Gen4: The Hard Sell All Around

Maybe I’m spoiled or jaded, or maybe I am just searching for something different these days but for all the hype and leaked specs I’m still not excited about the next generation of consoles.  I don’t know why, but I feel like I should be more excited by now and still, nothing.

I recently read an article on Wired that unveiled Unreal Engine 4 to the public and my immediate response was, “meh”.  I know right?  Kind of shocking that 10 years have passed in this current generation of gaming and somehow the next big thing looks about as good as the thing we already have.  I read the article, and there were some definite sales points; all dynamic lighting, some bounce light calculations, and likely a number of other image-based approximations.  The article went on, plucking quotes like the push to render Avatar in real time.  That goal is fine and all but the screenshots did not really paint any of the things that were being discussed in the interview.  To me, the screenshots looked like UE3 with particles…

Epic Games has a tough sell this next generation.  We aren’t seeing the generational leaps like 2D to 3D, or fixed-function to programmable GPU’s.  The next “leap” for Gen4 is… dynamic tessellation, and more GPU cores for more complex shaders.  Not exactly the bullet-points you write home about.  For a long time the next generational leap was predicted to be real time ray-tracing.  Many of the image-based hacks and post-process distortion effects we do would have disappeared in favor of an unbiased tracing technique.  If graphics is the foot that we want to start with in Gen4, perhaps seeing pixel perfect fuzzy shadows and volumetric illumination across a heavily vegetated landscape would have really made a strong argument.

I recently finished Deus Ex: Human Revolution, which is an amazing game by the way.  Aside from some really bad stereotyped civilian characters and some weird bug that forced you to read emails twice to activate security codes, the game was a great experience.  This game was also a strong case for a Gen4 console.  There were inexplicable breaks in the world that would force a loading screen while other areas would briefly hitch, telling me that they were likely streaming some parts of the world in and out.  I assume that the developers were hitting system memory limits, or perhaps too much CPU was being consumed by AI that was clear on the other side of the map.  Whatever the reasons, increasing CPU and memory would have done a lot to improve the experience of this game.  Graphically, the game was very smartly designed and every room was well lit and blooming like J. J. Abrams himself blessed the development team.  It’s clear that better definition could have helped solidify the characters into the world but I get the feeling that the quality of the characters was a budget constraint more than a technical one, given the large number of characters and variants in the game.

Deus Ex is a strong case for a Gen4 console, but not an easy sell.  Assuming all of the adjustments I mentioned were a product of limited hardware resources, I don’t know if those changes would have turned Deus Ex into a system seller, a reason to buy a $600 console when that $200 console does the job pretty good.  Can graphics really sell a console anymore?  Or is it really aesthetics that will sell the next generation?

The funny thing about aesthetics is that we have the capability now.  As I mentioned, Deus Ex was a very good looking game.  We also have games like Journey, Limbo, or even Braid; games that seemed to look beyond the graphics and focused on the aesthetic.  It is difficult to say if these games would have been any better with more horsepower, or if that power would have simply been used to make their development schedules easier by abusing the abundance of computing power through rapidly developed, poorly optimized systems.

A resurgence of 2D games in all genres leaves me asking the question, “is real-time Avatar what we really want?”  It takes 200-300+ people to put out a Call of Duty or a Grand Theft Auto, ballooning budgets over that $100M mark.  If it continues to take roughly X hours to get Y done in game development then are we going to grow teams to 500 people and stretch development to 4 year cycles?  Can a $350M video game even make their money back?

The reason I raise those questions is because it comes full circle to the Gen4 dilemma.  If graphics is what sells consoles, and Gen4 is more of a Gen3.5, and there is a fixed cost in man hours to develop features, research, and innovate; what is the strong sell for the next generation??  More horsepower is good, but it may end up going to the tough sellers like better sound mixing, more cycles for AI, more iterations for physics simulations, ancillary animation systems, real-time subsystems for simulating world events.  None of these things are features that gamers can show their friends in a screenshot.  And even if they could show an amazing screenshot, what are the chances that the viewer could possibly understand that what they are looking at is “better” when we are still using the same fundamental techniques for creating and rendering content?  As it has been for some time now, the power really seems to be in the hands of the artists with the skills to exploit the basics; solid modeling with clean and colorful textures.

