? 2020 saw us work with studios such as Supermassive Games, As far as creative approaches go, we haven’t found a huge amount has Criterion, Natural Motion, UsTwo Games, Outright Games as well as changed. We’ve always worked collaboratively with our clients to bring many, many more! It’s been a very busy year for us! their vision to life, and as our clients are spread across the world as well as all over the UK, we’re very used to a portion of the process being … PRACTICALLY IN TERMS OF PRODUCTIONS? ‘long distance’. It’s been tricky, but thankfully not impossible, in part thanks to the Each of our clients bring a unique element for us to work with – (sometimes Herculean!) efforts of the games studios that we’ve worked from the colourful, squishy world of Alba, to the downright terrifying with. With teasers and trailers, most of our work can be done remotely landscape of Little Hope, to the fast-paced, all-out action of CSR2. without the need to set foot in a studio, all thanks to modern day, high- The games we work with have such depth that additional creative speed broadband. The greatest challenge for us was how we would be ‘angles’ haven’t really been required. We’ve just continued to work able to safely film face-to-face interviews and dev diaries during collaboratively and have carefully adapted to meet any challenges that a pandemic. presented themselves along the way. Communication and collaboration
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32-33 MCV965 Liquid Crimson V7 NEW FINAL.indd 32 29/01/2021 15:50 is, as always, key! Although we did take advantage of everyone being at you ‘Wow, game devs are magicians! You worked on that game?! The home when it came to the Guildford Games Festival… creativity! The feeling! The experience!’, it’s inspiring.
THE GUILDFORD GAMES FESTIVAL WAS A BIG SUCCESS, THE NEXT GENERATION IS HERE AND GRAPHICS ARE TELL US HOW YOU PRODUCED THE LIVE CONTENT? SHARPER AND SHINIER AGAIN, IS THE ONUS THEN ON The GGF really is a true labour of love for all the organisers, and even YOU TO KEEP UP? more so in lockdown! The inaugural live event took place in 2019, and The very highest production quality has always been our priority, so we had plans to make it bigger and better for 2020. in that respect, nothing has really changed. However, the technology Initially, we were working with our Festival partners to hold the event has changed so we have kept pace with that. From trailers for the Dark in June 2020 but it became apparent very quickly that a physical event Pictures Anthology and CSR2, for example, to recreating the in-game would not be possible, so we started to put together a Plan B. All the video content for games like Need for Speed Hot Pursuit Remastered. live events transitioned to online events, including the community-run All these trailers, teasers and videos need to be made at the highest game jam, so we kicked off a discord to provide a place for Guildford possible creative and technical quality. With the Xbox Series X and Devs to meet and discuss (akin to our Game Dev Drinks, but B.Y.O. PS5 now in players’ homes and hands, game trailers just have to look from the comfort of your home!). stunning, and therefore it’s our job to ensure players get the most Even with a Plan B, we would still need interviews, and thanks to our beautiful first glimpse of a game achievable. fantastic (and enthusiastic!) sponsors at EA and Supermassive, we were able to create environments within their studios that respected social- YOUR CORE TEAM IS NOW MAINLY WOMEN, CONGRATS! distancing, and by providing items such as sanitiser, antibac wipes and DO YOU SEE THAT AS AN ADVANTAGE IN AN INDUSTRY facemasks (kindly donated by Insert Coin) to all interviewees and crew. THAT CAN STRUGGLE TO REACH THE ‘OTHER’ 50% It took a huge team effort, but we managed to produce over 9 hours of Liquid Crimson’s priority has always been to build a talented and content for the event, which streamed to over 2 million unique viewers creative team with a passion for the games industry and diversity across Steam and Twitch in November. ensures we’re able to approach projects from multiple angles and bring The interviews themselves were a joy to host: interviewing new perspectives. sometimes legendary, always inspirational developers and really Lia recently joined the LC team, a graduate from Guildford’s deep-diving into processes and their learnings and history would University of Surrey. Lia has brought a fresh creative perspective to the have been the most exciting thing to be involved in in any year, let team and I love that she learnt her trade at a Guildford Uni and that she alone 2020! The interviewees were insightful, clearly devoted to their is now embedded with a Guildford team! crafts and very keen to share their knowledge, which made for some I’m also a recent addition to Team LC, having first worked with them fantastic video content! at Lionhead Studios, mainly on trailers, dev diaries and live events for These interviews and deep-dives were such a success that we are Fable Legends. As Liquid Crimson’s head of comms, I’ll not only be definitely aiming to do more of these in the future! handling all of the company signal boosting, but will also be heading up a full communications arm, to offer social media support, influencer YOU ALSO WORK WITH OTHER MEDIA AND ARTISTS, management and marketing campaign planning to other games DOES THAT BREADTH OF WORK SPARK CREATIVITY? industry clients – and beyond. Absolutely! We love games but we also love music, science, outer With many projects already on-the-go, or lined up for 2021 and space (real or sci-fi!), weird and wonderful live events, and all kinds of beyond, exciting times are very definitely ahead - and we cannot wait! other things that make us us. From my perspective, just the fact that Liquid Crimson have a working relationship with folk in those fields is For all your video or social media related hopes and dreams, get in cool, but getting to sit down and interview a European Space Agency contact with Liquid Crimson [email protected]. AND we’re scientist, or the organiser of Space Rocks (and ex-Metal Hammer and hiring, and you could be just who we’re looking for. Drop us a note using Kerrang editor), or well-known comedians, and have them saying to the email above.
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32-33 MCV965 Liquid Crimson V7 NEW FINAL.indd 33 29/01/2021 15:50 Press Alert! The work of games journalists has changed significantly over the years. So just what is the role and responsibility of the press in a world of YouTube and streaming? Chris Wallace talks to four leading journalists to find their take on their own story.
don’t think anyone needs to be told that the internet Journalists are, at least in the triple-A space, no longer has drastically changed the face of journalism. The needed to tell players what games are coming out, when reach of reporting has dramatically expanded, while they’re coming out, or sometimes even if they’re any Iits ability to actually make money has uh, not. good. Influencers on Twitch and YouTube can provide More specifically though, games journalism has their viewers a more direct experience of a game than any Below: changed dramatically over the last couple of decades. The games magazine (remember those?) ever could. Alice Bell, deputy internet and the rise of social media and the influencer And that’s while gaming outlets are being squeezed by editor at Rock, Paper, has forever changed not only how consumer games the same financial pressures that have affected traditional Shotgun (RPS) journalism functions, but what it actually looks to do. media too. Which begs the question I ask myself every day on press week: What exactly is the point of games journalism in 2021?
