#<- technically. this is gamedev but it counts

[hannahp0calypse]

nonrepresentative snippet of a WIP

(art by @rubyfunkey )

[kurczeno]

ok so a little rant about DA:V, because I feel like it needs to be said. First a disclaimer: if you are hyped, thats good for you, really. Enjoying the final product is absolutely fine. However, I've seen SO MANY people, especially here on tumblr, but also on tiktok and reddit acting as if any criticism of the game is just people being mean haters or homophobic.

And don't get me wrong - there are probably people taking things too far, just for the sake of it. There are also people mad about the wokeness - though as a person that is very interested in the topic, I've seen only one? discussion about this matter and it wasn't even made by people that like the series, they just wanted to complain about wokeness in games, etc.. But I'm not saying these people don't exist, because I haven't seen them.

However I am seeing so many valid criticism of the game being discredited for no reason and I feel like there is at least one thing that needs to be said.

I played Origins over 20 times. DA2 and DA:I - also more than once, but I didn't count it. I loved all of them - even the Inquisition, despite its many flaws. But it's not a post about them - the thing is, I am a fan of a series. I've been since I was little and later I got that stupid hyperfixation. I was extremely excited about the game, despite SO MANY red flags - I'd say it's still Dragon Age and I'm sure it won't be that bad.

But at this point even I can't cope that hard.

First of all - it's barely Dragon Age at this point. I just want you to remmeber that most of the staff that was working on the first three games got fired or resigned themselves. The LEAD WRITER himself, David Gaider (he's incredible btw, go follow him on twitter and play stray gods!!!) has been trashing Bioware on TT for years and he's been there for 12 years. He tried to highlight just how badly the company treats its workers - and it's not only Bioware, it's gamedev in general. I have many friends that work in gamedev and whenever we talk about situations like this their reaction is "yeah, but thats what happens in gamedev every half a year". You know, it's so bad, we just treat it as a standard. Why am I bringing all this up? Because I think that countering every argument with "you haven't played the game yet" or, even worse "people are only complaining because woke" is just buying into their narrative, taking the responsibility from them. When the truth is that every single teaser looks, to say the least, outdated. The graphics are very, very bad, the designs are mid at best (I'd single out Neve and technically? Emmerich, but he looks horrible because of the graphics, so...), the reps show that they know little about Dragon Age (I'm in love with that one recording in which they collectively barely remember Zevran. The companion in the most beloved game. The guy that is basically the only source of info we get about the Crows. The Crows that are a fraction in their game???), they have already stated that your choices don't matter. I can elaborate on each of these, but the post is already to long and my point is different - don't excuse Bioware. And I'm sorry, but "play the game first" shouldn't be the argument here, because the things that should be good, regardless of the game itself fail - I'm sorry, but this isn't an indie game. It's made by a huge company, with loads of money after two commercial flops. I know some of you (including me!) are nostalgic towards Bioware, because of their games and what they meant back in the day, really. But at the end of the day, the games were made by people and Bioware is just a company. A big corporation, that just wants to make money, has a long history of mistreating their employees and has delivered the worst teasers I've seen in a long time.

TLDR: I'm not trying to tell you, you are wrong to be excited. I'm just kindly asking you to stop coming to Bioware's defense at all costs, because they don't deserve it.

(also I know David himself has reacted to the teasers and reviewed them in a positive way but I am talking mostly about the things that I blame on higherups. However I personally think that Gaider, as someone who's worked in the industry knows that there are many people there that ARE actually passionate about the product. Not the reps, please, they are embarassing, but the animators, writers, etc. And trashing their work as a lead writer of the first games would be a little too much, even if the final thing is not their fault. They don't need any more shit)

[genshinresource]

re: the anon who asked about the version numbers. it works that way because the version numbers don't necessarily have to go up to .9 at all. it's an industry practice when it comes to numbering your devlogs. for genshin, one version = a major update and so far it coincides with the release of a new nation. v1.0 = mond & liyue, v2.0 = inazuma, v3.0 = sumeru. the second number stands for the patch update, which are smaller scale updates and count as a subcategory for gamedev milestones/releases. v1.1 and etc. genshin doesn't reach 9 patches per version presumably because that would take way too much time in between releasing nations, which isn't an ideal thing to do for games like these bc then it would just take too long. but if genshin were a game that could work with less time constraints and reached more than nine patches, we'd definitely see stuff like v3.11 and v4.26 and so on and so forth. technically, with how the limited banners get switched out halfway through most patches, stuff like lyney + yelan would technically be v4.0.1 and childe + zhongli would technically count as v4.0.2. hope this clears it up.

A detailed explaination about the version numbers.