Gen4 will eventually come and overtake Gen3, but I get the feeling that artistically smart games are likely to overtake the market, not graphically superior games.  As I said before, Epic Games may have a tough time selling UE4, but only because some developers may choose to use “aged” engines that continue to exploit a more unique visual style and tactile feel than a licensed solution.

All around, Gen4 is going to rock some large boats…

 

Pro Solo

Most sane developers will tell you that making a game on your own is frankly a terrible idea.  They will tell you that it is likely to fail, it will play like crap, it will look like it plays.  The first advice that most sane developers will tell you is to form a team if you want to finish anything.  This (quite possibly insane) developer is telling you that it doesn’t have to be that way and, in many cases, teams are a sure way to fail.

Let me first preface this argument by saying that if you are looking to make the next World of Warcraft or Call of Duty on your own, reference the first sentence then promptly close this window.  I am about to tell you a few truths about working alone and working in teams, all of it under the prospective title of “indie” development.

The real idea of making any game is in managing your ambitions.  Unless you are showered with boundless cash, most of us are only in a position to make the best game we can afford, not the best game that could be made.  500 person AAA developers suffer from this as much as solo developers.  Scope is not just a word to be used as a cautionary tale, it is everything to the completion of a game.  Scope is what defines the beginning, middle, and end.  It is what we use to gauge our accomplishments, and unfortunately what others often use to relatively measure our accomplishments to the accomplishments of others.

So let’s dig right into it.

With Your Powers Combined

The disadvantages to working alone are plentiful.  It’s easy to see why working in teams is better, the AAA industry is proof of that.  Look at any top-grossing console title and you’ll likely find 100+ people standing behind it.  From the technology industry to the assembly line of an industrial park, working with a group of highly specialized individuals is how you make just about anything better and faster.  The number of man centuries that go into a Call of Duty would make that a numerical impossibility for a lone wolf to learn and develop every asset and game feature.

If the funds are available, pay a programmer to just work on the camera system, pay an artist to just focus on modeling, pay a graphic designer just to mockup your user interface.  Farm, farm, farm.  This method works, but it cost money.

In money is where you’ll find most of your problems.  Assuming that you are – like myself – one of the 99% and don’t own an island somewhere in the Caribbean, you’ll need to find a way to pay or collaborate for free.  The most likely scenario is that you will need to collaborate for free, promising any number of fortunes like profit shares or flat rate payment once a financial goal is reached.  You might even try to team up with friends and tell yourself that no matter what happens, your friendship will prevail.  Don’t kid yourself.

There is the inevitable breaking point for all games in development.  You will reach a point where often the only motivation is that you are being paid to put up with the crap that is rolling your way.  Major features get cut because they weren’t as fun as you imagined, entire assets are thrown out because they no longer fit the new direction of the game, that one thing you thought would be an interesting challenge was done in the first milestone and now you just have the grind to look forward to.

The enthusiasm is always high in the beginning but begins a steep decent at the moment that there is any friction at all.  Losing even one person from a five man team is at least a 20% cut in your staff.  If that person happened to be one of your more veteran superstars, it could be as much as 40% of your productivity lost.  Not only is this a blow to the teams moral, it also hurts the scope of the project.  When you go into a project with the expectations of no man left behind, it means that you likely scoped your game design for that exact team size.  With smaller projects, scaling back an already tightly scoped game can potentially suck the fun design features right out.  After that happens, what’s the point in making yet another game about some guy walking around and jumping on poorly made platforms?  Ultimately the team may dissolve, often many months into development.  Even if you are the last man standing, the fact remains that you probably invited those people onto the team because they had a skill that you did not.

Lone Wolf

You lose a lot from working alone, especially in the design phase.  The collaboration of many individuals often brings out the best in us.  The creative juices are their most potent when we take the gloves off and huddle around a whiteboard or paper napkin and doodle the next great indie game.  There is nothing quite like it, and it is a hard thing to give up when you work alone.  You may find plenty of people willing to throw random ideas at you but the really great ideas take shape from the minds of those who are invested in the future of that idea.  This makes statements like, “you should make a game about a zombie pirate with a gun that shoots peanut butter and banana sandwiches”, from your gamer friend pretty useless.