WHAT’S THE POINT? “That’s a tough one to answer,” begins Alice Bell, deputy editor at Rock, Paper, Shotgun (RPS). “It’s tempting to copy the BBC’s homework and say ‘inform, educate and entertain’. “But if that’s the case, there’s a lot less emphasis on ‘inform’ these days, because companies have a direct line to consumers via things like social media, so when a game is announced they don’t need to see the info on a website ‘cos there’s already a tweet from EA with the full trailer in it, or whatever. “We can give more context, I think, and dig out the various oddities and fun things people might not have seen. RPS’s unofficial internal slogan is ‘a good time should be shared online’.” That point about context is key – journalists may not be needed to tell people that the new Call of Duty is coming out, but they are in a unique position to provide important information around it. “For me the purpose of games journalism is telling readers something they didn’t already know,” says Keza MacDonald, video games editor at The Guardian. “Whether that’s through a review of a game they might love, the inside story of a game’s development or cultural
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34-37 MCV965 Journalists Speak_v5 FINAL.indd 34 29/01/2021 09:23 phenomenon from the gaming world, or something Yin-Poole, “which I think is a good thing for everyone. fascinating that players are doing.” We still aim to hit review embargoes where possible, but Still, however you define it, the job has changed we are not beholden to them. In some cases, it is much significantly over the years. For those who have been better to run a review after a pre-release embargo has in the business for quite some time now, they’ve had to lifted, for example if the game has a heavy online focus.” make significant changes to their work to keep up with Previews may have less of an impact than they used to, the changing times. but the rise of the live service titles has made post-release “I would say the role has evolved,” says Wesley coverage more relevant than ever before. Titles such as Yin-Poole, deputy editor of Eurogamer. “From being, Destiny 2, for instance, will still attract articles and videos predominantly but not exclusively, an arbiter of years after its initial release. information and impressions closely tied to the preview “The rise of service games has created an ecosystem and then review cycle of big-budget games dedicated by for post-launch coverage that didn’t exist before,” says triple-A publishers, into a storyteller. While on-diary VGC’s Robinson. news remains important, it is the off-diary coverage that “There’s a market for specialising in a few games and has emerged as most successful, most interesting, and covering them from an expert player’s point of view as most fun to do.” they evolve. Because most of these games are online, There’s more to it than just having to compete with it’s also interesting to hear human stories about the influencers and social media PR campaigns, though. communities they’ve created. There’s certainly a lot of Gaming has become a significantly more mainstream traffic here, especially if you’re wandering into guide affair than ever before, meaning the definition of territory – but that is incredibly contested.” a “gamer” (for want of a less hideous term) is an Both the diversity of voices and the ability to specialise increasingly diverse one. and find your niche is, of course, a welcome change. But “Compared to when I started in the early 00s the this fragmentation can also lead to the development of Below: games audience is far more inclusive,” says Andy cliques and, in collaboration with the hellscape of Twitter, Andy Robinson, Robinson, editor in chief at VGC. “More people than ever can lead to some misplaced priorities. editor in chief at VGC play games and combined with fewer barriers for game developers, it’s led to an incredibly vibrant landscape within which there are many stories to tell. In that same 15-year period, the industry has exploded; Wii, the App Store and high-speed internet have transformed the medium in a short space of time to the mainstream monster it is today. “What that means for games writing is that there’s much more room to specialise, whether you’re a critic, news writer, broadcaster or long-form writer. Compared to 15 years ago, a lot of the most successful games journalists – especially in freelance – are ones who own their niche. The people I work with are either best-in- class game critics, methodical guide writers, hilarious video presenters or died-in-wool newshounds.”
PREVIEW, REVIEW, GUIDE? While some of these changes are welcome, it means the traditional games writing cycle of rumour/preview/ review/guides feels less relevant than it used to. Guides can still drive traffic, but when pre-release gameplay footage is available all over Youtube, how necessary are previews? And when games can change drastically post- launch, particularly when dealing with live service titles, how does an outlet approach its reviews? “We still turn up for preview opportunities, but our reliance upon them has decreased,” says Eurogamer’s
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34-37 MCV965 Journalists Speak_v5 FINAL.indd 35 29/01/2021 09:23 “I do think there has been a rapid shift, in the last REVIEWING CRUNCH few years, to games journalists caring a lot about their Speaking of Twitter, with the issue of crunch at the ‘personal brand’ on social media,” says RPS’ Bell. “Rather forefront of everyone’s minds recently, many journalists than, I dunno, writing. have been taking to the platform to address issues of “I understand that using Twitter for networking can overwork and crunch in their own workplaces. be important, especially if you live anywhere except The troublesome combination of a trend of releasing London, or struggle with in-person networking for other longer, more complicated games alongside tight embargo reasons. But there are weird cults of personality popping deadlines can lead to critics sinking huge amounts of their up online and I am concerned that freelancers or new time in a single game for review – often under the low games journos coming up see their presence on social salaries typical for the industry. media, and being ‘in’ with the right cliques, as being of “I have spent entire weeks doing nothing at all except more importance than anything else. playing a big game for review and occasionally eating,” “Twitter accounts for a tiny, tiny, almost insignificant says The Guardian’s MacDonald. “Not much is made of percentage of our traffic, so statistically speaking your the hours we work in games journalism because playing Twitter pals are probably lying and didn’t read your games sounds like a ridiculous thing to complain about, article. Nobody’s Twitter feed has made me more likely but the pressure is real, especially if you work for an outlet to commission a freelance pitch, but it might make that places a lot of importance on hitting embargoes. me less likely if I read it and think ‘Wow, this person’s “Video games journalism is an underpaid and opinions on, oh God, Bean Dad, have made them sound overworked career, for sure. And just as elsewhere in really annoying’. media and in the games industry, it’s often the least “I’d rather more games journalists focus on e.g. experienced, worst-paid people who are expected to Below: knowing what constitutes libel and slander and not put in the longest hours reviewing games. There is an Keza MacDonald, doing them; doing words good; reading books. I say this expectation that if you don’t want this to be your entire video games editor as someone who used to be pathetically concerned with life then you shouldn’t be here – an expectation that at The Guardian Twitter, by the way.” hugely limits who can actually afford to make this work as a career.” Much like the wider conversation about crunch, it’s often a nuanced issue – and one that usually reflects poorly on the management of an outlet. “On the consumer journo side it seems to be mostly about having a good manager,” says RPS’ Bell. “I rarely do overtime, and I always get time back in lieu when I do, for example (the situation is obviously different for salaried vs. freelance). “Having said that, I personally think that while ‘playing a game for 36 hours over a weekend and then frantically spaffing out 2,000 words on it to an unfair deadline’ is very stressful, it’s not one-to-one comparable to ‘working 6 or 7 day weeks, every week, for months and months, to a deadline that keeps getting extended.’”
TRUTH TO POWER Crunch may be a broader concern throughout the industry, but journalists face their own unique issues too. If we’re to take the traditional understanding of journalism, reporting on new information, the industry’s habit of absolute secrecy can be a bit of a roadblock. Information around games is arguably more heavily controlled than any other art form. Films are known about years in advance, I’ve already seen Robert Pattinson as Batman, and I know what Marvel film will be releasing in the year I die.
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34-37 MCV965 Journalists Speak_v5 FINAL.indd 36 29/01/2021 09:23 Still, learning about a game ahead of time is hardly news journalism. It’s a challenge that faces journalism hugely important information. Neither the industry nor in general today, but I do believe that if you’re a young consumers are particularly served by finding out about a person who is dedicated to their craft right now then you game a few months earlier than usual. will very quickly find paid work.” “Players and journalists will find out all about the next Robinson may get his wish “I think the world needs Call of Duty eventually, whether a leak has occurred or there: As The Guardian’s not,” says Eurogamer’s Yin-Poole. “These kinds of stories MacDonald notes, gaming’s more young people who are are uninteresting. It’s more interesting to report on stories recent successes have finally that have a genuine news value. Context is important garnered the attention of more passionate about becoming here. Should we spill the beans that Microsoft is working mainstream outlets. trained journalists, rather than on a new Fable? No, not in isolation. “A big change in the past few “But consider Microsoft closed down the previous years is how many established those who are just passionate developer of Fable just a year beforehand and has now media brands are finally getting about covering games” returned to the franchise with another developer, and into gaming coverage in a serious you start to build a case for the story passing a news way,” says MacDonald. “Wired, value test.” the Washington Post, Bloomberg, so on. I think the future More pressing are the stories regarding working of games journalism is going to be distributed more conditions in the industry: ranging from crunch, to evenly across the media establishment and specialist abuse to studio closures and layoffs. Frustratingly these games websites.” are so often wrapped in secrecy too: emerging only in Of course, some things never change. anonymous quotes from sources in fear of their careers “I dunno,” says RPS’s Bell. “Probably it will get even if they speak out. It is perhaps here that the need for more extremely online. Endless pitches about BioShock? gaming journalism is most keenly felt. That seems to be the thing that never changes! If you’re Below: Wesley “I think it is vitally important for games journalism a freelancer reading this: please, please stop pitching Yin-Poole, deputy to hold the industry to account,” says The Guardian’s about BioShock.” editor at Eurogamer MacDonald. “I’ve often encountered the expectation that games journalism should be there to cheerlead the industry, especially as games are STILL underrepresented and sometimes misunderstood in mainstream culture. “But although one function of games journalism is to draw attention to the amazing things that creators and players are doing, another is to shine a light on the things that the corporate games industry would rather we ignore: toxic working practices, poor diversity, exploitative monetisation, and so forth. Look at the difference that exposing Weinstein has made to the film industry and in turn the world. Journalism can’t fix everything but it can certainly be a starting point.”
