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Audio&Games

GDC 09 #2

It’s like OnLive makes people angry. Of course it’s kinda revolutionary. Let’s look at arguments. Like this one:

“Let’s say tens of thousands of people sign up for the launch of Run, Shoot, Kill, Repeat 10. That’s the sole reason they’ve signed up for the service, and it’s their first impression. They, like a ton of other people, want to play the game the first second it’s available. Good luck managing that demand spike without having crap performance and pissing everyone off.”

You guys remember the launch of Steam? Ask Valve people how many players were puking on the service when it launched. It was in 2003 after being revealed at the GDC 02 and digital distribution was exactly at the same point that cloud computing is today: something nobody is arguing against that it is the future and yet nobody is doing it.

Now Steam has 20M+ user accounts and they’re the big fucking beast, the leader of the games digital distribution that everyone is trying to compete. I think OnLive is ready to take the risk to piss off users on day one. No problem.

Second argument I read a lot:

“The problem is in the nature of the task.  Games are inherently compute intensive.  There’s a reason that you need a behemoth of a machine to run Crysis.
For a service of this kind to make any money, you need to be able to support tens of thousands of users at the same time.  Halo 3, for example, has
80k users online as I write this.  Granted, this is across the entire world, but the hardware to support the  simulation, rendering and video compression for each of those games would be staggering.”

Who said it would only be Crysis and über heavy demanding games that people are going to play? What about a game like GRID running on a little 8.9” netbook screen? It sure demands a lot less power than on a 24”. Who said people are going to play games which need extreme reactivity? World of Goo can be played with a big latency I guess. If I look at my software synthesizers, “real time latency” –below 5ms- is not needed for a lot of things (even if for some like drums it’s mandatory). SF IV is running smoothly online and frankly I’m impressed. A few years ago it was still a dream plagged with issues.

I think people are a bit jealous :) Of course publishers have already signed up otherwise they’re really going to die: developers could push their game on the service without worrying about publishers, exclusivity shit deals. Noby Noby Boy and Flower would totally benefit from a service like this (remember the spectator value). Instead of that, they’re stuck on a platform and nobody cares about them despite the fact that they’re really cool games. Go OnLive, go. And make room for game developers, they’re going to make you successful.

I’ll do a third post on GDC about ease of development and social responsability.

Last week was my first time with Madworld on Wii. Disturbing, assumed and viciously joyful.

 
COME HEEERE

Categories
Audio&Games

GDC 09 #1

Man, I could say I knew it! for a lot of things from this GDC year.

First, the OnLive thing. It’s everywhere on my game feeds. As Gamasutra says:

“The ambitious venture, which hopes to revolutionize the gaming world by removing the need to continually upgrade PC hardware or buy new gaming consoles every generation, makes use of cloud computing — doing all of the game’s video and audio processing on remote servers, then streaming the resultant images and sound back to the user quickly enough to play games in real time.”

You can watch the conference here. It demoed a Crysis play session on a Dell studio 15, the one I use to type this post. When I play some Valve stuff, the laptop is getting like a hoover and I just can’t stand it.

Some days ago I was talking about Asus and cheap PCs. For those platforms I was thinking about casual and not heavy raw power demanding games of course. But with a service like OnLive, it could be every games.

Imagine playing games from the eee keyboard, co-op mode with eee sticks, unplugging and plugging  from screens to screens without worrying about technical shit.. The NAS could be a great memory cache for the service etc At last, an open/closed easy and limitless platform to play and develop for. From the double consumer/developer view, it’s heaven.

There’s still a lot to solve from a technical perspective for the heavier games but it’s very promising and sure is the future.

The main attract for me is the spectator value. I love to watch people play, I have countless hours of HLTV with SoGamed –when the site was red and black-, or on the couch analyzing my buddies playing consoles. For the spread of the medium, of the gameplay experience of the game culture it can’t be done more easily than with channels to switch like on the familiar TV set.

It’s really exciting.

