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Technology Pipedream -- Ivan Beram

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    Technology Pipedream -- Ivan Beram - Presentation Transcript

    1. v 1.1 The Technology Pipedream – A Development Fallacy The Role of Technology in Game Design & Development Ivan Beram – General Manager www.intriguestudios.com
    2. Commentary : the original talk was given at Free Play (Melbourne, 2003) then at the Australian Game Developer's Conference (Melbourne, 2004) as part of promotional efforts for Intrigue Studios. Knowing how useless most PowerPoints are without the prepared speech – a series of simplified points, bordering on meaningless. I tend to write mine in more detail – in case I forget to mention something critical, and more importantly, it allows someone to read the slides and have more of an idea of what I actually meant by them. They don't just get the shallow gist, but get more depth of detail – hopefully providing clarity, especially bereft of the points made on the day in reference to the slides themselves. BTW : I've done a major update of the slides, and, extended it for the web. Enjoy!
    3. TALK OVERVIEW
      • First off: a little background
      • What is technology?
      • What is gameplay?
      • What consumers want
      • Where we can go wrong
      • E3 demo as an example
      • The first playable
      • The middleware path
      • The middleware reality
      • The middleware cost
      • My stark conclusion
      • Q & A
    4. TALK OVERVIEW
      • First off: a little background
      • What is technology?
      • What is gameplay?
      • What consumers want
      • Where we can go wrong
      • E3 demo as an example
      • The first playable
      • The middleware path
      • The middleware reality
      • The middleware cost
      • My stark conclusion
      • Q & A
      The purpose : to convince you that technology is a means to an end, not the end itself.
    5. TALK OVERVIEW
      • First off: a little background
      • What is technology?
      • What is gameplay?
      • What consumers want
      • Where we can go wrong
      • E3 demo as an example
      • The first playable
      • The middleware path
      • The middleware reality
      • The middleware cost
      • My stark conclusion
      • Q & A
      The purpose : to convince you that technology is a means to an end, not the end itself. Far Cry's E3 2002 gameplay demo, which was runner's up for Best-of-E3 in a number of categories. Is utilised as a basis for this talk; as are my experiences working for two middleware developers – Crytek & Micro Fort é .
    6. X-ISLE : A TECHNOLOGY DEMO TRYING TO BE A GAME FAR CRY : FIRST GAMEPLAY DEMO – E3 2002 FAR CRY : THE FINAL PRODUCT TODAY
    7. On my arrival, Far Cry was actually X-Isle, an impressive technology showcase lacking in interactivity. All graphics, and no game. On becoming Lead Designer, the concept evolved into Far Cry; and with E3 2002, we had a demo that showcased its actual gameplay, not just the technology behind its graphics . Gameplay, still evident in the final product. X-ISLE : A TECHNOLOGY DEMO TRYING TO BE A GAME FAR CRY : FIRST GAMEPLAY DEMO – E3 2002 FAR CRY : THE FINAL PRODUCT TODAY
    8. WHAT IS TECHNOLOGY ?
      • e.g. physics engine – or better yet, a smaller component of it like: “rag-doll” physics.
      Technology is...
    9. WHAT IS TECHNOLOGY ?
      • e.g. physics engine – or better yet, a smaller component of it like: “rag-doll” physics.
      Technology is... Evidently this is a screenshot from a rag-doll physics tech demo. Each time it starts, the outcome can vary a little or a lot. But, that is most likely the whole extent to its “interactivity.”
    10. WHAT IS TECHNOLOGY ? a TECH-demo is...
        • Various technology loosely integrated together into a showcase – at best.
        • Lacks any real functionality – (active) interactive use in creating gameplay.
        • A shallow (passive) experience for the user, like watching a film, with the odd bit of interaction that has no gameplay purpose – just initiates the demo / feature.
    11. WHAT IS TECHNOLOGY ? a TECH-demo is... Singular purpose : prove the technology works!
        • Various technology loosely integrated together into a showcase – at best.
        • Lacks any real functionality – (active) interactive use in creating gameplay.
        • A shallow (passive) experience for the user, like watching a film, with the odd bit of interaction that has no gameplay purpose – just initiates the demo / feature.
    12. WHAT IS GAMEPLAY ?
      • One definition: an entertaining (active) experience where the player interacts with the game world via game mechanics powered by underlying technologies.
      Gameplay is... ragdollkungfu.com
    13. WHAT IS GAMEPLAY ?
      • One definition: an entertaining (active) experience where the player interacts with the game world via game mechanics powered by underlying technologies.
      Gameplay is... ragdollkungfu.com These screenshots show a game utilising a form of rag-doll physics, married to various game mechanics, in order to create gameplay.
    14. WHAT IS GAMEPLAY ?
      • Game mechanics (systems) highly interwoven into a cohesive whole, integrated with underlying technology.