THE FUTURE So, with all that change behind us, what does the future look like? In an ever-evolving industry, what can we expect from the games journalists of tomorrow? What skills do we need going forward, and what challenges might future journalists face? “I think the world needs more young people who are passionate about becoming trained journalists, rather than those who are just passionate about covering games” says VGC’s Robinson. “There are tons and tons of passionate content creators today, but not enough people, in my opinion, who have the same drive for investigative reporting or
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34-37 MCV965 Journalists Speak_v5 FINAL.indd 37 29/01/2021 09:23 Enchanting a community Spellbreak is among the latest titles to take a stab at the popular battle royale genre. But thanks to smart gameplay, crossplay on all platforms and a player-centric outlook, it’s a strong contender to break into the big time. Seth Barton talks to its creators
hile the gold rush of battle royale titles the creative and technical decisions that brought has subsided, there are still those who are them this far. looking to advance the genre and take a slice “One of Spellbreak’s biggest differentiators is that Wof what has proved a very lucrative pie. One of the most we are free to explore a much more diverse set of promising titles of recent months is Spellbreak, which abilities and forms of combat due to our theme,” puts a fantasy twist on the usual template to great effect. Seth Sivak, co-Founder and CEO, tells us. In Spellbreak, players are battlemages, with a class- “There are so few first or third-person fantasy action based system enabling fantastical abilities. That means combat games and we think the current version of traversal of the map is rapid, and weapons (spells) can Spellbreak only scratches the surface. By focusing have big area effects, providing a far more dynamic on projectiles, skills with cooldowns, and especially battlefield than players might be used to. And all of that the ability to create elemental combinations, we have is served up with the energy and colour of a saturday unlocked a whole new direction for core gameplay,” morning cartoon favourite. Sivak explains. With alpha and beta tests done, the game has received While its setting makes it stand out from the usual a full release and now is setting out on its first paid-for military fare, there’s another key reason behind season. So it seemed a good time to speak with the team its potential. At launch, Spellbreak supported PC, at Boston-based developer Proletariat, to discuss both PlayStation, Xbox and Switch, with both crossplay and
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38-41 MCV965 Spellbreak_v5FINAL.indd 38 29/01/2021 12:23 cross progression. An undertaking that’s wants, but balancing its requests with what’s very potent when trying to build a sizable actually best for the game is always a tricky player base in this highly competitive space. task. Proletariat describes itself as a ‘Player First’ developer, but what does that mean in BREAKING BARRIERS practical terms? We ask Sivak. The studio was created back in 2012, “The first community members with Sivak leaving Zynga to co-found it. touched Spellbreak back in the summer Other hires have come from the likes of of 2018. Since that time we have had an Harmonix, Insomniac and Turbine. Such as open dialogue with our players. We make Cardell Kerr, executive producer, who was decisions about the game using three previously creative director on DC MOBA major components, the first is the creative Seth Sivak, Infinite Crisis at Turbine. direction we want to take the game, the co-Founder and CEO “Proletariat has grown to over 120 second is what players tell us they want, the developers,” Sivak tells us. “The initial third is what players actually do – metrics prototypes were built with a small team of from the game. This information is used to only a handful of people and at the time the inform our design and product decisions. studio was only about 30 strong. Most of “Our Players First mentality is about the growth has come in the last year and has creating a relationship built on trust. We allowed us to bring a level of quality to new encourage our developers to interact areas of the game like audio, as we build out directly with the community on Discord those internal teams.” and Reddit. That transparency helps set That larger team has also been the table for the community to trust us. We responsible for making the title work across trust the audience to give us constructive all the various platforms. Cardell tells us feedback and hope they trust us to make Cardell Kerr, about that process. the best decisions for the game. All of this executive producer “Spellbreak is built on the Unreal Engine, only works if there is transparency and which has been extremely helpful for goals communication.” of being multiplatform. Launching with Sivak looks to have a clear approach to crossplay was extremely difficult,” he notes, the relationship. Which is a lot more than but adds, “I often joke with the team that we some companies in the battle royale space managed to launch on multiple platforms have shown recently. Though, of course, with crossplay in the middle of a global as the game gets bigger, the demands also pandemic, so really anything else we do will grow, and the vocal minorities can become just be easier.” very vocal indeed. “Doing it required a lot of fundamental shifts in how we worked, from the “One of Spellbreak’s biggest implementation side and including multiple test kits, all the way to the quality assurance differentiators is that we are free to side and how we handled verification,” explore a much more diverse set of Cardell explains. And supporting the game on all the abilities and forms of combat due to platforms remains a challenge. “We are still learning!” Cardell exclaims. our theme” “In terms of balancing console and PC players, we find that they are actually fairly A key gripe of many multiplayer similar in terms of the things they want communities in recent years has been from a game. If I had to sum it up, I think skill-based matchmaking. Something that that the main difference between the two is is always on the lips of influencers and that PC players tend to be more vocal.” commenters with regards to Activision’s Call of Duty: Warzone. So we ask A DISCOVERY OF BATTLEMAGES how transparent Proletariat is with its An engaged community is what everybody implementation.
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38-41 MCV965 Spellbreak_v5FINAL.indd 39 29/01/2021 14:02 so we ask how it fits Spellbreak specifically and how early on the team set upon the structure? Ironically, we knew pretty early on that we wanted to pursue a seasonal update model,” Cardell answers. “Coming from strong RPG/ MMO roots, we knew that updating the game in a significant and predictable cadence would be the most interesting to players, and it allows us the time to create experiences that would be polished and interesting.” Seasons often bring both practical game- changing content, cosmetics and a sense of an evolving story – but even with a sizable team now of 120, how does Proletariat balance and prioritise all of these? “This is one of the main struggles for creative projects!” begins Cardell. “We start out every chapter with far more work than we can possibly do. It’s a classic case of ‘eyes bigger than stomach’ where peoples’ passions drive them to pitch things that are simply too large to be achievable within the time constraints. “One of the main challenges is actually “SBMM is an extremely contentious thing in maintaining that passion, since you want to ensure BRs,” agrees Cardell. “When it comes to Spellbreak, that things don’t get too formulaic. In general, we aren’t strictly SBMM, but we do try to ensure once we have a list that we know is simply too big, that new players aren’t immediately thrown we force rank them and just start working down into matches with people who’ve been playing as well as estimating the time. Eventually cooler since Spellbreak was in Alpha. I do think that it’s heads prevail and we snip some features and cut surprising how much conflict there is over SBMM some other elements, ultimately resulting in a when it comes to BRs. It is a staple of arena style chapter that is as balanced as we can make it.” games, but I think it speaks to how diverse the Even the biggest players in the space to date overall appeal of BRs actually is.” have delayed season starts in order to complete That diversity is no doubt born in part out work on upcoming content. How flexible does of the huge popularity of the free-to-play titles. Proletariat think it will need to be to deliver? Players will often strive to improve at games “We have a more regular schedule, primarily they’ve invested money in to play, but a free-to- due to the number of platforms that we are on. play won’t succeed by throwing new players to the When it comes to updating our game, we are fully wolves on their first outing. committed to keeping all versions in sync, which means that we have to do a large amount of FANCY NEW ROBES pre-planning. Of course, all games need to make money, and “That said, we have already released sizable so we come around to discussing Spellbreak’s first community driven features during patches, paid season – Chapter 1: The Spellstorm. Season- meaning we have tried to ensure we update based models are now the norm in the BR space, frequently enough that we can maintain some
“As an independent studio we have been working hard to build games that distribute themselves.”
