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Ultimate Game Design : Building game worlds

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<strong>Building</strong> <strong>Game</strong> Worlds<br />

184<br />

U L T I M A T E G A M E D E S I G N<br />

TM: What do you like the least about the <strong>game</strong> industry?<br />

MW: Two things—their hiring practices and the business itself. But this could apply to other businesses<br />

as well; nonetheless, the <strong>game</strong>s business epitomizes politics and volatility. In terms of their hiring<br />

practices, <strong>game</strong> companies often have unrealistic requirements for tools and programming languages<br />

that have barely been on the market, or they require esoteric experience for particular kinds of <strong>game</strong>s<br />

(for example, requiring a producer to have been a pro or semipro athlete to work on a sports <strong>game</strong>).<br />

While they have these lofty requirements, it’s still just a buddy network. On many occasions in my<br />

experience, I don’t believe developers have made good hiring choices. Regarding the business itself, it<br />

has a cycle of hiring a team for a <strong>game</strong>, then not necessarily being able to use the team when the<br />

<strong>game</strong> is done or is cancelled. It’s not a smart way of using their resources, nor is it rational as a<br />

long-term business strategy. They may as well hire consultants, but this is a novel idea in <strong>game</strong>s.<br />

<strong>Game</strong>s are cancelled for arbitrary reasons, which ultimately hinders the careers of all involved. It is<br />

perceived that they [the <strong>game</strong> development team] are entirely accountable for failing to ship a <strong>game</strong>,<br />

when the real reason for cancellation is often far beyond the team’s control. Your identity is established<br />

by the <strong>game</strong> you shipped, or didn’t ship. You’re only as good as your last shipped <strong>game</strong>, assuming it<br />

shipped. The industry has driven out the most passionate and legendary <strong>game</strong>rs and has become too<br />

glamour-oriented. Finally, it’s not necessarily sensitive to the female market (Barbie and Lara Croft are<br />

not the healthiest role models to female <strong>game</strong> players) and females working in the industry.<br />

TM: How important is reaching out to others or networking in finding a <strong>game</strong> job?<br />

MW: It’s essential. The <strong>game</strong>s industry does not necessarily reward the most qualified, so they do<br />

overlook a lot of very talented and well educated people who are passionate about <strong>game</strong>s and can<br />

contribute to great <strong>game</strong> development. It’s definitely about who you know. A lot of positions are not<br />

advertised either.<br />

TM: What’s the best advice you would give a new <strong>game</strong> job candidate?<br />

MW: Get ready for <strong>game</strong> reality to bite you! You will meet a lot of people that share your interests,<br />

and you will also work with people who have their own agendas, and who probably shouldn’t be<br />

working in <strong>game</strong>s. Keep current with <strong>game</strong>s and your skills, remind yourself about why you’re in the<br />

<strong>game</strong> industry, be flexible, and soak up as much information as possible.<br />

MEGA TIPS<br />

1. Practice writing thorough <strong>game</strong> reviews. Be sure to address the good with<br />

the bad. In particular, state how you would evolve the <strong>game</strong> title to address<br />

these issues.<br />

2. Even if you’re just building a small <strong>game</strong> among friends, always include<br />

test plan information when soliciting feedback from players. What are<br />

they looking for? Where would you like them to focus their attention?<br />

As a designer, you’ll know which areas of your level or mission feel weak<br />

to you. See if test players agree or disagree.

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