      • Tech through mechanics has clear functionality (purpose) in facilitating the title's interactivity / immersion – gameplay!
      • Has art in place, though, not necessarily “finished” (polished) art.
      a GAMEPLAY-demo is...
    15. WHAT IS GAMEPLAY ?
      • Game mechanics (systems) highly interwoven into a cohesive whole, integrated with underlying technology.
      • Tech through mechanics has clear functionality (purpose) in facilitating the title's interactivity / immersion – gameplay!
      • Has art in place, though, not necessarily “finished” (polished) art.
      a GAMEPLAY-demo is... Main goal : not to be a shallow (passive) experience, but, one with (active) player engagement.
    16. WHAT IS GAMEPLAY ?
      • Game mechanics (systems) highly interwoven into a cohesive whole, integrated with underlying technology.
      • Tech through mechanics has clear functionality (purpose) in facilitating the title's interactivity / immersion – gameplay!
      • Has art in place, though, not necessarily “finished” (polished) art.
      a GAMEPLAY-demo is... Main goal : not to be a shallow (passive) experience, but, one with (active) player engagement. In way of terminology, I've actually heard tech-demos referred to as gameplay-demos. However it is my understanding that these are far more interactive in nature – I would refer / liken it to: “prototyping.” They may be testing a combination of rough game mechanics in a sandbox-like environment (level) with stand-in art – some cases, levels are merely “blocked” out, as are entities, with rough limited animations in place. A tool for getting feedback in order to refine the game vision and mechanics. Their aim is to focus solely on gameplay, ignoring the polish; however, it is often this same “polish” that makes gameplay so effective by providing vital feedback to the player.
    17. WHAT CONSUMERS WANT?
    18. WHAT CONSUMERS WANT? Yes, gamers are consumers and they want interactivity! So do publishers.
    19. WHAT CONSUMERS WANT? Yes, gamers are consumers and they want interactivity! So do publishers. The GTA series of titles is highly regarded for its “sandbox” gameplay – and quite often emulated for its popularity.
    20. WHAT CONSUMERS WANT?
    21. WHAT CONSUMERS WANT? Functional means: ease-of-use (usability).
    22. WHAT CONSUMERS WANT? Functional means: ease-of-use (usability). Freedom Fighters, let you control a resistance squad to wage skirmish warfare with tactical ease – well, almost.
    23. WHAT CONSUMERS WANT?
    24. WHAT CONSUMERS WANT? Active entertainment, not passive entertainment like film.
    25. WHAT CONSUMERS WANT? Active entertainment, not passive entertainment like film. Will Killzone's gameplay and even graphics, live up to the pre-rendered trailer hype?
    26. WHAT CONSUMERS WANT? Active entertainment, not passive entertainment like film. Will Killzone's gameplay and even graphics, live up to the pre-rendered trailer hype? Update : evidently with the title's release, it has – even with a little hype, as I imagined the case being. However, my purpose with this example was to illustrate the danger there is in forgetting that games are an interactive form of entertainment. In this case, the developers delivered gameplay and largely comparable graphics, to the pre-rendered vids. Many less experienced developers, would not have delivered on this promise.
    27. WHAT CONSUMERS WANT?
    28. Not just graphical “wow” effects, pretty pictures on a screen. WHAT CONSUMERS WANT?
    29. Not just graphical “wow” effects, pretty pictures on a screen. Beyond the exterior polish of Serious Sam 2's graphics, I can't help but think the gameplay is repetitively generic and stale. WHAT CONSUMERS WANT?
    30. WHAT CONSUMERS WANT?
    31. But something: functional, interactive and immersive! WHAT CONSUMERS WANT?
    32. But something: functional, interactive and immersive! The Warriors was a game without the best graphics, but it more than made up with it via highly interactive environments and immersive gameplay. WHAT CONSUMERS WANT?
    33. WHAT CONSUMERS WANT?
    34. Marrying your strong gameplay to a strong scenario to drive it; can do wonders to your immersion too! WHAT CONSUMERS WANT?
      • It is comprised of:
      WHERE WE CAN GO WRONG What is a game system?
      • It is comprised of:
      WHERE WE CAN GO WRONG BACK-END Core supporting architecture and management base ENGINE CORE What is a game system?
      • It is comprised of:
      WHERE WE CAN GO WRONG BACK-END Core supporting architecture and management base ENGINE CORE FRONT-END Components that communicate game system to player and allow for interaction INTERFACE SHELL What is a game system?
      • It is comprised of:
      WHERE WE CAN GO WRONG BACK-END Core supporting architecture and management base ENGINE CORE FRONT-END Components that communicate game system to player and allow for interaction INTERFACE SHELL What is a game system? This represents the greyness of where one layer ends and another starts. It can also represent the game mechanics that glue the two together.
