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The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
The Future Of Games (Kaye Elling)
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The Future Of Games (Kaye Elling)

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Why current changes affecting the games industry have great future potential for women

Why current changes affecting the games industry have great future potential for women

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  • 1. Girl Geek Dinners
    THE FUTURE OF GAMES
    Why current changes affecting the games industry have great future potential for women
    Kaye Elling
  • 2. Introductions
    • Kaye Elling
    • 3. 12-year games industry veteran
    • 4. Artist > Art Manager
    • 5. Infogrames, Sony, Acclaim, Blitz Games Studios
    • 6. Course Tutor for
    • 7. BA Design for Computer Games
    • 8. BSc Interactive Systems & Video Game Design
  • Title History
  • 9. Lighting-quick Overview
    • Games industry 101
    • 10. How games are currently developed
    • 11. Current sales models
    • 12. Changes the industry is facing today
    • 13. Changes in sales models
    • 14. Changes in how games are developed
    • 15. What this might mean for women in games
  • Games are funded by Publishers
  • 16. Publishers: Spanning Market & Development
    The Publisher giveth, and the Publisher taketh away
  • 17. Current Market Drivers
    Sales & Marketing
    • Games controlled by budget
    • 18. Budget controlled by publishers
    Q: Who controls the publishers?
    A: Sales & Marketing!
    Publishers
    £££ $$$ €€€
    Games
  • 19. Budget Voodoo
    Sales Data
    • Publishers’ own sales departments
    • 20. Sales data on similar genres
    • 21. Or prequels
    • 22. In depth market analysis
    • 23. Complex & arcane algorithms
    • 24. Sum forms bottom line budget
    Market Analysis
    Budget
  • 25. Budget Voodoo
    Sales Data
    Market Analysis
    • Budget = Advance fees
    • 26. Prior to title release
    • 27. Include royalty deal as well
    • 28. After title release
    • 29. This is smaller than you’d think!
    Budget
  • 30. “Old” / Current Revenue models
    Original Title on the 360/PS3: 2.5 yrs
    Pitch
    Pre-Production
    Production
    Alpha
    Beta
    Master
    Manufacturer
    = Greenlight
    = Milestone Payment
    = Signing Adv
    = Royalty
    Eternity
    Release
    Year 1
    Year 2
  • 31. “Old” structure
    Studio Manager/CEO/Owner
    Head of Development/ Head of Production
    PR Manager
    HR Manager
    Technical Director
    Art Director
    Design Director
    Project Director/ Producer
    Technical Lead
    Lead Designer
    Lead Artist
    QA Manager
    Audio Manager
    Senior Audio Designer
    Senior Designers
    Senior Artists/Animators
    Senior Programmers
    Senior QA
    Outsourcing
    Regular Designers
    Regular Artists/Animators
    Regular Programmers
    Audio Technicians
    Junior Designers
    Junior Artists/Animators
    Junior Programmers
    QA Technicians
    Work Placements
    Senior Management
    Shared Resources
    Team Specific
    Legend:
    External
  • 32. Current stats for women in games
    • 71% of UK ♀ play games*
    • 33. ~8500-9000 total developers in the UK
    • 34. Average ratio of ♀ to ♂ developers = 9%**
    • 35. That’s <800 ♀ developers
    • 36. Average ♀ salary = £33,260pa (♂ - £2000pa)**
    *http://www.edge-online.com/news/study-73-per-cent-of-uk-citizens-regularly-play-games
    ** http://www.interactiveblog.net/?tag=women-game-developers
    ***http://www.mcvuk.com/news/32964/Women-earn-more-than-men-in-the-UK-games-industry
  • 37. Markets In Transition
    Boxed Product
    Digital
    Distribution
    Cloud Computing Streamed Service?
    Developed
    Economies
    Developing
    Economies
    Micro
    Economies?
    Product Based
    Business Model
    Service Based Business Model?
  • 38. New Potential Revenue models (Subs & Micro)
    More transparent monthly data = more payments
    Pitch
    Pre-Production
    Iteration 1
    Patch 1
    Patch 2
    Expansion
    = Greenlight
    = Milestone Payment
    = Signing Adv
    = Royalties
    Eternity
    Release
    Year 1
    Year 2
    Subscriptions = more transparent due to continued developer input
  • 39. Great news for Developers: An open market
    Paul Johnson on Gameswatch http://bit.ly/84V2G
  • 40. Transitions in Markets Affect Development
    Entrepreneurial Structure
    Corporate
    Structure
    Smaller Teams
    Reduced Risk
    New Revenue Models
  • 41. Old systems no longer working? Headlines:
    • Major layoffs at Sony, THQ, Red Star, et al
    • 42. Sales down 29% at Disney interactive Q4 ‘09*
    • 43. Even games magazine sales slump/stagnate**
    • 44. On the positive: Zynga buys “Serious Business” Facebook developer ***, Steam users up 25%, Gameloft says mobile games market >400% ****
    ** http://www.gamesindustry.biz/articles/game-revenues-down-at-disney
    ***http://www.gamesindustry.biz/articles/future-suffers-circulation-slumpy
    ***http://www.edge-online.com/news/zynga-acquires-social-game-developer
    ****http://www.gamesindustry.biz/articles/gameloft-mobile-gaming-market-will-increase-3-4-times-in-next-few-years
  • 45. Returning to the *Point*
    • Finance & revenue models for games are changing
    • 46. The entire Business model for games is in transition
    • 47. Traditional games publishers no longer have a monopoly on mainstream game distribution & development
    • 48. Industry is in transition to a broader power base
  • Not just about consoles & MMOs you know!
    ...with accessible dev platforms?
  • 49. What Does This Mean for Women in Games?
    • Games are under less corporate control
    • 50. Simplicity of Arcade Titles
    • 51. Hand Held & Accessible In Browser Gaming
    • 52. Entering the mainstream
    • 53. = Reduced Dev times =Reduced teams = Reduced risk
    • 54. Open to entrepreneurship again
    • 55. Blows the traditional studio environment wide open!
  • Goodbye Traditional Dev Environment?
    100+ Team (+ Global Outsourcing)
    60+ hour weeks over extended periods
    Lumbering mega-giant in marketplace
    There are other options for game development
    • For the mainstream games industry
    • 56. This flexibility is key to greater female involvement
  • Flexible Development Means Fewer Barriers
    • New business models = new development models
    • 57. More potential for smaller development
    • 58. Opening of micro-studio models with freelancers
    • 59. Rise & rise of the indie developer
    • 60. This means fewer barriers to entry for women
    • 61. NOW is the time to capitalise on this
  • Shameless plug!
  • 62.
    • March 25th & 26th @ The University of Bradford in collaboration with Bradford College
    • 63. Conference: Meeting of Industry & Academia re Games
    • 64. To network & discuss issues surrounding women
    • 65. As developers & potential future developers
    • 66. As subjects of games
    • 67. And consumers too
    • This year’s theme is Diversity: markets, platforms, players
    • 68. Keynote speakers are Lorna Evans, of TIGA & Sheri Grayner Ray, author of Gender Inclusive Game Design
    • 69. Other Speakers: SCEE, Team 17, Jagex, Monumental
    • 70. Tickets are £200 for 2-day pass
    • 71. £125 for 1day/concessions
    • 72. www.womeningames.com
  • k.l.elling@bradford.ac.uk
    twitter.com/K_0

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