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Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
Succeding in Game Development
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Succeding in Game Development

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A presentation I gave at the New England Institute of Art on what an artist straight out of school needs to be successful in the game development industry.

A presentation I gave at the New England Institute of Art on what an artist straight out of school needs to be successful in the game development industry.

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Transcript

  • 1. Succeeding in Game Development<br />Tools for Success<br />
  • 2. Who Am I?<br />Born and raised in The Bronx, NY<br />CMU SCS 2008<br />Interned at EALA on Medal on Honor Airborne<br />Worked at Demiurge Studios for 2 years<br />Started Ananse Productions in November 2010<br />No Art background!<br />
  • 3. Today’s Talk<br />Not how to get a games job<br />Things you should know to be successful<br />Ask questions!<br />
  • 4. Three Models - Large<br />Given very specific jobs<br />Can deeply specialize<br />Managed by another Artist<br />
  • 5. Three Models – Medium<br />Less specialization<br />More cross-pollination amongst other disciplines<br />
  • 6. Three Models - Small<br />Jack of all trades<br />Talking directly to other disciplines<br />Probably working remotely<br />
  • 7. Focusing on Small<br />Most of my experience<br />Prepares for all other levels<br />Feel free to ask about other models!<br />
  • 8. Source Control<br />Stores different version of files<br />Makes it easy to share files with rest of team<br />
  • 9. File Layouts<br />Relative Pathing<br />Learn where files should go<br />Be able to easily find artwork<br />
  • 10. Test In Game<br />Catch a lotof feedback yourself<br />Flag down things that slows down your process<br />
  • 11. Moving Target<br />Requirements change all the time<br />Try to shield yourself from wasted work<br />Understand sketch vs. final product<br />
  • 12. Task Management<br />Keep track of what to work on when<br />Double check (at least daily!)<br />Much more important in Small model<br />
  • 13. Working Remotely<br />Face time in the start is important<br />Co-working became our most productive days<br />Emails can hurt more than help<br />
  • 14. Working Remotely<br />Reference photos, image sizes, formats and filenames<br />Waiting for email wastes time<br />
  • 15. Feedback from Non-Artists<br /><ul><li>You see a masterpiece
  • 16. I see a pretty lady</li></li></ul><li>Feedback from Non-Artist<br />Get used to feedback from non-artists<br />Drill pass the suggestion and get to the reasoning<br />Bad feedback: “Use a circle instead of a square”<br />Good feedback: “That should be a circle instead of a square because I think it offers more variation”<br />
  • 17. Feedback from Non-Artists<br />Feedback isn’t questioning your skill<br />Things are never right the first time<br />Make sure you have a clear idea of what needs to be fixed<br />
  • 18. Team Communication<br />Engineer: if( hungry ){ eatDonut(); }<br />Producer: We need to eat to stay on schedule. There’s no external dependencies on donuts since they’re already here.<br />Artists:<br />
  • 19. Team Communication<br />Everyone communicates differently<br />Picking up a little of others lingo really helpful<br />
  • 20. Summary<br />If anything’s unclear ask questions!<br />Manager’s can’t read minds. Keep a two way dialogue<br />
  • 21. Jen’s Corner<br />Jennifer Kanis, Stem Stumper’s Artiste Extraordinaire and NEIA alum<br />
  • 22. Q&A<br />Question time!<br />

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