      • It is comprised of:
      WHERE WE CAN GO WRONG BACK-END Core supporting architecture and management base ENGINE CORE FRONT-END Components that communicate game system to player and allow for interaction INTERFACE SHELL What is a game system? This represents the greyness of where one layer ends and another starts. It can also represent the game mechanics that glue the two together. It's remedial systems theory, even a little simplistic in that game systems are highly specialised for interactivity; but, it will do for this talk.
      • At times hard to categorize tech in that tech can fit into both categories, having both a front and back end role to play – eg 3D Renderer, Physics
      • Also, some tech compliments another by either providing front or back end functionality for it.
      • “ Deficiencies” arise when tech is missing elements to its front or back-end – without one you lose the functionality of the other.
      • Or, when a tech / system that provided the front or back-end functionality does not exist, creating the same result.
      Some sticking points: WHERE WE CAN GO WRONG
      • At times hard to categorize tech in that tech can fit into both categories, having both a front and back end role to play – eg 3D Renderer, Physics
      • Also, some tech compliments another by either providing front or back end functionality for it.
      • “ Deficiencies” arise when tech is missing elements to its front or back-end – without one you lose the functionality of the other.
      • Or, when a tech / system that provided the front or back-end functionality does not exist, creating the same result.
      Some sticking points: WHERE WE CAN GO WRONG To perhaps confuse things further, I'm going to generalise game-mechanics and game-systems by also referring to them as “tech” from now on – as that is really what it boils down to being; as something like “written language” can be considered a from of technology. However, game-mechanics are predisposed to having interactivity as their goal, their purpose . They are enablers, allowing the player to interact with the game system. It's an important distinction to make clearly understood.
    42. E3 DEMO AS AN EXAMPLE
    43. Some history : around 2 months out from E3, what was X-Isle became Far Cry. Most of the demo shown that year, was hammered out in about 6 weeks. It was an important showing, as it was the team's chance to show that they could deliver an actual cohesive title, not just a mix-bag of technology demos. So the E3 demo, is an ideal illustrator. E3 DEMO AS AN EXAMPLE
    44. The screenshot is a little misleading however. It comes from X-Isle's precursor, a technology demo called X-Isle: Dinosaur Island. X-Isle the game, made an attempt at interactive use of the underlying technology. But to put it bluntly, it was a frustrating failure to play – if you could even call it “play.” Some history : around 2 months out from E3, what was X-Isle became Far Cry. Most of the demo shown that year, was hammered out in about 6 weeks. It was an important showing, as it was the team's chance to show that they could deliver an actual cohesive title, not just a mix-bag of technology demos. So the E3 demo, is an ideal illustrator. E3 DEMO AS AN EXAMPLE
    45. E3 DEMO AS AN EXAMPLE
    46. Prior to the E3 demo, it was quite easy whilst playing the game, to become lost in the dense environments of trees and bush; unaware of where the enemy was. Yet, it knew exactly where you were, and could easily attack – frustratingly so. E3 DEMO AS AN EXAMPLE
    47. Developers tend to forget what they are trying to create. They assume by having the (front-end) technology to render densely populated outdoor terrain, that they have the gameplay as well. E3 DEMO AS AN EXAMPLE Prior to the E3 demo, it was quite easy whilst playing the game, to become lost in the dense environments of trees and bush; unaware of where the enemy was. Yet, it knew exactly where you were, and could easily attack – frustratingly so.
    48. E3 DEMO AS AN EXAMPLE
    49. AI could not only see through the brush, but also environmental effects like fog. In fact, all they had to do to see you, was draw a straight line from their eye-point to the player's – no matter how well hidden you may have been. E3 DEMO AS AN EXAMPLE
    50. Hard and soft cover were modelled – part and parcel in achieving the core gameplay of Far Cry. Hard cover provided shelter from attacks, yet impeded movement – like: rocks and trunks. Soft cover (bushes and foliage) obscured you from view, from the AI, but, did not impede your movement. This missing back-end vastly improved the gaming experience. AI could not only see through the brush, but also environmental effects like fog. In fact, all they had to do to see you, was draw a straight line from their eye-point to the player's – no matter how well hidden you may have been. E3 DEMO AS AN EXAMPLE
    51. E3 DEMO AS AN EXAMPLE
    52. Your real-time dynamic, volumetric, soft-shadows may look great, but, do they have any purpose other than to make the screen look good? E3 DEMO AS AN EXAMPLE
    53. Your real-time dynamic, volumetric, soft-shadows may look great, but, do they have any purpose other than to make the screen look good? Do the shadows actually make it easier for the player to hide from enemies, and to sneak stealthily upon them? How about the real-time lighting, does standing in the spotlight actually make you a more clearer target? E3 DEMO AS AN EXAMPLE
    54. E3 DEMO AS AN EXAMPLE
    55. Does crouching, leaning, walking and running have any advantage and disadvantage towards shooting? E3 DEMO AS AN EXAMPLE
    56. Does crouching, leaning, walking and running have any advantage and disadvantage towards shooting? It largely depends on the game as to whether you wish to affect the players aim if they're doing something like running. But, how about the AI, are they all precise marksman even whilst running? E3 DEMO AS AN EXAMPLE
    57. E3 DEMO AS AN EXAMPLE
    58. How about running through foliage, making it move, making lots of sound. Does this affect stealthiness? E3 DEMO AS AN EXAMPLE
    59. How about running through foliage, making it move, making lots of sound. Does this affect stealthiness? Is that why the player was spotted so easily? E3 DEMO AS AN EXAMPLE