One famous analyst said that it would be the last console generation. Sorry dude, I said the same a year ago (can’t show you my archives are still broken). Now I guess Nintendo would move to the cloud as soon as they can –in Nintendo terms, when it’s making money for them from day one- with a new Wii, competing OnLive. MS/Sony would follow. Look at how the giant of the electronic is doing well thanks to the N1 number crushing beast aka DQ:

here are the February NPD’s:
Wii–753,000
360–391,000
PS3–276,000
PS2–131,000
There are plenty of ways to look at that data, and if you’re Sony, they’re all bad. PS2 and PS3 sales combined, which have been a hallmark of post-announcement PR spin, were down 35% compared to 2008. PS3 sales were roughly flat (276k vs. 281k in 2008), but in February of 2008, PS3 unit sales accounted for 29% of next-gen (360, PS3, Wii) console sales. This year? 19.4%. So Sony’s PS3 sales stayed flat in a month with much higher next-gen unit sales overall.
Oh, and PSP sales? Down over 18% in February compared to last year.
Combined, and there’s only one word to describe that: freefall.

I mean the two monsters consoles are struggling to make money. For real. At a big, big expense. Software is moving so fast, it’s quite sure they can’t keep up with PCs and cloud computing. So.. Yeah. Good news for everyone that counts in the equation: this generation is going to last very long, and developers should be free to go for the digital distribution on computers called personal computers.

In an older post I was writing:

“This year once again north guys are at it (meanwhile they were around for years): Erik Svedäng from Blueberry Garden fame which has never really had a fame BUT the game always seduced me (audio atmosphere, physics, simplicity I’m sold!), here’s the trailer.”

Blueberry Garden won the IGF! Awesome. I knew this game had something especially charming. Good luck for the full production Erik! And really, these guys from the north ROCK.

More on GDC after grokking more.

Categories
Audio&Games

No comprendo

Exceptionnellement ce post sera écrit en french.

Le gamedev français. Je ne comprends pas ce qu’il s’y passe. Il y a des bons jeux et des jolis succès en France (Soul Bubbles, Dofus, Globz Trackmania Dark Messiah Fuel qui sort bientôt, Edge sur iphone etc), paradoxalement il n’y a pas d’union inter-développeurs autour de ces succès. La seule communication se passe autour de bruits de couloir –en général bien flippants- sur telle ou telle boite.

Cette réflexion vient après la révélation d’un lecteur ;) impressionné par le fait que je lâche tout ce contenu sans retour. Comme mon blog est quasi séparé en deux mylife/gamesgamesgames, j’ai quand même de longs et intéressants articles sur le sujet.

Ce n’est pas tant le manque de retour qui me chagrine, c’est plutôt l’absence de développeurs qui parlent qui me frappe. Ca ne pipe pas mot !

On fait des jeux en France depuis l’aube du médium, j’ai passé une bonne partie de mon adolescence à jouer à des jeux français (Titus..) et anglais si je regarde bien. Resident Evil doit énormément à Alone in the Dark. Another World Flashback sont des références pour de nombreux game designers à travers le monde… J’ai voulu faire ce métier parce que ça semblait non seulement possible ici mais parce qu’en plus il y a avait un sacré niveau et une envie d’aller plus loin chez nous. Très excitant aux premiers abords.

J’ai vite déchanté. Aucune émulsion. Les créateurs originaux de ces titres ont disparu. Ils sont là tels des fantômes à roder d’interviews “c’était mieux avant” à “le futur ça sera ça” mais l’activité et le mouvement n’existent pas ou peu.

On a une soif de hiérarchie c’est dingue. Les “anciens” des 80s et 90s qui ignorent complètement ceux du début 2000 –dont je fais parti- et les ptis djeuns qui sortent de l’école à faire des jeux et pour qui ma génération et celle des vieux complètement autodidactes ont une relation ambivalente à leur sujet (on vomit dessus tout en en faisant pour nombre de professionnels, une grosse source de revenus). L’entraide devrait aller de soi, le passage de savoir-faire évident.