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38-41 MCV965 Spellbreak_v5FINAL.indd 40 29/01/2021 12:23 agility when it comes to community desires,” about how you make people care about your coming back to that ‘Players First’ mantra. game from the start. Beyond the fast action gameplay in Streamline, we learned all about SCRYING TIME how to make a game that is very watchable and And Proletariat understands that players do very easy for content creators to use to make more than simply play the game. In the past, great content. the studio developed two influencer- and “With StreamLegends we had the chance to viewer-centric projects. StreamLegends was test several ideas about the social nature of an RPG extension for Twitch that let channels content consumption and the communities communities to quest together; while Streamline that grow around an influencer or a game. Both was a third-person title which integrated the of these projects informed how we built and roles of broadcaster, player and viewer into published Spellbreak.” the gameplay. The title looks to be off to a good start, with Sivak points out that both titles were intended over 4,000 positive Steam reviews to date. We’ve to increase their own reach: before noted that such live games have little “As an independent studio we have been middle ground. It seems to be all-or-nothing, working hard to build games that distribute they either go on to do very well, or they end up themselves. If you’re an unknown studio going nowhere. Still, with Spellbreak Proletariat building a new IP you need to be thinking has given itself every chance to succeed.
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38-41 MCV965 Spellbreak_v5FINAL.indd 41 29/01/2021 12:23 Marketing on the internet’s front page
Chris Wallace talks to Reddit’s Harold Klaje, to get a survival guide to an often misunderstood marketing channel
“We’re really proud to say that 95 per cent of subscribers to a game’s community will go on to purchase the game.”
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42-44 MCV965 Reddit V4 FINAL.indd 42 29/01/2021 09:26 eddit, the self-proclaimed ‘front page of of Reddit users find out about new games on Reddit and the internet,’ can be an incredibly attractive 53 per cent look for posts on Reddit to decide whether or opportunity to market your game. With built- not they’ll play a new game. Rin communities of players to address and respond to Another key opportunity for marketing on Reddit is directly, the benefits for Reddit marketing is obvious. the fact that our users are truly unduplicated and can’t With many Reddit users coming together in their shared be found anywhere else online. In the UK, 15 per cent of interest in a particular topic, many find the platform Reddit users are not on Facebook, 38 per cent are not on incredibly useful for discovering new games. Instagram and 37 per cent are not on Twitter, so in this However, despite the benefits, the platform can sense, Reddit represents the untapped internet. often be intimidating at first. Many believe that Reddit Reddit is also unmatched in terms of the insights that users are hostile to companies coming into their space, can be gleaned by community conversations and user and the staple of the Reddit AMA (Ask Me Anything, behaviour. We know, for example, that 45 per cent of where an individual or company can directly answer UK Reddit users are console gamers and that 43 per cent the community’s questions), while often useful for purchased a gaming console in the last six months – marketing, can backfire if it is approached unprepared. these kinds of information nuggets are just the beginning So to get the expert opinion on how best to approach and go a really long way in informing campaign strategy. Reddit for your game’s marketing, we spoke with Reddit All of this, the actively engaged, leaned in and EVP and president, global advertising, Harold Klaje. unduplicated audience brings a very real opportunity for marketers. What we see on Reddit, which really stands How has Reddit changed over the years, as a potential out in the consideration phase of a purchase path, is platform for advertisers and community managers? that products and brands that are present in trusted and Reddit celebrated its 15th year in 2020 and has seen influential communities can increase customer spend, exponential growth over those years. Late last year we satisfaction, loyalty and NPS. We recently partnered with reported 52 million daily active users and 100,000+ Verto Analytics to prove out Reddit’s role in the path to communities, and are excited to now have an official purchase journey compared to other social and digital presence in the UK, with big plans for further platforms, which confirmed what we’ve long known to international expansion to come. be true: consumers that use Reddit are more informed, The last five years in particular have seen accelerated make faster, higher-value purchases, and become growth of our ads business with more and more brands stronger brand advocates. When it comes to games, turning to our platform to engage with the internet’s we’re really proud to say that 95 per cent of subscribers most passionate audiences, and with great success. Today, to a game’s community will go on to purchase the game. Reddit delivers advertising results across all industries and sizes. From Fortune 500 brands to scrappy start-ups, What ad formats are most popular with advertisers we believe that if your product aligns with a passion, your on Reddit? brand should be on Reddit. Depending on the campaign objective, there are many different options for brands looking to advertise on What are, in your view, the main opportunities Reddit and engage with our communities. Category available when marketing directly to consumers – like gaming category – takeovers are always a great on Reddit? option for those looking for mass awareness and Reddit is different from other platforms because it’s efficiency. For our DR clients, however, we see great made up of all these communities of people who don’t success in additional community targeting beyond necessarily know each other, but are connecting around the specific interest group. For example, in addition the things that matter most to them, their passions. to our gaming communities, targeting those focussed Remember, the number one reason people come to on entertainment, technology and even family and Reddit is to be informed and this has a direct impact on relationships can go a long way to reaching net new their purchase potential. For example, 73 per cent unique users.
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42-44 MCV965 Reddit V4 FINAL.indd 43 29/01/2021 09:26 Promoted posts or videos can also be really strong their communities. It is one of the few places consumers tools to drive awareness and, for example, pre-orders for look forward to brands being functioning members, a new title about to launch. contributing and providing value. Engaging in online In the past year, we have also released a number communities drives brand love, trust and action. of new features to better service our performance Reddit’s mission is to help everyone in the world advertisers, such as Postbacks for app installs and find community and belonging online and this means additional functionality for the Reddit Pixel including building communities that reflect our values and respect retargeting. Similarly, we have introduced a number of civil discourse and human dignity. Hate, harassment, targeting optimizations, including auto-optimization and calls for violence are simply not allowed on Reddit. toward installs, to better meet the needs of our mobile Platform and brand safety is built into our platform gaming clients. structure and is something we’ve always put a lot of thought into. It is reflected in our unique, multi-layered Do you have any measurable examples/testimonials, approach to moderation, which includes tools, systems which you can share, where Reddit marketing and and teams to ensure the safety of our users, moderators, community management made a big impact to a and advertisers. game’s success? Our partners at Zynga recently leveraged Reddit to In terms of community management, do you have reach gamers and encourage downloads ahead of their any advice for maintaining a healthy and positive CSR2 racing game launch. They leveraged the depth community on Reddit? and breadth of Reddit communities by targeting not Community moderators are the heart of Reddit and just gamers, but racing enthusiasts and worked closely we feel really fortunate to foster a platform of such with our team on an evolving strategy – with continuous passionate moderators who are so dedicated to keeping testing of interest group targeting and ad format their communities safe and healthy. variations – to help achieve high customer lifetime value. As for brands engaging on Reddit, regardless of Ultimately, Reddit successfully drove 1.5x higher LTVs the industry, we encourage all advertisers to lead compared with other emerging social channels, with with authenticity. We often tell brands to think about retention rates 16 per cent better than other channels and advertising on Reddit like they would their own dinner organic installs. party entrance. You wouldn’t walk into a crowded room and start yelling. Instead, you listen to the conversation The Reddit community is often regarded as hostile, and get to know your audience; learn about their interests particularly to businesses. Do you agree with this to find a way to appropriately and impactfully engage; assessment, and how best should businesses approach jump into the conversation in a relevant, authentic way the platform? and, most importantly, make sure you stick around for It’s a great misconception that Reddit users are not the back-and-forth! welcoming of brands because the reality is just the opposite. We know that Reddit users welcome brands Answers in Reddit AMAs can often make headlines in to engage with them on the platform, with around the gaming press – for good and bad reasons. What are 69 per cent respecting when brands make an effort the pitfalls to be avoided when running an AMA? to participate. What’s more, around 60 per cent say As with all brand engagement on Reddit, we encourage they’re more likely to trust a brand that participates on authenticity and transparency. AMA’s are such a fun Reddit, and 66 per cent of our users say brands can have format for brands to connect directly with their audience, conversations with them on Reddit that they can’t have and add real value to a community. They allow brands anywhere else. to showcase their personality, bring a human element Moreover, 82 per cent of online community site users to their marketing and give their audience often say they would be receptive to brand participation in unprecedented access to the people behind the scenes.