    60. E3 DEMO AS AN EXAMPLE
    61. Does the player (or AI) suffer any disadvantages and advantages to stealth whilst crouched? E3 DEMO AS AN EXAMPLE
    62. Does the player (or AI) suffer any disadvantages and advantages to stealth whilst crouched? Can the enemy see the player crouched and hiding in the long grass, lying in ambush for the enemy approaching? E3 DEMO AS AN EXAMPLE
    63. E3 DEMO AS AN EXAMPLE
    64. By adding the back-end so that the AI checks a number of body-points, not just the eye-point, so as to determine how how visible the player is; and checking other aspects, like whether they are running, creeping, standing or crouched – not to mention whether they are in the darkness or a bright spot of light. You can begin to actually model adequate stealth gameplay. E3 DEMO AS AN EXAMPLE
    65. This is already done to a large extent, for the AI. Can you spot the sniper behind the fallen log easily without the binoculars? E3 DEMO AS AN EXAMPLE By adding the back-end so that the AI checks a number of body-points, not just the eye-point, so as to determine how how visible the player is; and checking other aspects, like whether they are running, creeping, standing or crouched – not to mention whether they are in the darkness or a bright spot of light. You can begin to actually model adequate stealth gameplay.
    66. E3 DEMO AS AN EXAMPLE
    67. Developers tend to forget that various aspects are already “modelled” for the player, and need to be instead modelled for the AI – so as to be seen as “realistic” and/or “fair”. E3 DEMO AS AN EXAMPLE
    68. Developers tend to forget that various aspects are already “modelled” for the player, and need to be instead modelled for the AI – so as to be seen as “realistic” and/or “fair”. E3 DEMO AS AN EXAMPLE AI that jumps around like it's playing a game of quake on methamphetamines, missing most of its animations...
    69. ...runs non-stop, has perfect aim, can turn 180 in a millisecond, never appears to reload or stop firing their gun... is frustrating for the player, not a challenge for the player. Developers tend to forget that various aspects are already “modelled” for the player, and need to be instead modelled for the AI – so as to be seen as “realistic” and/or “fair”. E3 DEMO AS AN EXAMPLE AI that jumps around like it's playing a game of quake on methamphetamines, missing most of its animations...
    70. E3 DEMO AS AN EXAMPLE
    71. Without these missing front-end elements, the AI “readability” was zilch; failing to communicate its complexity and sophistication to the player. E3 DEMO AS AN EXAMPLE
    72. The AI eventually came to have a diverse range of animations, movement – walking, crouched, reloading – correct sounds, and a range of mannerisms and tactics... Without these missing front-end elements, the AI “readability” was zilch; failing to communicate its complexity and sophistication to the player. E3 DEMO AS AN EXAMPLE
    73. The AI eventually came to have a diverse range of animations, movement – walking, crouched, reloading – correct sounds, and a range of mannerisms and tactics... ...it would seek and use cover (rocks, trees, stumps, crates) for defence and offence. It would even appear to communicate and co-ordinate attacks with other AIs. All at a much slower (tactical) pace Without these missing front-end elements, the AI “readability” was zilch; failing to communicate its complexity and sophistication to the player. E3 DEMO AS AN EXAMPLE
    74. E3 DEMO AS AN EXAMPLE
    75. The AI model's textures, animations and sounds; are actually communicating to you various system states. So they're actually part of the user-interface, enabling the player to interact with the game – via a keyboard, mouse or controller. E3 DEMO AS AN EXAMPLE
    76. The AI model's textures, animations and sounds; are actually communicating to you various system states. So they're actually part of the user-interface, enabling the player to interact with the game – via a keyboard, mouse or controller. These can tell you what they are doing – giving a flanking order. Whether they're angry, whether they're hurt. E3 DEMO AS AN EXAMPLE
    77. Everything outputted from the screen and speakers, makes up the user-interface! It is not merely just the on-screen heads-up display (HUD). The AI model's textures, animations and sounds; are actually communicating to you various system states. So they're actually part of the user-interface, enabling the player to interact with the game – via a keyboard, mouse or controller. These can tell you what they are doing – giving a flanking order. Whether they're angry, whether they're hurt. E3 DEMO AS AN EXAMPLE
    78. E3 DEMO AS AN EXAMPLE
    79. However, even with HD, and next-gen graphics; we are still limited in what we can visually achieve via a screen and input devices – not to mention audio via speakers. E3 DEMO AS AN EXAMPLE
    80. However, even with HD, and next-gen graphics; we are still limited in what we can visually achieve via a screen and input devices – not to mention audio via speakers. Without these binoculars, this obscured and crouched enemy may have been just another blurry few pixels in the distance. E3 DEMO AS AN EXAMPLE
    81. E3 DEMO AS AN EXAMPLE
    82. The addition of gunfire trails / tracers, and muzzle flashes – as well as damage direction indicators. Aided the player in determining where and who was actually attacking at him – no matter how far away. A relatively simple fix and use of the existing particle and shading systems. E3 DEMO AS AN EXAMPLE
    83. The addition of gunfire trails / tracers, and muzzle flashes – as well as damage direction indicators. Aided the player in determining where and who was actually attacking at him – no matter how far away. A relatively simple fix and use of the existing particle and shading systems. Developers forget that game-worlds are not the real-world, no matter how great our graphic fidelity seems in portraying them. We need to give players concessions so they can interact with the game. What shape and form, depends on the game, and depends on the technology and hardware that is powering it. E3 DEMO AS AN EXAMPLE