Aucune connexion, aucun effet de réseau. Nada queud, tous les sites du genre ont pourri sur place comme Jiraf par exemple (que je viens d’aller visiter, c’est consternant cf le “programmateur iphone”).


Pareil mon pote, pareil. 

Ultra scolaire aussi. On m’a proposé de donner des cours sur le game audio alors que ça faisait même pas trois ans que j’étais dans le milieu. De mon point de vue je donnerais des cours quand j’en aurais fini de faire des jeux et que je pourrais donner de précieux conseils. C’est à dire sans doute jamais.

Entre 2001 et 2003 il y a eu un énorme boom sur le forum de l’IGDA Paris, des réflexions et des débats très intéressants autour du jeu. Il y a six ans, les développeurs de jeux français étaient pleins, on discutait dur il y avait tous les métiers regroupés sur une page web à parler de l’avenir. C’était chouette. Ca a duré trois mois.

Très vite trolls, peines-à-jouir et gros aigris de la mort ont fait couler l’intérêt de discuter. Pareil sur Jiraf, en pire. Nous sommes vraiment des gros cons là dessus on est trop mauvais.

A croire qu’en France on ne parle et on ne partage que pour donner des leçons ou pour dénigrer les autres alors c’est sur c’est pas franchement constructif. A croire qu’on ne comprend pas l’intérêt de l’esprit d’équipe.

Quand je vois la somme de connexions positives que j’ai pu créer en dehors de l’hexagone, sans bouger mon cul de Vincennes, ça me fait halluciner, d’autant plus que mes connections parisiennes tiennent sur une demi main en quasi dix ans. Quand je vois à quel point les américains non-français partagent l’info, que ce soit les blogs des développeurs indépendants qui détaillent leur process de prod ou bien le pdg d’une boite qui donne sa vision de ce qu’il va se passer dans le futur, je suis sans voix. C’est devenu habituel sauf que ce sont des gens loin et qui ne parlent pas ma langue natale. Ne me dites que c’est parce qu’on ne parle français qu’en France. Même entre nous chez nous on ne partage rien à part les vannes sur le gameplay d’un confrère.


Un peu ce style le gamedev français: nasty, mystérieux, trop sur de lui et fumeur de clopes. 

Regardez la Suède, ces dernières années la dynamique qui s’est mise en place avec des petits jeunes de 20 ans ravagés par l’acné qui font des jeux, s’entraident en parlant des jeux des autres, montent des blogs et parlent en anglais pour se faire comprendre par tout le monde etc

C’est pas difficile l’anglais, c’est obligatoire dans le domaine donc je vois pas comment les gens arrivent ou ne serait-ce qu’essayent de ne surtout PAS le lire ni l’écrire et d’attendre les trads en français. Cette touffe de poils au creux de la main c’est insane (ça rejoint ce que je disais sur le cd-iii).

Pourquoi est ce que les gens sont des putains de pierres ici ? Moi aussi j’en suis une mais je me soigne même si je fais pas la pub partout de mon blog j’écris suffisamment depuis longtemps pour tomber parfois ici quand je fais des recherches alors… Je tombe sur personne d’autre en dehors des médias web (gamekult et cie).

Je repense aux nombreux mails à des “collègues” du milieu restés sans réponses, même ceux à des compositeurs ou sound designers (une des rares boite à m’avoir toujours répondu illico sans y connaitre aucun contact est Arkane à qui je tire mon chapeau) quand à peu près 100% des mails envoyés ailleurs ont tous reçus une réponse, que ce soit Media Molecule pour bosser sur LBP ou bien chez le mec du FBI, toujours une réponse voir un encouragement dans la foulée.

Jeff Tunnell m’a fait pareil en écoutant mon travail et en en disant du bien. En le connaissant absolument de nulle part.

Je recherche ça, j’essaye encore ici mais les dernières fois où j’ai tendu des trucs de game design à des game designers –Raph Koster, project Horseshoe, Stéphane Bura hey un français qui partage !- les mecs m’ont plus parlé. A croire que quand j’essaie de trouver un terrain d’entente c’est pris pour de la compétition… Je ne sais plus comment réagir moi.