[onlyryan]

ARDN - reflection

DTB has been a great learning experience as I have taken on the role of a 3D modeler and level designer. Despite it being a Studio, it is essentially my 15 point paper, hence the majority of my contribution has been shown through the artifact. Looking back over the project I can see that I have made some positive progression in my design judgement and practical skill set. I have also found an efficient work flow in a group environment. I feel like Sujay has led the team very well, and this has helped my learning because he has encouraged explicit communication between each member. He set out a Trello board that entailed all the specific tasks for each member to help clarify these processes to keep everyone on the same page.

Due to this paper being 45 points for him, he has had the largest influence over the project and he took the responsibility to express the concept and what he would like (drawing out rough designs even). 

I looked at similar fighter games that our project was inspired by such as  Shrek SuperSlam(7 Studios & Shaba Games, 2005), Gang Beast(Boneloaf, 2014) and Super Smash Bros(Bandai Namco & Sora Ltd., 2014). Although we were looking at these games for their mechanics at first, I had a look into their aesthetic design as it made sense that both came hand in hand with one another. All of these games have cartoony, fantasy world designs and that is why we decided to go for this aesthetic opposed to a realistic textured game. 

After looking at Ultra Realism vs Stylization it was made very clear that there was a preference towards stylization with 88% of votes, 

“ Stylized. Always. A realistic look never really jumps out at me unless the graphics are really, really good or there's some impressive animations. ”

“ Stylized, since it's usually easier to justify things there than it is with realism. ”

“ Whichever style fits in coherently with the game's direction. ” (Seppli, Justin258, StarFoxA, & King, 2013)

While it may have been technically original to have a hyper realistic fighter 3D fighter game in this peculiar genre, I do not feel that there are the resources (time and skills) to develop the necessities of that project. We wanted to communicate the theme and it would be easier to achieve this through a stylistic aesthetic approach. 

I found this enhanced my work pace because he has led confidently, without being entirely overpowering. I still had the space to make my own design decisions on the specific aesthetics of the project, but it was nice to have a holistic perspective. This meant that the theme and concept wasn’t incredibly vague leaving it so broad where I have to make up content on my own. 

Sitting down for SCRUM meetings and planning out the next phase of attack was particularly useful. This allowed us as a group to implement the necessary changes whether it be discussion over bugs, changes in mechanics (adding/subtracting from the project), likewise with the aesthetics. In addition we could talk about the development of the project and make a collective decision for the transition of changes into the next sprint. This tied in well with the timing of Game Developer Meetups as we could showcase our work on the 3-4 week basis and gather some feedback from the gaming community. 

Here is a primary example of the workflow for the map design

I was then able to use the above reference from Sujay to form a list of the objects we wanted to have in the game. I was also able to use this as a rough reference for level design. Even though Sujay apologized for his drawing skills, the importance was that it communicated the ideas he envisioned.

At this point I had practically added all the assets and this map was technically at the first phase and suitable for testing (given that we made adjustments to the collision for the models). I started modelling some of the content plain and simply with some details. At this point we hadn’t decided on an actual accurate scale as we wanted to test it.

I was then able to implement these changes after we tested the prior map. The map above had a change in scale and few more assets added to the environment. We removed the over hanging fabric because it affected the visibility for players.

At this point I was able to add texturing to the environment. We changed the tables because we wanted to have a ‘rounder’ feeling for the environment (hence the logo is designed on a circular wooden surface).

I could then go onto areas such as optimization through poly-count (Silverman, 2013). This essentially meant focusing on the slightly more complex matters and going back through the work to make the project a  ‘usable product.’

Testing with a variety of audiences for feedback was also very useful as our game may be played very willingly by a diversity of people. Testing with the game community meant getting feedback from people who are engaged in the gaming community whether it be playing/making/both and may provide some deeper and more relevant feedback to the production of the project. Testing with the general audience meant seeing how suitable and friendly it is to casual people who may (if the game went commercial) play the game as it was aimed for (not just avid gamers, everyone). This meant aspects such as the control scheme which may be picked up easier by gamers, may have been different for the general audience of people who do not interact with 3D fighters or digital games at all. While understanding my individual job as a 3D modeler was important it also emphasized the importance of designing and understanding the audience behind the game too.

The project overall went pretty smoothly and this was due to good teamwork, communication and work ethic. I would say that in future it would be a good opportunity to strengthen our practical skills and also give new tools ago whether this be software or project management. We are still quite early in our career to simply stick to one particular set of equipment and I think with the right amount of time we may find smarter alternatives. I would like to move away from messenger and slack to try something new, and as suggested Hack’n’Plan is a recommended tool for game development because it allows for specific time allocation in addition to visual progression both as individuals and as a group. This may be particularly useful if we are working on a larger project (with more people potentially) in future and want to address a specific problem that is causing a choke hold in the development.