    84. THE FIRST PLAYABLE
    85. THE FIRST PLAYABLE Your first gameplay demo may not necessarily have complete systems...
    86. THE FIRST PLAYABLE Your first gameplay demo may not necessarily have complete systems... The indoors did not natively support the AI. There were also issues with production pipelines, and the reliability of indoor technologies – like the dynamic lighting and shadows.
    87. THE FIRST PLAYABLE Your first gameplay demo may not necessarily have complete systems... The indoors did not natively support the AI. There were also issues with production pipelines, and the reliability of indoor technologies – like the dynamic lighting and shadows. For the demo, we scripted much of the indoor AI and made sure to stick to a linear path; we also relied on a more stable use of the technology – even if more bland.
    88. THE FIRST PLAYABLE
    89. THE FIRST PLAYABLE You may not have all the game & mission mechanics in place, but, implement as much as necessary so as to give the impression to the player that you do...
    90. THE FIRST PLAYABLE You may not have all the game & mission mechanics in place, but, implement as much as necessary so as to give the impression to the player that you do... The generic combat behaviours of the AI were good, but, lacked some of the more interesting behaviours – such as squad dynamics. In this case a squad on being shot at, has popped smoke, pulled back behind cover, and has called in air-support.
    91. Others showcased other intended game & mission mechanics of our gameplay; such as the utilisation of night-vision and lighting, and various squad strategies. THE FIRST PLAYABLE You may not have all the game & mission mechanics in place, but, implement as much as necessary so as to give the impression to the player that you do... The generic combat behaviours of the AI were good, but, lacked some of the more interesting behaviours – such as squad dynamics. In this case a squad on being shot at, has popped smoke, pulled back behind cover, and has called in air-support.
    92. THE FIRST PLAYABLE
    93. THE FIRST PLAYABLE The demo showed enough wow features and interesting aspects to make it feel like a complete experience...
    94. The helicopter is shot down by the player using a rocket launcher, targeted via its scope. The missile locks on and whizzes towards its target no matter if the aim is off or if it moves – leaving a snaking trail in its wake. It hits, and the copter trails black smoke as it crashes into the base. THE FIRST PLAYABLE The demo showed enough wow features and interesting aspects to make it feel like a complete experience...
    95. The helicopter is shot down by the player using a rocket launcher, targeted via its scope. The missile locks on and whizzes towards its target no matter if the aim is off or if it moves – leaving a snaking trail in its wake. It hits, and the copter trails black smoke as it crashes into the base. THE FIRST PLAYABLE The demo showed enough wow features and interesting aspects to make it feel like a complete experience... Hard-coded, hacked, scripted. Call it what you want, but this sequence hinted there was more to the game than just shooting at guys hiding in the woods and tossing a few grenades.
    96. THE FIRST PLAYABLE
    97. THE FIRST PLAYABLE We as developers have a range of tools for debugging, that tell us exactly what is and isn't occurring within our game system/s.
    98. We sometimes forget that filling the screen with: lines, shapes, arcane syntax and sets of numbers. Does not a user-interface make! We may comprehend it, but not everyone (if not most) will. THE FIRST PLAYABLE We as developers have a range of tools for debugging, that tell us exactly what is and isn't occurring within our game system/s.
    99. THE FIRST PLAYABLE
    100. THE FIRST PLAYABLE Gameplay is driven by your AI, and the AI is communicated via the various game mechanics (tech) that comprises (or feeds) your user-interface.