La semaine prochaine, c’est la GDC l’évènement de l’année à San Francisco. Le chapitre européen se déroulera en Allemagne à Cologne.

Il faut qu’on se soigne, vraiment.

Categories
Audio&Games

Multi Asus future year

I don’t believe in closed architectures. Not because it’s not a good business plan -it can be worth it- but because it’s a consumer lock-in. Software lock-in is preferable over hardware one. You can always change it.

This is why Asus is in a good path. Hardware innovation, software freedom. Just think about games around these hardware near to be shipped.

Like this keyboard filled with a complete computer and a multitouch screen. It seems crazy at first but it’s not that crazy: it’s the home laptop. No need of a screen.

 

Of course there’s those eee sticks, ready to be used in a gazillion games. I think this product needs really good apps, not that kind.

Ok that’s just a NAS. But it’s a really well done one with a 1To and 1Gb full wireless connection and of course, a decent price. I have some reticences at the all idea of cloud computing BUT digital home cloud system is really interesting; big assets on the NAS, running games on devices (laptops keyboards etc) with sticks. Full auto updating game and experience.

And all of that with the software technology’s heaven that game developers are trying to reach whenever they can: using the tools of their choice, with a preference for open source solutions.

This is a big deal I think.

And the best of all of this hardware pr0n in which I have a lot of expectations:

Below the 400$ mark, multitouch screen you can use with a stylet (now that I have an iphone to dev for I know why the stylet on my DS is really interesting and in a lot of case, better than my finger), the portable tablet I’m dreaming about for some time now. It’s real, it’s gonna be available soon and I want to see multiplayer crazy stuffs on it!

Consoles are fine blabla but it’s a consumer and a gamedev hard lock-in. Consumers and creators are simply fucked (waiting for console makers approvals for months is just an example) and nothing is going to change that except when creators can switch to sexy open hardware. Now they can.

Asus is playing a good game.

Categories
Audio&Games

same old same oh wait

Resident Evil 5, seventh installment of the serie. Announced in 2005, released in 2009. Eurogamer review quote is interesting:

“Possibly the most jarring initial impression is how little has changed in the core game mechanics. While the prospect of split-screen or co-op online play tantalises, there’s an inescapable feeling of deja vu and frustration as you play with an AI partner. To all intents and purposes, this looks and feels like a reskinned, high-def Resi 4, and what was hugely impressive back then often struggles to repeat the trick this far down the line.”

The producer of the game said it will be like RE 4. So all this time for better graphics, new environments and same camera nightmare and bullshit.

Great. What’s interesting is that improved graphics make people want to have improved gameplay too. But this is not the case. the so called next gen is just a way to keep game developers busy. But it doesn’t care about gamers, they’ll eventually eat that anyway (it’s inevitably better than the old).

For me RE should only be a FPS if you want an improved experience over the old RE 4 style. Left4Dead took the crowd though.

In other news, Rock Band gets totally -well a bit- funked up, in any case I think that’s cool. Funk is the shit (remember that Black Hole Sun drum part you so love to play? That’s the One, that’s the funk man).

Wanting to save the planet? Do a game (what better simulation could you have?), here are the rules.

 Flashbang guys interview about their last game, Blush.


Unity in action. Indie revolution?

Mike Inel How and Where games are special, they have a deep and soothing feeling even if they are more of well polished prototypes than full games. I want more stuffs like this, it’s incredible how in term of visuals it’s always, always same old. Now that’s a bit more fresh.


Dreamy.

2D Boy are making a post mortem of World of Goo in seven parts, here’s the first one with the first version of the game, after a week of work. It was in 2006. If you have WoG -I bet you do-, you can now feel the work needed. This post mortem is pure gold.


Mad props for the polishing of this 48 hours game.

Pulse, the dutch global game jam winner is going to be produced! The original concept is here, try it it’s great.