44 | MCV/DEVELOP February 2021
42-44 MCV965 Reddit V4 FINAL.indd 44 29/01/2021 09:26 Brought to you by A Swift Spotlight: Deep Silver Dambuster Studios
The name might have changed over the years, but Deep Silver Dambuster Studios is a staple of the British game development scene, demystifying the industry and improving employment opportunities
he studio’s original moniker of Free Radical Design willingness to allow brings a cult level of brand equity from devotees of time for personal Tthe TimeSplitters franchise, so too with its Crytek UK development. “Every past and subsequent involvement in the popular Crysis other Wednesday series. Since becoming Dambuster Studios back in 2014, afternoon our when it was acquired by Deep Silver, the studio has engineering team has continued to deliver quality, high budget, and narrative- a learning development driven experiences to the gaming masses, making its window where they are hometown of Nottingham, and the game development given free rein to explore community within the midlands, proud. new things that they James Bowers of Aardvark Swift speaks with studio might be able to transfer community manager, Toby Gallagher, about the studio’s over to work one day. culture, how it’s ensuring the next generation can It is completely free transition to success within games, as well as how the form and not something team has found working remotely. strictly on their task list.” “I’d actually only been in the studio for about two weeks In the 2020/21 before we moved to remote working,” says Toby. “It was academic year, Deep Silver Dambuster Studios are also lovely to see everyone rallying together. The IT team, HR, assisting the next generation, working hard to ensure the and the production team did really well to get us all set transition from education to employment is as painless up from home. Rob, our studio development director, as possible. “We might not always have a specific job and several other members of the production team, were vacancy, but the content pieces we’ve published about driving to people’s houses, dropping off computers, and how to get specific jobs in the industry, and the work making sure everyone had what they needed. We’re still we’ve been doing with both Grads in Games and Into working at full capacity, which is great.” Games, is something we’ve really enjoyed. Having As a relatively new addition to the Dambuster family, partnered with Grads in Games, a number of our team Toby saw his role as a natural progression to his previous members have been involved in their webinars to students marketing experience. It has allowed him to continue to be up and down the country.” creative, and he’s been impressed by the internal culture As well as growing their sphere of influence in and dedication on display from the rest of the team. employability and industry accessibility, Deep Silver “Having worked in other content roles, I’ve had to Dambuster Studios is also actively expanding. “We’ve got literally chase people around the office, with the people quite a lot of vacancies in the studio at the minute, across I need information from actively avoiding me,” Toby says the whole spectrum of disciplines,” adds Toby. with a smile. “At Dambuster, people come to me with The studio is hard at work developing the next ideas. I know passion is a word that gets thrown around, instalment in the Dead Island franchise, but for now, they but I think they’re that passionate and proud about what don’t have any further details to share. they are doing, that any avenue to talk about it they want to jump on.” You’ll be able to listen to the full conversation with Toby The supportive undertones of the studio struck Toby Gallagher in an upcoming episode of the Aardvark Swift as early as his first interview. “They offered to pay for my Podcast, available on Apple Podcasts, Spotify, Google Above: Toby Gallagher, travel and board the night before my interview, as they Podcasts, third party apps, and the aswift.com website. Studio Community Manager knew I was travelling in from Manchester; I’d never heard of anyone doing that before. Once I got the job, they offered me so much help and assistance with relocating locally. They helped with my bond and put me up in the “Every other Wednesday afternoon our engineering team studio apartment for two weeks, which they retain for new has a learning development window where they are given starters to make relocation easier.” It’s not just financial support that Deep Silver Dambuster free rein to explore new things.” Studios is willing to provide to their team, it’s also the
February 2021 MCV/DEVELOP | 45
45 Aardvark Advertorial MCV 965_v4FINAL.indd 45 29/01/2021 09:28 Brought to you by
Prepare for 2021 with new gaming audience insights
By Stephen Gray, Vertical Research Manager at Facebook With more people staying home due to shelter-in-place To understand the behavior of these new mobile gamers and social distancing measures, 2020 brought disruption and the evolving game motivations of existing gamers, we to many industries. And despite a surge in new and lapsed surveyed consumers in nine countries to look at consumer players, gaming was no exception. More people were behavior after March 2020. This article delves into data from playing, watching and streaming than ever before. This four of those key strategic markets for many developers: growing demand for gaming has meant finding fresh ways US, UK, Germany, and South Korea. This research forms of connecting with new players, bringing in new gamers as the basis for a new report, Games Marketing Insights for well as reengaging lapsed ones. 2021, which is available to download for free today.
IN 2020, WE WELCOMED MILLIONS OF NEW PLAYERS
Shelter-in-place and social distancing measures have led to this surge of new gamers as people look for new forms of entertainment. To understand the impact, it’s important to look at how many more people have been playing games since the beginning of COVID-19 pandemic.
Since March 2020, mobile gaming audiences have grown in every market we examined, with 25% more gamers in Germany, +28% in the US, +34% in South Korea and +50% in the UK. This means over 50 million more people in these markets alone are now turning to mobile gaming as a major source of entertainment and social connection.
These new gamers weren’t just a temporary spike; these consumers were still gaming in July 2020, several months after the initial peak of the outbreak. More than half indicated Source: Games Marketing Insights for 2021, Facebook, 2020 that they plan to continue mobile gaming as the world begins to recover from the outbreak.
46 | MCV/DEVELOP February 2021
46-47 MCV965 Facebook advertorial v6FINAL.indd 46 29/01/2021 14:54 “We surveyed consumers in 9 countries to look at consumer behaviour after March 2020”
A LOOK AT THESE NEW MOBILE GAMERS
As the report shows, in all markets except South Korea, new mobile gamers skewed significantly more towards core gaming behaviors than their existing gamer counterparts. New gamers, in aggregate, were younger than existing gamers. They were also more likely to own a gaming console and to play game genres more aligned with core behaviors (such as shooters). They also reported playing more hours per week.
HOW AND WHY GAMERS SPEND
New gamers were significantly more likely than existing ones to report spending money on mobile games since the start of the pandemic in all markets. They also reported spending more money per month on mobile games.
When it comes to the reasons why people spend money, Previous research has shown that people are open to seeing there was more variety across markets than between the ads in games. In our survey, mobile gamers across all markets cohorts, some of which was tied to genre. In the US and said they prefer free-to-play, ad-supported games. In the US, UK, people were particularly motivated to pay to remove UK, and Germany, the preference for ad-supported models ads. In South Korea and Germany, people said they pay was stronger in existing players. New players, on the other to avoid waiting or to skip difficult points (more typical of hand, were more open to alternative monetization models puzzle games). such as in-app purchases.
KEY CONSIDERATIONS FOR GAME DEVELOPERS AND MARKETERS GET YOUR FREE 1. Tailor your advertising campaigns to reach gamers—more so than established gamers. COPY OF THE new gamers: Consider the long-term impact new players will REPORT There are millions of new mobile gamers across have in the mobile gaming space such as more To learn more about the globe; be sure to broaden the reach of your core gaming behaviors and motivators for playing this growing audience advertising campaigns to make sure that you’re and purchasing. and help you prepare speaking to these new gamers with messaging for the 2021 gaming that appeals towards their motivations for playing. 3. Use a monetization model that resonates landscape, download with new gamers: the report from: 2. Understand the long-term value of Adopt mixed monetization models that take new gamers: account of the increased time new gamers are facebook.com/ New gamers exhibit stronger alignment with spending in your games and their openness to fbgaminghome/blog behaviors and attitudes consistent with core in-app purchases. for free today.