References: 

Seppli, Justin258, StarFoxA, & King, V. G. (2013, April 20). Ultra Realism VS Stylized Art Design in Games - Your Preference? Retrieved from giantbomb: https://www.giantbomb.com/forums/general-discussion-30/ultra-realism-vs-stylized-art-design-in-games-your-1429781/?page=1

Silverman, D. (2013, March 5). 3D Primer for Game Developers: An Overview of 3D Modeling in Games. Retrieved from gamedevelopmenttutsplus: https://gamedevelopment.tutsplus.com/articles/3d-primer-for-game-developers-an-overview-of-3d-modeling-in-games--gamedev-5704

[aurelliocheek]

GIC Poznan 2019: Connecting East and West

The Game Industry Conference in Poznan, Poland, is a perfect place if you want to meet an entirely new set of people and companies that you usually don’t see at other conferences.

The Games Industry Conference (GiC) in Poznan started in 2008 as a student meetup and slowly grew into one of the most significant developer events in Central and Eastern Europe. The last edition held in 2018 had 3,600 participants, 640 companies, and over 130 lectures, panels, roundtables, and workshops. We sat down with Jakub and Hanna Marszałkowski, the two main people behind the GiC, and talked about the upcoming 2019 edition, which takes place on the 17 to October 20th, 2019.

making games: Hello Hanna, hello Jakub, lets dive right in: Where do you see your Games Industry Conference in five years? Hanna: As currently the biggest GameDev conference in Central Eastern Europe, by all stats, number of attendees, talks or business meetings, we would love to provide even more fruitful opportunities in the business area and at the same time focus on passing more and more expert knowledge on the field of the game development. Last, but not least, we cannot forget about our most important feature – the inclusiveness. With scholarships, supporting women in game dev, discounts, and free entries for outstanding developers, we still want to be an open place for everyone with the desire to participate in the game development process.

Jakub: But we put particular pressure on the quality of talks, on organizing advanced talks for senior developers and on our process to achieve a high quality. We do not do sponsored talks, and we do not do sales pitches – everything is reviewed. We lost some sponsors because of that, but when it comes to talks, quality is king. We have atually taken some procedures from the academic world to make sure we keep a high standard. Numerous speakers are asked to improve their submissions, and everyone gets judges reviews which often contain suggestions or additional questions. Speakers are requested to reply to the judges, and we also reject quite a lot. We want to be the teaching event, the one that people are visiting to get valuable knowledge. So we are going there, year after year.

Hanna and Jakub Marszałkowski and their team have been organizing the Game Industry Conference in Poznan for 7 years now.

making games: What can I expect from GiC as a developer or entrepreneur? Which companies and which developers can I meet there? What is the mix of your audience? Jakub: GiC is the perfect place where business meets game development. We have dedicated areas for both devs and potential business partners: networking zones with Meet to Match, a Geek Careers recruitment zone, pitching events – at least four of them – and unformal evening parties. Let‘s not forget about access to Poznan Game Arena – with massive potential for reaching out to gamers, on one of the globally most important markets for PC gaming. At the event, you can meet developers of all kinds: coders, designers, artists, motions designers, project managers and producers, one-person indies, narrative specialists, composers and audio specialists, business developers, company owners, and business angels. The full range basically, and we have tracks with talks for all of them. As for companies, you can expect representatives of most of the Polish companies, up to groups of 50+ employees sent for knowledge and networking. German attendees and companies are the second biggest representation when analyzing it by country. Central and Eastern Europe is particularly well represented, now even more with CEEGA (Central & Eastern European Game Awards), the regional award for best games. Finally, everyone that wants to meet all of the above, including important business people from Asia.

making games: Is the GiC worthwhile for young developers and students who are taking their first steps in the industry? Where can I find cheap accommodation? Is there a discount for young developers and students? Hanna: I would say that the Game Industry Conference is the perfect place for students and starting game developers. With professional knowledge exchange, workshops, roundtables, and lectures on every level of complexity, you can easily find a subject that suits you best. Inclusiveness is one of the main pillars of the GiC, and our goal is to be open for everyone interested in game development. We do offer a wide variety of discounts, also dedicated to students and those who may not be able to afford a regular pass. Poznan is also an affordable city, with a broad variety of accommodation options, starting as low as 15 euros for a bed in a decent hostel. We are also particularly proud of our scholarship program. This year, doing it for the third time, we expect more than 50 scholars, from all around the world.