Unreal Engine 3 is used in every single AAA titles with some Gamebryo hits (Fallout 3), game engines are the core of the industry (Torque, Unity and of course homemade/open source libs-based ones).

Jeff Tunnell has started a new company called PushButtonLabs and they’re releasing something really interesting: a game framework based on Flash to do games for a lot of machines. PushButtonEngine is here.

I hate Flash when it’s not a stupid and simple video player. For the crappy IDE, all the loading in the world, bad audio compression no mouse scroll and lame cursor animation I just want Flash to die in a medieval way. BUT with an engine around, why not leave him alone? Could be useful. I’d like to see more competition in this way.

But the trend of the super busy browser handling gazillions of javascript and 3D plugins is starting to get annoying: it doesn’t use well the raw power of cpus/gpus. You could say Windows did that too (compared to closed architectures) but web is getting things worst: if I load five services say FB/Digg/Gmail/Blurst/Flickr, the browsing experience gets awful, no matter what the browser is. What is all this process power I have that can’t be used? Something is wrong.

Next time I’ll talk about Asus. Once again.

Categories
Audio&Games

Women in Game

Today is the international women’s day. Time to talk about women in the gamedev.

Like in every field, girls are quite fucked from the beginning. In the society in which we live, they usually learn about the glass ceiling very quickly. In the technology area it’s even more weird because the virtual ceiling is there despite the fact that women are appreciated in game development: with 88.5% of young males, girls sure have a real attract on them.

Jade Raymond is the obvious case of why international women’s day unfortunately still means something. Two years ago with Assassin’s Creed launch she had been draw as a cocksucker surrounded by men with sperm on her (yeah it’s rude to read it like this but I juste describe the picture) by some so-called humorists, meaning that she only had this power on the game you know how.. It went big on news etc. Jane from GGA put it in the best way possible:

“It is dangerous to be a beautiful woman in the games industry. Oh, it’s difficult to be a woman, period. But if you also happen to be attractive, you are doubly cursed. On the one hand, yes, when you’re at a conference where you are among a handful of women, you are remembered, and that is advantageous. But for every break you may get for being female and attractive you get a chorus of voices telling you that you don’t deserve it because, well, you are attractive, and obviously you can’t possibly have gotten where you are without seducing men along the way.”

I would add that you don’t have the choice but seduce people when you’re not like them, either passively or actively. I bet Jade choose the first one because she doesn’t need to play actively this card I mean:


She’s smarter than you. Also, you’re jealous.

At the end it’s always the same shit called double standard and it’s fucking annoying because it ruins the basics of human relationship: trust and honesty. When people can do, they just can period. Whatever the face they have. Pushing a woman in the dirt sort of give me the proof that a lot of people can’t handle something normal (ie a woman doing her job well and yeah, I see what you did there). It’s sad.

But they are here. A bunch of women in games are actively doing the main tasks of the gamedev, not just QA and PR (which are fine).

Sophie Houlden is one of them. She does master Flash (like this 48 hours real fun game she did alone), she does visuals, code game design. I want to marry her.


She’s stronger than you. Plus you’re not her type. 

Erin Robinson is an indie game developer. She does adventure games. For example this one is called Little Girl in Underland and has been made in four weeks. She did all the art with a laptop no scanner and her talent. She also did this big game with a little help. Just wow.

Watching their works I think demakes and game design research are way more useful to the medium that pure technical iteration of ten or twenty years old game designs.


She’s motherfuckin’ more soulful than you. In fact you’re not in the same league.

Heather Kelley. She’s a game designer doing a lot of things -even music- since 1994. She co-founded Kokoromi collective (damn I love these people).

She did make me think a lot with her Lapis project. In 2009 it would still be a flying saucer on the market but I love the idea. I can see how to make the audio fit for that project but I digress.

Game design challenge + social empowerment = deep change, large mind shift.

We’re still afraid about that because it’s much more powerful than every kind of entertainment.