February 2021 MCV/DEVELOP | 47
46-47 MCV965 Facebook advertorial v6FINAL.indd 47 29/01/2021 14:54 The Art of... Over the Alps
Seth Bartonactually looks look at you. the And inspirations, even with that little bit of the game and asked questions about their experience – work, with the help of the animation and really smart even if most of these questions were actually very similar. evolutiondesigners and production and engineers, withof everybodythe art workingof “External playtests were mostly about ‘Okay, how do Over the Alpstogether,, led you by could Joshua tell from Callaghan.the very beginning that people feel when they play? Do they like it or not like it?’,” A branchingshe narrative was a character game that people set wouldagainst really gravitate Alderson explains. “At the end of playtest we would ask the turbulenttoward.” backdrop of 1930s the same question eight different ways. The question SwitzerlandQuill really becomes by Stavea fully eshed Studios out character with is really ‘What didn’t you like?’, but we would ask it the help of the game’s strong world-building. As an differently: ‘What pulled you out of the experience? What interloper in Quill’s world, the player experiences it not took you out of the headset? If there’s one thing you through her eyes, but as an observer watching as she could change what would it be? If you had two weeks to lives her life in her familiar setting. It’s a strangely intimate nish the game, what would be the thing that you’d x?’ feeling, and one which gives way to joint apprehension “Those help bring a playtester into their comfort zone, as both the player and Quill enter new, unfamiliar areas. because no one wants to play something that people put “When you go through Mousetown and you see Quill a lot of care and love into and then turn around and say run throughver there the and Alps you was see the that debut she titlehas froma hometown, London- much‘This is so what that I somedidn’t oflike our about locations it’. So areit takes taken a littledirectly while the feeling ofbased her leaving indie studio it, of that Stave town Studios. maybe Initially being in fromto get them. the playtester Writers Jon comfortable, Ingold, Katharine and we foundNeil and that danger,O givesreleased you more in 2019, of a bond,” it built Aldersonan adoring says. fanbase “If later nding Harry different Tuffs wayswere tohugely ask the inspired same byquestion Le Carré means thatover part 2020 was onleft Steam out, you and wouldn’t Apple Arcade,feel like therewith thewas title andyou eventuallyFleming. Finally, get the our really obsession good stuff with after the the works fourth of or muchcoming to ghtto Switchfor. Everything soon too. that we’ve done, the mood Wes fth time Anderson you ask shone it. through everything we did. For settings,It’s a taking branching Quill fromnarrative one areatitle setto thebetween next and the letting wars example,“I don’t Andythink anyoneHuckvale, in our our studio composer, has ever and made Matt a youwith rest the and developer take in this stating environment… that players It’s should all supposed “expect Arneilgame bothlike this, did soa sterlingI think it’s job important making ourthat soundscape you trust the as to action,exaggerate drama, and suspense accentuate and that yodelling.” mood that Samuel you’re Andersonianprocess. You astrust possible. playtesting and you make sure that you feeling.Partridge It all tiesof Stave back answeredinto how you our arequestions. connecting with allow yourself some time and freedom to try something Quill and her world.” HOWand then WAS keep THE going. ART Try CREATED something AND new andBY WHO?branch out, WAS THE APPEARANCE OF THE GAME CORE TO Thebut alsoart was use veryyour muchexperience led by from Joshua games Callaghan. that you’ve Josh’s SAMEITS INITIAL QUESTION CONCEPT? EIGHT WAYS backgroundmade before inand print you’ll media be combinedne. As long with as you’re a love having of the CollaborationEntirely so! wasOur originalkey during pitch the didn’t development go much of beyond Moss, era’sfun too! artstyle We enjoyed forms the playing backbone Moss throughoutof what makes the entire Over not‘interwar just within narrative the team game’ itself, until but wewith started the help to ofobsess external theprocess Alps’ and art lookI think so that good. really Claire helps.” Brooks, Angus Dick playtesters.about the People objects were our researchoften brought was diggingin to feedback up. This on and Martin Bin eld came in as freelancers to add to this started with old photographs, watches and other with illustration and animation, but right now it’s Josh physical things, but soon coalesced around the travel ying solo. posters of the era. From there, we decided postcards were a pleasing visual method of relaying text, which in CAN YOU PUT ANY NUMBERS ON THE SCALE OF turn triggered the idea that the main character was a THE PROJECT? spy writing postcards in invisible ink; the rest is history. We squash just over 1GB of super high quality image les into a game that’s just over 0.5GB, with little or no WHAT INFLUENCES DID YOU DRAW FROM? compression, which took some doing. We also have 35 Those travel posters were critical to the project, so characters, each of which have anywhere between 2 to
48 | MCV/DEVELOP February 2021
48-53 MCV965 The Art of v5 FINAL.indd 48 29/01/2021 09:33 20 different facial expressions, requiring unique images. Outside of that, we’ve got over a million lines of text translated across 15 languages. Big game in a little box!
WHAT TOOLS/TECHNIQUES WERE USED TO CREATE THE GAME’S LOOK? Josh is very secretive about what brushes he uses. He’s declined several times to share what they are! What we can say is that the majority of the background environments are done in Illustrator, while the character sketches are mostly drawn in Procreate.
HOW DID THE ART EVOLVE WITH THE PROJECT? Hugely so. The original design was more realistic and textured, with the locations being much more painterly. This took a huge amount of time to create and didn’t t the style of the game, so we shifted to a vector approach for the nal version. A last minute change I had to dig this out from an email chain from 2015. This was the fi rst of perspective away from a side-on view to top down ever sketch of the game, based on a conversation Josh and I had about sealed the deal. We were creating the game over ve manipulating objects to tell a story. The game’s name didn’t even exist at this point! The perspective and very mobile centric design was phased years in our spare time around day jobs, so it had plenty out, but you can see the rough idea of what we are going for here. of time to evolve.
February 2021 MCV/DEVELOP | 49
48-53 MCV965 The Art of v5 FINAL.indd 49 29/01/2021 09:33 The Art of... The Art of... The Art of... The Art of... The Art of... The Art of...
An example of the vintage swiss travel posters we took inspiration from.
The fi rst attempts at making Swiss A great example of the landscapes. We had the mad idea painterly, side-on style we’d procedurally generate buildings that we started with. and landscapes, until we realised it just This cabin, heavily looked awful. redesigned, makes an experience in our second story, King of the Mountain.
Smith – Our hapless hero, as he originally started out. Of all the characters Smith has changed the least. This was made in 2016...
Annie, the heroine of our second story, King of the Mountain. All interactions in the game are done through Stamps, and Annie has her own unique set (below) different to the other ...and Smith as he main characters. appears today in our fi rst story: Case of the Chateau Vercoli.
48-53 MCV965 The Art of v5 FINAL.indd 50 29/01/2021 09:34 The Art of... The Art of... The Art of... The Art of... The Art of... The Art of...
A 1939 cloth map of Switzerland, printed just before the war broke out. Many of these were destroyed by the Swiss government when the war broke out in an attempt to hamper potential invasions. I managed to snag this one and it’s one of my most prized possessions. We used it (very, very carefully) to plan our character’s journeys across Switzerland; I’ve actually never been!
An early postcard design. It’s barely a postcard! We had the idea we’d do these clean fl oating boxes. Once we got attached to the idea of using actual postcards instead, the rest of the game fell into place.
Our current version of the Postcard, rendered in Arabic. Realising that the stamps belonged on the left, out of the way of the text and where mobile player’s thumbs are, A fi rst attempt at the postcard proper. was a revelation. Lots of ugly boxes and not much character!
February 2021 MCV/DEVELOP | 51
48-53 MCV965 The Art of v5 FINAL.indd 51 29/01/2021 09:34 The Art of... The Art of... The Art of... The Art of... The Art of... The Art of...