    101. THE FIRST PLAYABLE Gameplay is driven by your AI, and the AI is communicated via the various game mechanics (tech) that comprises (or feeds) your user-interface. The demo should be relatively polished, as it is designed to “sell” to the audience. So, even if elements such as the HUD aren't quite worked out, perhaps even unnecessary. You should still strive to represent something that “might” be mistaken as the end result.
    102. THE FIRST PLAYABLE Gameplay is driven by your AI, and the AI is communicated via the various game mechanics (tech) that comprises (or feeds) your user-interface. A good rule : if it doesn't break “suspension-of-disbelief” (immersion), then it can be safely left as is. If it does, then it needs to be addressed some way! The demo should be relatively polished, as it is designed to “sell” to the audience. So, even if elements such as the HUD aren't quite worked out, perhaps even unnecessary. You should still strive to represent something that “might” be mistaken as the end result.
    103. THE FIRST PLAYABLE
    104. THE FIRST PLAYABLE When creating your game's AI, don't just focus on recreating what everyone else has done. Don't just create the “core” gameplay. Ask yourself : what are the things that bug you the most in the similar titles you've played? Ask a similar question about all your game systems.
    105. For instance, making the AI take cover when a bullet whizzes past their head, or, a comrade “mysteriously” dies; is so simple to implement yet added so much to the believability of the AI's intelligence. THE FIRST PLAYABLE When creating your game's AI, don't just focus on recreating what everyone else has done. Don't just create the “core” gameplay. Ask yourself : what are the things that bug you the most in the similar titles you've played? Ask a similar question about all your game systems.
    106. For instance, making the AI take cover when a bullet whizzes past their head, or, a comrade “mysteriously” dies; is so simple to implement yet added so much to the believability of the AI's intelligence. Modelling such aspects for the AI's hearing as well as sight. Can add a great deal of “intelligence” to the AI's believability and perceived challenge. THE FIRST PLAYABLE When creating your game's AI, don't just focus on recreating what everyone else has done. Don't just create the “core” gameplay. Ask yourself : what are the things that bug you the most in the similar titles you've played? Ask a similar question about all your game systems.
    107. THE MIDDLEWARE PATH
    108. THE MIDDLEWARE PATH Epic's Unreal 3 engine; one of the most licensed if not the most licensed. Who wouldn't want that?!
      • Aspiring to be a technology middleware provider, is one reasoning for not creating tech the right way – by making use of it in a functional manner within a quality title.
      • It is seen as less hard-work, perhaps more innovative, important, potentially lucrative and prestigious.
      THE MIDDLEWARE PATH Tech 5 engine
      • Aspiring to be a technology middleware provider, is one reasoning for not creating tech the right way – by making use of it in a functional manner within a quality title.
      • It is seen as less hard-work, perhaps more innovative, important, potentially lucrative and prestigious.
      We are a technology graphics obsessed and driven industry. Many studios with the advent of middleware solutions becoming popular, have middleware aspirations. THE MIDDLEWARE PATH Tech 5 engine
    111. THE MIDDLEWARE REALITY
      • Without the development context a title gives, there is no pressure placed on tech to be robust – bug free and complete.
      • We would even find that the fundamentals, the architecture of our tech is flawed, undermining further functionality that can be achieved with it.
      Jupiter engine
    112. THE MIDDLEWARE REALITY No one (or not enough to be profitable) will licence your technology if it has not been proven in a commercially successful title. Otherwise it is seen as risky, and rightly so if you are not an experienced middleware developer – experienced developers are not stupid! They want proven technology and solid support . Jupiter engine
      • Without the development context a title gives, there is no pressure placed on tech to be robust – bug free and complete.
      • We would even find that the fundamentals, the architecture of our tech is flawed, undermining further functionality that can be achieved with it.
      • You will have to sell 30-60 licenses – or more depending on pricing – just to breakeven; and this may not cover ongoing costs to support the tech and your customer’s projects.
      • There are many established and reputable providers, that have competitive tech, pricing and support – utilised in numerous successful titles – that you will have to compete with.
      Gamebryo engine THE MIDDLEWARE REALITY
      • You will have to sell 30-60 licenses – or more depending on pricing – just to breakeven; and this may not cover ongoing costs to support the tech and your customer’s projects.
      • There are many established and reputable providers, that have competitive tech, pricing and support – utilised in numerous successful titles – that you will have to compete with.