Or maybe we’re lagging because we don’t have enough women in the industry :)

(more women in dev pics on my flickr Hall of Game set)

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Audio&Games

My Street Fighter


Best cat ever 

Street Fighter II. Summer 1991 I was eleven years old, on vacation in Québec, Canada. An arcade alley, I was searching for Final Fight. I then saw just a bit on the left, two guys playing this fighting game. It was a Guile VS Ken match in the Guile stage. Everyfuckingthing was perfect: style, movements, background, audio fxs, fire balls -did I just witness fire balls??-… No way. At that time all the rage in France was around Double Dragon II on NES, you can imagine how it felt. A magical moment punch in the face I still can clearly remember. Another dimension.

After its release on Super NES (US import!), Street Fighter II would make my friends and I happy for years. Satursdays afternoons were SFII, Sundays were the same. A little Bomberman to chill out a bit and then back on that super tic tac toe II. I think it’s the first time I felt the “balance” thing about characters. I had developed a good technique with the slowest character, Dhalsim. Feeling that all characters had a potential and something to knock the shit out of their opponent whoever he was, was simply awesome and crazy.

And the sound… Oh man, I’ve never had such a sensation of power hitting a bunch of pixels, songs were stuck in my head with really different mood fitting characters… This Sagat stage. The stage of the end of the afternoon. The hard one, the painful one.


You sure will 

What surprises me now is that I didn’t play SF II that much. Street Fighter III was an awesome one but I wasn’t hardcore enough (and entering the gamedev world).

Almost twenty years after the number two, Street Fighter IV is out these days and I couldn’t not feel something. This game even if it’s just a fighting game, changed my life in my perception of what we can achieve in games, that powerful feeling of control. Control and efficiency. A weak but fast hit can make you win. A new level of possibilities only around improvements (more buttons), embedded in the best culture crossover shit available.

I can’t find the 08 GDC session of Yoshiki Okamoto titled “Creativity in the Form of Improvement” in which the japanese producer explained how they did a mash-up of everything that was working at that time (the fire balls were coming from Dragon Ball for example). Fascinating stuff.

Street Fighter is more than a fine tuned fighting game. It’s a cultural melting-pot and a true part of my 90s teenage years.

Big Up to all SF players in the world, kudos to Capcom for releasing SF IV on PC too (killing the stupid exclusive thing).

Categories
Audio&Games

Pinocchio theory

Bob&Bob, one of the global game jam game we did in Paris was part of the indie games blog best of! The mechanic was fun from the beginning, in a more conventional way than with Waltz2D but super efficient nonetheless. Really cool news!

But the meat today is the Project Horseshoe reports. Like the Global Game Jam, this event is gonna be huge in the next years. It’s a game design think tank and according to an interview of Harmonix founder, kids don’t dream about being rock or DJ stars (two games on the subject are coming: Scratch Ultimate DJ and DJ Hero, you can go puke now).

They dream about making games.

First, about the Development Team: stop talking about programmers as opposed to artists I’m so sick of this. They’re, we are ALL designers! A game designer making proper sentences in a document is coding it and a coder doing visual effects is an artist, don’t they? This is all the way from the beginning to the end a DESIGN process, a blend between high technology knowledge, aesthetic and ergonomics, all trying to nail the FUN. What is hard to understand, why doing some stupid pyramidal shit with people “doing” and people “saying”? It’s hard enough man, cut the crap.

“Make the prototypes with the smallest team possible to save time and resources.”

The smallest and the largest at the same time: prototyping only with coders will end up with a coder game focused on systems. If it’s with a graphic whore, mechanics are going to be weak etc. The prototype should be design with input from all designers, visual and sound and game and code to ensure that global quality (they do that in Japan you know). Think about cooking, sauces etc. You don’t do that with two ingredients, adding two others one hour later do you?

If we’re always trying to use old words and old definitions of our roles, we’re gonna have hard times to change and make ourselves better. Project Horseshoe doesn’t seem to adress this problem. We are damn slow.