Sketch versus fi nished – Josh still doodles out every location before blocking it out into vectors.
actually look at you. And even with that little bit of the game and asked questions about their experience – work, with the help of the animation and really smart even if most of these questions were actually very similar. designers and engineers, with everybody working “External playtests were mostly about ‘Okay, how do ... The current style of locations. together, you could tell from the very beginning that people feel whenMore they play?depth, Do more they vectors, like it or morenot like it?’,” she was a character that people would really gravitate Alderson explains.space “At the for enditems of toplaytest parallax we around. would ask toward.” the same question eight different ways. The question Quill really becomes a fully eshed out character with is really ‘What didn’t you like?’, but we would ask it the help of the game’s strong world-building. As an differently: ‘What pulled you out of the experience? What interloper in Quill’s world, the player experiences it not took you out of the headset? If there’s one thing you through her eyes, but as an observer watching as she could change what would it be? If you had two weeks to lives her life in her familiar setting. It’s a strangely intimate nish the game, what would be the thing that you’d x?’ feeling, and one which gives way to joint apprehension “Those help bring a playtester into their comfort zone, as both the player and Quill enter new, unfamiliar areas. because no one wants to play something that people put How we rendered our locations “When you go through Mousetown and you see Quill a lot of care and love into and then turn around and say around early 2018. We thoughtrun we through there and you see that she has a hometown, ‘This is what I didn’t like about it’. So it takes a little while were happy with them until.... the feeling of her leaving it, of that town maybe being in to get the playtester comfortable, and we found that danger, gives you more of a bond,” Alderson says. “If nding different ways to ask the same question means that part was left out, you wouldn’t feel like there was you eventually get the really good stuff after the fourth or much to ght for. Everything that we’ve done, the mood fth time you ask it. settings, taking Quill from one area to the next and letting “I don’t think anyone in our studio has ever made a you rest and take in this environment… It’s all supposed game like this, so I think it’s important that you trust the to exaggerate and accentuate that mood that you’re process. You trust playtesting and you make sure that you feeling. It all ties back into how you are connecting with allow yourself some time and freedom to try something Quill and her world.” and then keep going. Try something new and branch out, but also use your experience from games that you’ve SAME QUESTION EIGHT WAYS made before and you’ll be ne. As long as you’re having Collaboration was key during the development of Moss, fun too! We enjoyed playing Moss throughout the entire not just within the team itself, but with the help of external process and I think that really helps.” playtesters. People were often brought in to feedback on
For our most recent update we totally redesigned large parts of the game we felt were weak. This is a new screen Animation storyboard – what we handed that reports on how close the Police are to catching you. to the very talented Ross Plaskow, who made our opening animation. The last panel wasn’t fi nal, sadly.
52 | MCV/DEVELOP February 2021
48-53 MCV965 The Art of v5 FINAL.indd 52 29/01/2021 09:34 The Art of... The Art of... The Art of... The Art of... The Art of... The Art of...
The Grimsel Pass, my favourite bit of art from the game. Josh outdid himself with his use of colour here.
Finally, two locations from our upcoming, third and fi nal story, The Devil’s Quill. Super top secret and you’re all the fi rst people to see them outside of the team!
48-53 MCV965 The Art of v5 FINAL.indd 53 29/01/2021 09:34 When We Made... If Found...
actually look at you. And even with that little bit of the game and asked questions about their experience – work, with the help of the animation and really smart even if most of these questions were actually very similar. designers and engineers, with everybody working “External playtests were mostly about ‘Okay, how do together, you could tell from the very beginning that people feel when they play? Do they like it or not like it?’,” Chris Wallaceshe wastakes a character a look that behind people would the really gravitate Alderson explains. “At the end of playtest we would ask scenes oftoward.” Dreamfeel’s If Found… a the same question eight different ways. The question unique visual novelQuill starring really becomes a transgender a fully fleshed out character with is really ‘What didn’t you like?’, but we would ask it woman,the help steeped of the game’s in strongIrish world-building.culture As an differently: ‘What pulled you out of the experience? What interloper in Quill’s world, the player experiences it not took you out of the headset? If there’s one thing you through her eyes, but as an observer watching as she could change what would it be? If you had two weeks to lives her life in her familiar setting. It’s a strangely intimate finish the game, what would be the thing that you’d fix?’ feeling, and one which gives way to joint apprehension “Those help bring a playtester into their comfort zone, as both the player and Quill enter new, unfamiliar areas. because no one wants to play something that people put “When you go through Mousetown and you see Quill a lot of care and love into and then turn around and say run throughf Found… there from and developer you see Dreamfeel,that she has is a a hometown, visual novel ‘This“It startedis what withI didn’t me like and about Liadh,” it’. saysSo it takesMcGee. a little “I loved while the feelingin an almost of her veryleaving literal it, ofsense. that town Presented maybe via being the in seeingto get thethe playtesterrough pages comfortable, she would and draw we with found all thather danger,Iframing gives device you more of a ofnotebook, a bond,” theAlderson player says.doesn’t “If take sketchesfinding different and at theways same to ask time the I reallysame wantedquestion to meansmake thatdirect part controlwas left of out, the you narrative wouldn’t – but feel instead like there erases was it. ayou collage eventually like game. get the So really a diary good based stuff gameafter the was fourth a or muchThe to fightgame’s for. central Everything mechanic that we’veis the done,act of the erasion. mood naturalfifth time fit, youthere’s ask it.something really personal about a settings,From the taking text Quill itself from to the one distinct area to and the beautiful next and artwork, letting notebook“I don’t andthink all anyone the doodles in our studioand scribbles. has ever made a youpresented rest and takeas sketches in this environment… in protagonist It’s Kasio’s all supposed notebook. game“It was like originallythis, so I thinka witch’s it’s important diary and that I realised you trust I could the to It’sexaggerate a mechanic and that accentuate ties into thata central mood theme that you’re to the takeprocess. this maskingYou trust techniqueplaytesting I andwas youplaying make around sure that with you feeling.game, It ofall erasingties back the into past how and you beginning are connecting again –with inallow code yourself to erase some the timediary. and freedom to try something Quilltold and via her the world.” main thrust of If Found’s narrative of and“The then mechanic keep going. was Try awesome something so newwe decided and branch to out, Above: Llaura McGee, a transgender woman returning home to her small makebut also the use whole your game experience around from it. We games also thathad you’vethese Dreamfeel SAMEIrish village.QUESTION EIGHT WAYS zoomingmade before mechanics and you’ll which be fine. leant Asa longsense as of you’re scale andhaving CollaborationBeginning was life keywith during a two-person the development development of Moss team, apocalypse.fun too! We enjoyedWhat kind playing of story Moss would throughout we have the in entire a notback just inwithin 2016, the the team team itself, grew but to with five the people help of(alongside external gameprocess about and erasingI think that a diary really during helps.” the end of the world? playtesters.some freelancers) People were once often publisher brought Annapurna in to feedback became on As soon as we asked ourselves these questions, we involved in the project around 2018. The small team had the seed of the game.” is appropriate, given the game’s narrative – which juxtaposes an epic adventure of a space explorer ERASING THE NARRATIVE attempting to prevent the end of the world with the The erasing mechanic is one of the more unique smaller, more personal story at the heart of the game. elements of the game. Beyond its thematic importance, And while the team grew as the project progressed, it makes for a very tactile experience – making use of it all began with just two people: with Dreamfeel’s Llaura the touchscreen on both Switch and mobile platforms, McGee drawing inspiration from artist Liadh Young’s as the player rubs out the game’s narrative, one page sketches, who provided the art for the game. at a time.