      Ask yourself : is your tech really good enough? Is it competitive in way of features? Is it competitive in graphical quality and finesse? Code-base complete and robust? Support the right platforms? Is it competitive in pricing? How about customer support and tools? In the middleware market, can you find a profitable “niche”? . Gamebryo engine THE MIDDLEWARE REALITY
    115. You never know who is waiting around the corner with more competitive technology, or more appealing technology; that has been showcased in a successful commercial title/s!. Unity 3D engine THE MIDDLEWARE REALITY
    116. You never know who is waiting around the corner with more competitive technology, or more appealing technology; that has been showcased in a successful commercial title/s!. For instance, maybe not 100% proven in a commercial title (perhaps in other apps), but competitive in development environment (Mac / PC), versatile technology and tools, support, platforms (Wii, iPhone, Web), and in cost. Unity 3D engine THE MIDDLEWARE REALITY
    117. THE MIDDLEWARE REALITY UPDATED
    118. Marketing / Business (and economic) nimrods, usually espouse finding a niche for your products / services. Of course, a niche in a small (niche) market, isn't a very big market share. A niche in a large market, is a much larger (profitable) market share. THE MIDDLEWARE REALITY UPDATED
    119. As an example, what for Valve in way of technology, was the pay off? It's Source middleware solution, or, Steam digital content distribution system? Marketing / Business (and economic) nimrods, usually espouse finding a niche for your products / services. Of course, a niche in a small (niche) market, isn't a very big market share. A niche in a large market, is a much larger (profitable) market share. THE MIDDLEWARE REALITY UPDATED
    120. THE MIDDLEWARE REALITY Roboblitz (Naked Sky) UPDATED
    121. THE MIDDLEWARE REALITY Roboblitz (Naked Sky) Here's another example: Roboblitz. I bring it up, but, not because it utilises the Unreal 3 engine... UPDATED
    122. THE MIDDLEWARE REALITY Roboblitz (Naked Sky) Here's another example: Roboblitz. I bring it up, but, not because it utilises the Unreal 3 engine... UPDATED It's because Roboblitz utilises a technology to procedurally generate textures – which implies dynamic uses in the future.
    123. THE MIDDLEWARE REALITY Allegorithmic UPDATED
    124. THE MIDDLEWARE REALITY Allegorithmic The (licensed) technology is called substance Air, developed by Allegorithmic. With it, instead of Roboblitz being hundreds of megabytes in size, it came in under 50mb – the limit for XBLA. UPDATED
    125. THE MIDDLEWARE REALITY Allegorithmic The (licensed) technology is called substance Air, developed by Allegorithmic. With it, instead of Roboblitz being hundreds of megabytes in size, it came in under 50mb – the limit for XBLA. UPDATED This is an example of middleware finding a niche within a large market; where it has few competitors, and, seeks to “compliment” what the established middleware providers have to offer – not do one better than (“me too”).
    126. THE MIDDLEWARE REALITY UPDATED Scaleform's technologies, is another example of middleware finding a big niche. They focused on an area of game development that most developers were weak at. What they decided to tack on as an after thought, the game interface – menu UIs, HUDs, etc. Used in many titles, it is also supported by a core group of 3D engine middleware providers.
    127. THE MIDDLEWARE REALITY UPDATED Scaleform's technologies, is another example of middleware finding a big niche. They focused on an area of game development that most developers were weak at. What they decided to tack on as an after thought, the game interface – menu UIs, HUDs, etc. Used in many titles, it is also supported by a core group of 3D engine middleware providers. This middlware provides developers a powerful solution for easily creating high-quality customisable Flash-like interfaces for their titles. That's a big niche.
    128. THE MIDDLEWARE REALITY UPDATED Torque 3D (Garage Games)
    129. THE MIDDLEWARE REALITY UPDATED Torque 3D (Garage Games)
    130. THE MIDDLEWARE REALITY UPDATED Torque 3D (Garage Games)
    131. THE MIDDLEWARE REALITY UPDATED After completing the first version of this web presentation. I realised that I was missing one middleware engine, that has been around for yonks, and some would say is iconic. Since I mentioned other engines, I thought I'd mention this one as well – fair is fair... Torque 3D (Garage Games)
    132. THE MIDDLEWARE REALITY UPDATED Really, there are so many middleware “solutions” out there; just too many of them to warrant a mention here – that's not its purpose. After completing the first version of this web presentation. I realised that I was missing one middleware engine, that has been around for yonks, and some would say is iconic. Since I mentioned other engines, I thought I'd mention this one as well – fair is fair... Torque 3D (Garage Games)
    133. THE MIDDLEWARE REALITY UPDATED Really, there are so many middleware “solutions” out there; just too many of them to warrant a mention here – that's not its purpose. After completing the first version of this web presentation. I realised that I was missing one middleware engine, that has been around for yonks, and some would say is iconic. Since I mentioned other engines, I thought I'd mention this one as well – fair is fair... Torque 3D (Garage Games) But I can mention the Torque 3D engine, that has a range of solutions for 2D or 3D, for PC or iPhone. I can also mention Brett Seyler's interesting take on the middleware landscape: garagegames.com/community/blogs/view/15952
    134. Far Cry's indoor engine, was a bottleneck when it came to creating content and testing it. Sure it looked great (eventually), but it did not natively support the sophisticated outdoor AI behaviours. Rather, it was all tediously scripted. THE MIDDLEWARE COST
    135. THE MIDDLEWARE COST
    136. The outdoor engine, even with the known competitors, was the draw-card in way of graphical appeal. Large environments, rich with lush organic vegetation and structures. THE MIDDLEWARE COST
    137. THE MIDDLEWARE COST
    138. And an AI, capable of squad dynamics, that used its features well to provide the player with a unique tactical playing experience. THE MIDDLEWARE COST
    139. Indoor could have been supplemented with simpler structures rendered via the outdoor technology. Making it natively supported by the AI. This could have been an ideal solution in meeting the game's vision. THE MIDDLEWARE COST And an AI, capable of squad dynamics, that used its features well to provide the player with a unique tactical playing experience.