“Games differ from music or dance in that the game designer does not orchestrate the experience in a top-down manner, they provide for play experiences through the creation of rules.”

This is wrong! Music is not experienced in a top-down manner, it’s only ONE of other cases (classical music). The music played today IS a play experience (live) through rules (songs). It’s called a jam, it’s called playing in a band.

And when you consume dance music you don’t do it passively. It’s meant to make you groove so you shake your ass actively! You can do so on every rhythm patterns, not just the kick drum.

Music is for me really the closer thing to games. It’s a fucking game itself, duh.

“Two milestones rang true for us: when a game designer wins a Macarthur Genius Grant, and when the Pulitzer Prize includes a set of categories for games. Can you see this happening during your career?”

No. Because it’s elitism, elitism requires some easiness in the production process (like writing a book), something we don’t have and can’t afford -and never will I guess- in the game developement. Also because it’s a generation problem, my parents (50s childs) play the Wii and feel guilty about it while they do think that reading thriller books with stories totally expected is something they can almost brag about because it’s REAL culture (well I think it ain’t worth shit compare to experience a good gameplay). They didn’t grew up with computers. I’m from the very first generations in Europe fueled with the digital stream from the birth. This generation gap must be filled in a way or another because if not, culture is going to dump us. It already did.

Now look at Japan. Toshihiro Nagoshi, before and yesterday. Look a their game designer “superstars”, like this one:


Goichi Suda aka Suda 51 
He’s well known in the game-o-sphere since 2005 and Killer7, already “superstar”. Because he has a nickname Suda51 like an artist signature -an old trend in japanese game production set to avoid copyright problems-, he has a star background –a totally unexpected one-, he’s wearing cool stuffs, his company feels the cool and arty, etc. In FOUR years he managed to go from unheard to well known.  With an army of Suda, the media world would listen to us.

No need for prizes & false statements. Just less dorkiness, more gym and healthy life for game developers.

We in the western world are terrible at being I don’t know, fresh AND digital. We lack that consistency that Suda and others have in every way. We don’t have that because imho overall we don’t believe in the gameplay experience, we believe in having a cool job so cool that a lot of people in the industry sink into nostalgia. We don’t do games. We FAKE it.

And if you fake it, your nose will grow. It does, ask Eidos.

Categories
Audio&Games

IndyAudio

The game industry is recession proof they said in October. Yeah, right.

Game news are full of studios closures, people layoffs, companies bankruptcies. Why? Not the so called crisis fault, simply long term bad business decisions.

A product like the last Tomb Raider selling poorly is not a surprise I mean come on shareholders and management from those big publishers, you can’t give people the same shit every year and expect it to sell well! You gave people the Indiana-like bimbo stuff nine damn times of course the last one didn’t work, especially in a tougher economy.

But enough pointing out stupidity.


Add the brazilian music and you’re in another world, really.

Gravity Bone. Free FPV game with no gun, 60fps (Quake2 engine) and an awesome feeling. I WANT MOAR!

The twenty best freeware adventure games of 2008, starting with Dirty Split.


Damn it! He knew that one! 

Here’s the link to the download page with four languages (and yes, there’s french).

Osmos, IGF nominated physics puzzle game.


Osmos Trailer from hemisphere games on Vimeo.

Developers interview, here’s an excerpt:

“What kind of background do you have making games?

Eddy Boxerman: I liked modding as a kid — coming up with alternate rule-sets and tweaks for Monopoly, Stratego, etc. and then play-testing them. A good friend introduced me to Dungeons & Dragons when I was 12 years old, and that was it.

I’ve been making games as a hobbyist ever since. More recently, I worked for a few years at Ubisoft Montreal as a physics and animation programmer.

And it doesn’t hurt that the friends who have contributed to Osmos are all super talented: Dave Burke worked at Epic as an engine programmer, Kun Chang served as cinematics art director on Splinter Cell: Chaos Theory, and Andy Nealen has been teaching courses in game design.”

The game industry is full of people wanting to escape and do their shit..