The benefit to working alone is in that powerful word, scope.  When you scope a game design for 1 person to complete in a reasonable amount of time, you have only yourself to blame for its failures.  All of those painful moments in game development suddenly become less problematic.  Also, if a game is scoped for 1 person, the game can inherently become better later in the development cycle through add-value features.  An artist could be introduced to tighten up the graphics, or a tester could be introduced to offer advice and find bugs.

Not only can the scope of your game be managed as a solo developer, but money becomes a non-issue.  You are creating a game because there is something about that game that you feel is strong.  You are focused on finishing the game because you feel like it adds something to the genre or has a personal story to tell.

Whatever your motivation is, don’t let it be money.  You only have to look at the statistics of developers large and small who make any kind of profit to know that money should never be your motivation.  Let the gameplay or the story be your motivation, and if you have scoped it properly you’ll see the end in due time.  If the game does happen to break out to massive success… Well, your share will be the biggest.

Conclusions

I don’t create games as a solo developer because I want to, I do it because it is the only way that I have found success.  I have spent many years working on teams around the global, mod teams, new projects, revival projects, name it.  Not a single one ever went anywhere.  On the other hand, as a solo developer, I have published multiple game titles as well as some strong pipeline tools.  I even found time to write a novel in there.

In spite of my warnings, I do recommend that anyone try to work in teams first.  It really is the best approach to getting things done faster.  However, not everyone will have the dice roll in their favor.  Finding a dream team is very much like finding your soul mate, once for each member of the team.  Doing that just once is hard enough, so don’t feel beat down if it never happens.  There is hope for the lone wolf, even if it is the road less traveled.

 

 

 

 

 

 

 

More FPS is Good

I recently read an article that went into great detail about why frame rate is the wrong metric to determine the fluidity of a game experience.  Though I may agree with the general concept, I can’t completely agree with the sentiment that Frames Per Second (FPS) is a worthless metric that needs to be replaced.

If we remove some obvious conditions from the equation, you’ll find that FPS is a brute but useful method to improving responsiveness.  The most obvious condition is large stutters caused by resource loading or video drivers suffering from bandwidth issues.  Assuming that the game has properly balanced their resources for the machine that is being used, we can get down to the root of the issue.

These numbers are very different for all people so please consider them only for the purpose of this argument.  The cinema experience is currently only running at 24 frames per second, or 24p.  This is considered the standard despite historical claims that a minimum of 46p is required for a fluid viewing experience.  Lots of tricks are being used in modern cinema to continue filming at 24p but playing with shutter speeds of the player to emulate speeds of 48p and even 72p, despite those projectors still rendering the same frame multiple times.  The important thing to note about the low frame rate in film is that the cinema experience is non interactive, it is a passive experience.  We go where the camera takes us.

In video games you have a controller, or a mouse and keyboard.  The issue of frame rate becomes more evident because the game’s logic and it’s rendering are synchronized.  If a player moves their mouse, there is an expectation that the game will immediately respond.  Assuming that the claims are true, that most people can not visually distinguish above 48 frames per second, and that human reaction times may also sit somewhere in that same window, this means that we have around 20 milliseconds to miss the player’s input and have to process it in the next frame, thus causing this perception of lag or stutter.

FPS is a brute force blanket approach to solving this issue.  If the simulation runs at a minimum of 2x the average human reaction time, we are given 1 frame to make mistakes.  As John Carmack once said, “somewhere between 60 and 120 is just don’t care anymore,” and he may be right.  If the assumption of 48 frames is true, then it means that we only need to sustain a frame rate of around 96 FPS to never have to worry about an unresponsive game.

It’s important to note the distiction that I made however.  I am talking about 96 FPS simulation speeds.  There is the possibility that a game could render their games at 48-60 FPS and simulate their physics and process inputs at 96 FPS, but that sounds like a nightmare.  We may have to settle with consuming brute power by synchronizing frames, even if our eyes may only process 60% of the content being displayed.

 

They Ignore Me

I’ve been on a pretty bad string of luck for, oh… I’d say for the last 10 years or so.  I’ve worked on many failed prototypes throughout my career but frankly those are meant to fail early and often.  Where the wound cuts deep is when you build something that you truly believe in and it barely makes a ripple.  It hurts when you agonize over every insignificant detail of your passion project, over the course of many years of your life, and your efforts are judged and cast aside in 2 minutes or less. » Read more..