    140. THE MIDDLEWARE COST And such “indoor” structures, needn't be small, but could be in the form of sprawling complex facilities. And an AI, capable of squad dynamics, that used its features well to provide the player with a unique tactical playing experience. Indoor could have been supplemented with simpler structures rendered via the outdoor technology. Making it natively supported by the AI. This could have been an ideal solution in meeting the game's vision.
    141. THE MIDDLEWARE COST
    142. The resources and time spent making the indoors work for the title, for middleware ambitions; may have been better utilised on other aspects of the game. It may of even lead to a more tighter, and higher quality, gaming experience. Instead it lead to delays, relationship strains, and a lack of polish in way of effective use of technology in creating gameplay (in my humble opinion). THE MIDDLEWARE COST
    143. THE MIDDLEWARE COST
    144. Far Cry prior to E3, ran the serious risk of getting canned! There were many competing titles out there already, with similar technology and with clear gameplay – if rudimentary at the time (e.g. Stalker: Oblivion Lost). THE MIDDLEWARE COST
    145. And they had no middleware aspirations, they just wanted to make a great game foremost! Many had achieved quite a lot without a publishing deal, yet Far Cry had yet to prove it could achieve the basics with one. THE MIDDLEWARE COST Far Cry prior to E3, ran the serious risk of getting canned! There were many competing titles out there already, with similar technology and with clear gameplay – if rudimentary at the time (e.g. Stalker: Oblivion Lost).
    146. THE MIDDLEWARE COST Reality engine
    147. The middleware landscape is littered with the dead. Yes, some do make it. But you must really evaluate why that is so; what they offer that their competitors do not. THE MIDDLEWARE COST Reality engine
    148. The middleware landscape is littered with the dead. Yes, some do make it. But you must really evaluate why that is so; what they offer that their competitors do not. Prior to the release of Crysis, Crytek admittedly stated that they had only sold less than a handful of licenses at a low-cost for their CryEngine (Far Cry). However, this may have finally changed with the release and success of Crysis and the availability of their CryEngine 2. THE MIDDLEWARE COST Reality engine
      • Even middleware providers must showcase their tech in a commercially successful title – either doing this themselves or via a licensee's efforts.
      MY STARK CONCLUSION TECH alone does not make a game!
      • Technology does not create gameplay, it is how you use it. Consumers are more savvy today, and want quality of experience, not just better graphics.
      TECH alone is not profitable!
      • Even middleware providers must showcase their tech in a commercially successful title – either doing this themselves or via a licensee's efforts.
      MY STARK CONCLUSION TECH alone does not make a game!
      • Technology does not create gameplay, it is how you use it. Consumers are more savvy today, and want quality of experience, not just better graphics.
      TECH alone is not profitable! Ask yourself : do you want to make interactive-entertainment titles , or, interactive-entertainment technology ? .
    151. MY STARK CONCLUSION
    152. MY STARK CONCLUSION Tech can always be licensed for your title, and does not need to be “cutting-edge” but merely competitive for the genre, and competitively utilised .
    153. MY STARK CONCLUSION Tech can always be licensed for your title, and does not need to be “cutting-edge” but merely competitive for the genre, and competitively utilised . I'm not against developing tech, quite frankly as an industry, we need too! But if you wish to be a middleware developer, you'll have to ask yourself some tough questions, and demand tough answers of yourself – perhaps confronting ones. And remember what you'll still have to deliver on, in order to do so!
    154. Source engine MY STARK CONCLUSION
    155. Source engine MY STARK CONCLUSION A title with a cohesive and singular vision; with a spark of originality and innovative use of technology. What this entails, will largely depend upon the target genre's context, and, the market's current (as well as projected) expectations – what you can and can't get away with.
    156. Source engine MY STARK CONCLUSION Remember : focus on interactivity foremost, and give your technology a functional purpose – "function before form” . A title with a cohesive and singular vision; with a spark of originality and innovative use of technology. What this entails, will largely depend upon the target genre's context, and, the market's current (as well as projected) expectations – what you can and can't get away with.
    157. www.intriguestudios.com

    + Ivan BeramIvan Beram, 10 months ago

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