Audio is in the indie/indy scene really well exploited. Osmos has a neat soundtrack, Walkie Tonky uses audio as input feedback making music -a trend I want to see more and more- and the more impressive about it:

Retro/Grade, a rhythm shoo’t em up game. But in reverse. Can’t wait! Interview with Gamasutra. I almost forgot about Kranx’s Musaic Box, a music based puzzle game.

Let me sum it up: indies have limited ressources, limited budgets. They use the most of the medium whenever wherever it’s possible. Audio is a huge add to a minimalist approach as it is with the gamedev scarcity. The game production is really divided as Game design, AudioVisual design and Code design which we try to push to their interaction limits. Video game means absolutely nothing.

Now that Nvidia losts money, they say that 3D screens are coming and totally hot (meaning another layer of complexity to a fucking hard task: making a good computer game).

I call bullshit.

Categories
Audio&Games

GlobalGameJam report (from an audio point of view)

First Global Game Jam of the history of mankind, glad to have been part of that event. 48 hours doing games.

Where: Mekensleep HQ Rosier street Paris.

When: Friday to Sunday last week.

With: A bunch of nice, talented and crazy people.

Constraints:

I- A complete play session must always last 5 minutes or less.

II- The theme of the game should be “As long as we have each other, we will never run out of problems.”

A third constraint was introduced with a variation for each time zone. In France we had:

III- Choose ONE of the following adjectives to incorporate in your game (each team chooses which one to use): developing, falsifying or trapped.

After a democratic filtering system of everyone game design ideas we eventually started to do games. Three.

Sound and audio ressources were in fact well represented with Jean, an electronic music artist and designer tasting the game experience and Xavier young composer and god of the musical cell. Plus my humble self doing audio fxs, giving advices and trying to balance ideas, cheerleading coders (they’re my heroes I’m a nerd ok?) eating and of course enjoying.

Plus on the three games made, one was a rhythm based game. A keyboard driven waltz rhythm game even.

On this game, I realized that even with a core gameplay mechanic around audio visuals were possibly still an issue: not in their volume but in their capacity to be efficient from a game design point of view, derivated from how the sound is detected and implemented. Add the fact that all of this is dynamically moving.

Yeah gamedev is that kind of brainfuck.

We struggled a lot around this and Olivier‘s advices were really precious and I would retain that: don’t overprotect your core challenge!

I found myself witnessing how -once again- audio was a truly strong glue between the visual representation and the game design. Without sound, a game losts a lot especially the first time you try it. Or more positively, sound truly enhances the feeling and joy of playing a game. And it’s damn cheap to produce and integrate so by making a game in that limited time, audio stands out and is even more a must-have.

The “effectiveness-quality/time to produce-time to tweak” ratio is far better than for visuals when polishing. There’s no friction with coders and game designers because they most of the time don’t know shit about music compared with graphic art where they always have something to say.

Plus you can blindtest people with songs from your game ten or twenty years later, suck it pictures :)

With two visual designers (as I call them, artists as we say in the industry) we couldn’t afford ideas which would require a lot of graphic assets anyway. Sound easily gaped the lack.

We don’t really feel it with casual web games it’s just that in flash audio compression is often badly used. With a release and an executable you can feel the huge audio difference in achievement and tightness. I love it.

Overall it was a rich and full experience. The jam is in my opinion one the best social, collaborative competition process you can imagine.

Jam session definition:

“A jam session is a musical act where musicians gather and play (or “jam”) without extensive preparation or predefined arrangements; improvisation.Jam sessions are often used to develop new material, find suitable arrangements, or simply as a social gathering and communal practice session. Jam sessions may be based upon existing songs or forms, may be loosely based on an agreed chord progression or chart suggested by one participant, or may be wholly improvisational. Jam sessions can range from very loose gatherings of amateurs to sophisticated improvised recording sessions intended to be edited and released to the public.”

We did both! See you next year guys girls and new challengers!


100% success rate We made izzzzzZZZzzzzzzz….