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54-57 MCV965 When we made V4 FINAL.indd 62 29/01/2021 09:38 Left: The player is tasked with erasing the layers of the narrative as it unfolds
“The erasing originally came from a university tech With the game’s mechanic in the back pocket years demo I made in 2012 in DirectX,” says McGee, “when before development, the challenge instead came I realised I could use shapes to essentially cut holes from both the narrative and the logistical difficulties of through objects. I had played around with this for releasing a game during a pandemic. years and had kept it in my back pocket. “I think the challenge we struggled with longest was “Then when me and Liadh were trying to create simply figuring out the story,” notes McGee. “Trying to a notebook game, inspired by zine culture and DIY figure out where it was going, how we could do that art, I realised we could use it to create the effect of in our limited time and budget, and bring everything Below: The game is filled with Liadh Young’s erasing words/drawings from a page. And I could to a satisfying conclusion. We went in a few different beautiful artwork actually create a system where you could keep erasing directions until we started digging deeper into the deeper and deeper! characters and following where they led. It was such a cool “Release was probably the biggest challenge mechanic that we altogether. There was a lot of content going in and a knew at that point it lot of changes late in development. Additionally we should be the core of were doing it during coronavirus. So handling testing the game. where suddenly all the testers were working from home “So the difficulty without the usual access to equipment was very tricky. was not in Particularly with respect to the iOS and Mac versions of implementing the the game.” simple version of it, but in implementing ROLLING IN THE NINETIES it across many The story itself may have been a challenge, but it makes many layers in a excellent use of its setting. If Found... is set in Ireland structured way.” during the 90s, and while its time setting is hardly front
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54-57 MCV965 When we made V4 FINAL.indd 63 29/01/2021 09:38 and centre of the experience (Stranger Things this is “The character wasn’t canonically trans probably until not), the game’s characters are nonetheless informed well into 2019,” says McGee. by this period. “If I started out to make a trans game I don’t know if “Ultimately it just made so much sense for the story it would be like this. But we were making a sad game we were telling,” says McGee. “Ireland was still coming about someone erasing and ultimately starting again out of a depression at the end of the eighties and this and midway through development it was like: ‘oh damn, was before the ‘Celtic Tiger’. she’s trans.’ At that point it was impossible not to write “A year before when the game is set, homosexuality it that way. was only just decriminalized here. So it was a time “So then it just came about writing the most honest where the world was changing very fast for Irish people. thing possible. There are lots of shitty moments in In our game a major theme is how people’s identities our lives, but there are people like Jack and Colum could be erased, willingly and forcefully, by the world and Shans and Maggy who are totally accepting, and around them so the setting fit into that.” then most people just don’t care. I hope the positive Of course, the Irish setting isn’t hugely surprising, balances the negative and generally the negative coming from the Dublin-based studio. McGee is keen doesn’t last too long without reprieve. to stress that while the game is not autobiographical, it does draw from her real experiences, and has a lot of “emotional truth.” “The importance to me isn’t so much representing Ireland,” says McGee, “so much as more creators representing the very specific places they’re from. I think when you pull from your own life the stories and the experiences are a lot more interesting and rich.” Still, the team took great pains to make it an accurate depiction of Ireland itself: with its dialogue filled with Irish slang terms and references to Irish culture. The game even features an annotation tool, explaining any terms that may fly over the heads of non-Irish players. “Fairly early on we felt we really wanted to go as far as we could with Irish language and Irish phrases. We wanted the story to be genuine. But we were also conscious of the difficulty that would pose to people who aren’t Irish though! So the annotations became the solution and they were planned fairly early on. “People love being let in on secrets, and I think they add a lot of flavour. It would be cool if more games included annotations, honestly!”
A TRANSFORMING STORY Beyond its Irish roots, the game attracted attention for its transgender protagonist. Kasio’s gender identity is an important aspect of the story – and a source of tension between her and her family – but it doesn’t define either her or the game as a whole. And, as it turns out, she wasn’t written to be transgender until quite late in the game’s development.
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54-57 MCV965 When we made V4 FINAL.indd 64 29/01/2021 09:38 “It’s really important for trans people, all LGBT folks of a movie! And so I want to make sure players get the and anyone who is marginalized to be able to tell whole picture. their own stories. No one else can tell those stories “Of course there are other games which are meant to accurately, or without just repeating clichés. Only those be relaxed with. Even then I feel like it’s a duty to never who actually experience these lives can know whether be wasting someone’s time.” what they’re saying is real, or whether what they’re The player might be able to finish the game quickly saying is an echo of past media they’ve consumed. And – but its developers certainly didn’t. From the start of if they’re just remixing past media it’s doomed to be full development in 2016, to its eventual release in 2020, If of stereotypes and even sometimes harmful. Found... spent a fair amount of time in the oven. “These stories don’t need to all be heavy though. I’m “I would have liked to have made the game quicker,” looking forward to lots of silly and stupid trans stories in says McGee. “Even before starting with Annapurna the future.” there was a lot of searching that it would be nice to skip One potential selling point (or criticism, depending past. The end of development was definitely the most on who you ask) is that the game can be completed fun part. within a couple of hours. Personally speaking, in an “So I wouldn’t have committed to the same scope environment where so many games market themselves and ambition I had for the story, and the amount of on the hundreds of hours they take to complete, it’s text that comes with that. If I could go back, I would refreshing to have a game that refuses to outstay probably make a much simpler story that didn’t take its welcome. place over a whole month.” “The plan for the game was so much longer when we Long development or no, it certainly seems to have had no idea what we were doing and no idea what the been worth the work put into it, judging by the game’s game was really about,” says McGee. “Getting closer reception. If Found... was nominated for the ‘Games for and closer to understanding our own game meant we Impact Award’ at the The Game Awards, was adored by could cut what we didn’t need. And the game is 100x critics and listed on a number of games of the year list. better for it. As short as possible, but no shorter. “I’m delighted with the game’s reception!” says “I feel like everything in a game should contribute to McGee. “It means a lot to me how much the game a good experience. The highest ratio of goodness to resonates with people. When we announced the Switch time. However most games are approached from how version it was so rad to see those who had already to maximise playtime, which leads to many single player played it being excited and telling others, and that word games being way overlong and never finished. Endings of mouth keeps going. And now we can make another are important to me, imagine not seeing the second half game which is the most important thing.”
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54-57 MCV965 When we made V4 FINAL.indd 65 29/01/2021 09:38 Kwalee is a very different proposition from what Codemasters has become, but seems to have a lot in common with where you began with that company? Kwalee certainly has the atmosphere that Codemasters had in the early years: extreme innovation, creativity and small teams working together. We’re developing games in weeks rather than years and I really enjoy that kind of atmosphere. The other parallel is our desire to access the highest volume of players available. With budget games back then we were able to The Final Boss access a bigger chunk of the market, compared to full-price games. Now, with free-to-play, we’re dealing with super-high volume – we’ve passed more than half-a-billion downloads across our portfolio with Every month an industry leader wraps many individual games well into the tens of millions. The real satisfaction with this is the creative fulfillment that comes up MCV/DEVELOP with their from reaching a massive, truly global audience. unique insight What was the greatest single moment of your career to date? The most surreal one was being invited to Buckingham Palace with my brother Richard to collect our CBEs. It felt totally bizarre having started making games in our bedrooms and somehow ending up in a taxi on the way to Buckingham Palace, being taught all these protocols about how you’re supposed to walk up to the Queen, and all that. One of them was that you’re not supposed to ask her any questions, but I couldn’t resist asking if she liked computer games. She was too old for all that, she said, but her grandchildren loved them! Visiting the Queen was the biggest acknowledgement that the world had changed and that games were now recognised as being a big part of the entertainment sector – and people’s lives in general.
Do you think the UK games industry is in a healthy position? I think it’s in an extremely healthy position with lots of hugely successful UK companies, and what’s really accelerated the growth over the past decade or so has been digital distribution. This has really opened up the entire global market to UK developers and publishers, allowing companies like Kwalee to grow significantly in a relatively short space of time – to the point where we’ve now got more than 100 team members and 101 current vacancies, from programming and marketing to data science and machine learning, and we’re embracing remote working all over the world. We’ve got such experienced, talented people in the UK industry but in the beginning we were held back by just making games for the domestic market. Nowadays the mega publishers have less power because they can no longer dominate the market through brick-and- mortar retailers and shelf space; platforms like the App Store and Steam have created the environment for UK developers to flourish.
You recently announced a PC title, Eternal Hope, what’s your thinking for diversifying into PC and console publishing? When we set up Kwalee in 2011, we never set out for it to be a David Darling, mobile-only publisher. The strategy was to do 100 per cent digital CEO of Kwalee distribution and digital marketing on any format, and we even tried platforms like Apple TV and Amazon Fire TV, but obviously mobile has been where we’ve enjoyed our biggest successes so far. “You’re not supposed to ask We think that the time is right for us to try PC and console now because at the heart of the company, we just want to be very creative and innovative and we’ve never wanted to be platform-constrained. [the Queen] any questions, but I We’ve been bolstered by the experience of Max Everingham, with whom I worked at Codemasters and has also been at other successful couldn’t resist asking if she liked publishers including Ubisoft and Team17. With him, we’re building a dedicated team to help us publish all kinds of brilliant games on these computer games.” platforms and we’re looking to talk to developers about opportunities to collaborate – just as we always are on the hyper-casual mobile side of things, too.
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