Event Report: East Coast Game Conference 2012

Another year and another conference is underway.  Before you continue reading this post, be sure to check out my impressions from last year’s event.  It will save me a lot of typing.

Why would I say something like that?  Well, to be perfectly honest, not a lot has changed this year it seems.  The formula is essentially the same though I will admit that the content feels a bit more polished overall.  There is quite literally only 1 talk per profession per session block.  Don’t like the one and only programming talk for that hour?  Well, you better start liking business development or education. » Read more..

Game Design Killed the Author?

I suppose this post is a little bit of the “video killed the radio star” but I’ve definitely noticed something about the reactions to my latest works.  The last two or three years of my life have been spent juggling game development and writing a novel.  The video game universe and the novel are one in the same, and they briefly cross paths at one fateful moment.  A single event is witnessed by two strangers who never meet but they shared that moment from different perspectives, one within the novel and the other within the game. » Read more..

Decal Creator News

To the developers who have recently contacted me for trial copies of Decal Creator for the latest version of Maya,

Thank you for inquiring about Decal Creator.  Unfortunately, Autodesk’s obsession with breaking plug-ins with each release of their software has put me in a position where I can’t afford to support all versions all the time.  I do have the source code license available if your studio is interested in purchasing that but I would suggest trying a previous version (like Maya 2011) if you have a copy available at your studio.

The source license is quite affordable for any development studio, small and large.  Also the license is a site license which means you can compile and distribute to all of your artists within that studio without additional fees.  Of course, having the source code also means you can simply rebuild Decal Creator whenever your studio purchases the next copy of Maya.

I can promise you that it would cost a while lot more than my asking price to pay an engineer in your studio to develop a comparable tool.

I apologize for the inconvenience, but I just don’t sell enough units to keep buying every copy of Maya that comes out.

Thank you again for showing interesting in Decal Creator…

 

Ashlands: Retribution has Shipped!

Retribution is available now! http://bit.ly/ITT0yV

There are so many little subsystems within Retribution that it is hard to keep track of them all sometimes.  The augmentation system is probably the most obvious, allowing the player to upgrade their ship over time.  With that, there is a kind of leveling system that works hand-in-hand with the augmentations.  On top of all of that, there are layered features like high score tables of course, but also also gamer trophies.  Taking high scores even further I’ve circumvented the limitations of Xbox LIVE Indie Games with a global ranking system.  This system allows players to use their phones and tablets to easily submit their scores to a global database on the web.  From there, anyone can see if their score was enough to make the short list of the top players in the world.  I think it turned out pretty well, considering the limitations that I had to work with.

Sprinkled between all of the big systems that I already mentioned are the micro decisions in the game.  Each enemy has a unique behavior, giving their patterns a very old-school feel.  The combinations of those patterned behaviors is where things get very deadly.  Some of those most deadly enemies are the ones that do not directly charge after you.  Leaving some enemies unattended is a regretful decisions and other enemies are generally harmless, even if they are unpredictable.  This unpredictable nature however is what makes them difficult to read and can result in unexpected collisions.  Blending these enemy classes into a completely dynamic and chaotic play-field makes for some intense moments.

Oh yeah!  I almost forgot the Overdrives (like I said, a lot to keep track of).  This is a huge part of staying alive in Retribution.  Not using your Overdrives is a sure way to die early and often.  Learn the strengths of each Overdrive and when to use them.  This is the key to living longer and scoring high.

If you purchased the game, check out the Special Features.  There is a bunch of great commentary in there and a list of all the trophies in the game.

 

Only You Can Prevent Forest Fires

It seems like every year that there is a new crop of evangelists who are standing in line to preach about the end of the world as we know it, only so they can someday say, “I told you so.”  Every year, they tell us how this will be the year that PC’s suddenly cease to exist or that consoles will not survive another cycle.  They tell us that phones will overtake the market and nothing but the imagery of crying babies and shattered dreams for entertainment on our large home screens will be left in the wake of their fiery long tale.  Human sacrifice, dogs and cats living together… mass hysteria! » Read more..

Follow Your Dreams

Follow your dreams.

I often wondered why people said that.  It sounds like a reasonable bit of advise, but many times following our dreams can lead us to a life of near poverty since most of us probably dream of doing whatever we want, when we want.  That kind of life is reserved for a short of list of people in this world, so what do the rest of us do?  Does it still make sense to follow our dreams? » Read more..