The Central & Eastern European Game Awards (CEEGA) 2018 were beeing held on October 13th 2018, during a big gala hosted by GIC together with Poznan Game Arena.

making games: Can I exhibit as an indie at the GiC this year? If so, how much does it cost and what additional costs can I expect? Jakub: Sure, that‘s what the indie zone is for, a cooperation between GiC and Poznan Game Arena. The area is a part of the expo so that you will have crowds playing your game, but at the same time, you are invited to MeetToMatch and pitching events. Maybe attending talks would be a bit difficult if you will not bring a team of at least four people. Pleasing the crowds can be time and strength consuming ;) The indie booths start at 230 Euro if ordering early, and that is for a complete turnkey solution, a ready built 9 sqm booth, with furniture, equipment, power, wifi. There are even PC screens provided, lus there is a permanent car entry card. With a more prominent option, you can easily get your branding printed. I cannot think of any additional costs right now, but bringing some finishing touches to your booth is always a good idea, even if you have a full printed branding.

making games: What does your current program look like? Which speakers and which topics do you plan to focus on? Jakub: We already have confirmed some speakers, like Ryan Clark founder of Brace Yourself Games, Kate Edwards of Geogrify, Rob Carr, ex-Rockstar audio designer and now at Wargaming, Juan Linietsky (Godot Engine development lead) or Łukasz Burdka, solution engineer at Techland. Our approach to talks also means that we have reviewed their submissions and announced both topics and descriptions. You can find them on our website – there are no „to be announced „talks at GiC. More than 40 other talks are in reviews, some iterated with submitting speakers to improve them or make them fit the audience better. The submissions are also open until August 10th, and we are working with numerous speakers on our invite list.

making games: Compared to other big European conferences like Nordic Games or Reboot Develop, where do you see the strengths of GiC? What is your unique selling point? Hanna: Both Nordic and Reboot are friends to us. We do not compete; we cooperate. There is enough space in Europe for all these conferences. However, GiC not only has an impressive size, but the range is also completely different. GiC is the place where one can meet an entirely new set of people and companies comparing to other conferences. Jakub: Plus the already mentioned unique approach to talks, and the convergence of a B2B and B2C event. It is more like the gamescom and devcom combo.

The Indie Zone of last years GIC consisted of 120 indies which were presenting their games, making it one of the biggest indie shows in Europe.

making games: Is Poznan still the right location if you want to grow further? Aren‘t you going to reach your limits at some point? Hanna: Poznan is and will be the center point between Berlin and Warsaw. Both from business and cultural point of view, it is one of the most significant places in Central and Eastern Europe. Easy to connect, cozy, and with a wide range of accommodation, it offers a full variety of amenities. Poznan is also my hometown, and even though I travel a lot and visit lots of other cities, I still love its atmosphere and vibe. It‘s a beautiful, both historical and modern city, to the point where we run sightseeing tours for GiC attendees. Jakub: We can also give a technical answer to that. Poznan is the expo city for Poland. All the biggest expos are held here by Grupa MTP, the biggest polish fair company. So is Poznan Game Arena. Having GiC colocated with this expo is a perfect synergy. I doubt anyone would find a good reason for us to move somewhere else.

making games: What possibilities do I have on site to get in touch with other visitors in a relaxed atmosphere? Hanna: Plenty ;) Generally, our whole Game Industry Conference is a place where you can comfortably spend time with the industry members. Apart from one-way lectures, there are many other opportunities to talk with fellow gamedev folks: roundtables,the B2B expo, cozy spaces in the venue. There is also a regular chillout zone and a business lounge. Gaining knowledge and making business may be done in so many different ways. Being casual is one of them, and that‘s the way we would like to run it. Jakub: Afterparties, let‘s not forget afterparties! We have many of them. Last year we counted eight, including three official ones on three evenings. Plus parties for gamers, naturally.

making games: Is there anything I should do the first time I go to GiC? What should I do first on site? What should I not miss under any circumstances? Jakub: This is where we maybe should explain our dates a bit more. The leading conference is being held October 18-20, from Friday to Sunday. The Thursday before is the side events day, pitching events day and so on. This is maybe a bit unusual for first-time visitors. Also, Saturday is a really busy day, and leaving early is probably a bad idea. When starting the day on Friday, we also recommend doing the Indie Zone on the expo first, before the GiC program gets hectic and the crowd hits the expo grounds. Things not to miss are numerous: Epic Game Music concert, Best Game Video competition, or the Central and Eastern European Game Awards (CEEGA) gala. There are also services and features that attendees sometimes tend to miss as these are not that common on events, like Daycare for gamedev kids, Women in Games Breakfast, 1on1 Mentoring. There is plenty of #FOMO ;] Moreover, all of that is included even in the most basic GiC pass.

making games: If the GiC were a Marvel superhero – which character would fit best? Hanna: We kind of think of ourselves as Nick Fury rather than a „full „superhero with ass-kicking powers and abilities. We want the developers to be the superheroes in our stories, and we do all we can to support them.

making games: Jakub and Hanna, thanks for your time and see you in Poznan in October!

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