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Showing posts with label Games Development. Show all posts
Showing posts with label Games Development. Show all posts

Monday, 11 July 2016

Guest Blog: War Child

1995 saw the release of War Child’s famous HELP album; a revolutionary project where some of the most high profile British musicians came together to record an album for children in war torn Bosnia. 20 years on, I find myself working at War Child working on a project which aims to follow in the footsteps of that famous record – but with a twist.


War Child’s new project, HELP: The Game, mirrors the collaborative efforts of the 1995 record, which asked artists including Paul Weller, the Stone Roses and Blur to record a song in a day to be released on a live album.

This time round however we’re working with some of the most talented gaming studios in the world who will take part in a unique game jam; each studio have been allowed a total of six days, the same time it took for the original album to reach number one in the charts, to bring their creation from concept to completion.


Funds raised will be used for War Child UK's ongoing activities to support conflict-affected children and their families. The result of all of this international collaboration will be brought together as HELP: The Game, a compilation of games which will be published by Sega on Steam as a digital download this summer.

As War Child UK’s gaming manager, it’s been a real honour to lead this project for our charity. But it’s important to note that the game is the creation of the War Child Gaming Committee, made up of the great and good from all over the gaming industry, including Sports Interactive, Gamer Network, YouTube, Sheridans and Bossa amongst others.


The bundle includes games from some of the world’s most innovative and exciting games studios, including Sports Interactive, Rovio, Team17, Hardlight, Creative Assembly, Bossa, Curve, Sumo Digital, Modern Dream, Spilt Milk Studios & Torn Banner.

And it’s really great that here at War Child we’re able to expand our involvement in gaming. The process began when Sports Interactive first got involved with us, contributing 10p from every game sold for War Child since 2007. Our other gaming partnerships include 11bit Studios with their charity DLC and now an additional $1 donation per sale of The Little Ones DLC as of June and Wargaming.net’s charity packages – which was then topped up by the studio in aid of world’s most vulnerable children.



When it launches later this year, HELP: The Game will take the collaboration between gaming and charities to a new level. For me, knowing how many more conflict-affected children will be supported as a result of the money raised for War Child, I cannot wait to see it get started.

Wednesday, 1 June 2016

Guest Blog - Why My Mum Likes VR Better Than You Do

“How do I put this thing on,” she said, looking warily at the VIVE headset and controllers. Mum’s not a gamer; she’s never so much as dropped a quarter in an arcade machine, let alone picked up a console control. Hell, she struggles with her smartphone. “This is heavy,” she sighs, as I fit her with the headset, and guide her hands through the controller straps. “Ok,” I said, “I'm going to turn on a game called ‘Space Pirate Trainer’. It’s really easy, you have two guns, you pull the trigger on your controller (I showed her where they were), and you shoot the floating orbs that are trying to shoot you.  Don’t let them hit you.” As I started the game she gasped. “OH MY GOD, I'M IN SPACE! CAN YOU GUYS SEE THIS??” The last thing I said as I popped the headphones over her ears: “Use the gun in your right hand to shoot the box that says ‘Play’. Have fun.” And then I got the hell out of dodge.


My mother is 61 years old, somewhat arthritic, but still relatively spry. I watched, grinning, as she transformed from a prim and proper real estate agent into her own personal incarnation of Lara Croft. She ducked and weaved; she hurled strings of four-letter-words at the robots. I do believe she accidentally kicked the cat at one point (he hasn't forgiven her yet, poor kitty). And when she “died”, she wailed “NOOOOOOO”, immediately followed by, “I want a do-over.” Before I could say anything, she’d hit the Play button and was back in. Her only break was when we had to tear her away for Mother’s Day brunch, but all in all, she played SPT, Fantastic Contraption, and messed with the IKEA demo (“I wanted to rearrange the cabinets! This is a let-down…”) for roughly 3 hours. On the other hand, my twenty-something brother-in-law, who plays a lot of WoW and Call of Duty, etc, tried it out, and got bored after about 15 minutes. “That’s nice, I guess,” he said. “But I don’t think it’s worth the money, and I'm just in a room here by myself.”


This kind of engagement - for lifelong non-gamers to suddenly become avid enthusiasts – is practically unheard of in previous iterations of game evolution. Yet change is generally difficult for the established culture/mindset to adopt (hence the addage “you can’t teach an old dog new tricks”). So why is VR, this cutting edge technology, more attractive to older people?

My theory is twofold: First, that because the controls are still very crude, the games must be designed simply. The quality of a game becomes more reliant on storytelling, visuals, audio, and ease of navigation. My folks still go on dates to the movies 2-3 times per month. They watch whatever movie or show BBC America is running. They want to the entertained, but in a way that’s low effort/thinking on their part. Gaming, for them, is “too hard”. But VR is easy.


The second is that the GenX/Boomers came of age in a time where real life experiences were tantamount to electronics/media. VR is the first tech where games truly emulate real life. Finally, here is a technology tailor-made for the vast majority of older people who grew up wishing they’d done something different with their lives (because no one gets to maturity without some kind of regrets). Not because they don’t like what they have or what they have done, (read: anyone who can afford VR is probably doing well for themselves), but because they wonder what it would have been like to be a musician instead of a sales agent, or an artist as opposed to an engineer. Well, turns out it’s not too late; now you can live those imagined lives vicariously through… you. Wanted to try Alpine downhill skiing but didn't because it was “too dangerous”? Not any more. Decided against that summer of slumming it in Paris to save up for a “practical” home downpayment? You can still waste a few hours at an outdoor café (with a view of the Eiffel Tower!) catching tidbits of murmurs in French. VR lets you be someone else for a little while, gives you a mental escape. So why aren’t younger generations just as excited about all the opportunities VR offers?


Millenials, unlike previous generations, are exceptionally self-actualized. VR is a nice distraction, sure, but it’s still a game, albeit really cool. However, Millenials want more. They don’t want to just watch a 360º movie, they’d rather actually go to these places or do these things. Being “in the game”? That’s nice, but Millenials want to control the story and change the outcome. This is now the challenge for VR developers: How do you create an authentic, fulfilling experience? What will it take to make VR indistinguishable from the real thing? That’s a question we’ll be able to answer hopefully in the next few years.

The good news? A healthy market for which to create content already exists. Right now, folks like Mum (Boomers and Gen X) are quite satisfied with today’s tech. When she finally put the headset down, smiling, she wiped the sweat off her brow and quoted a phrase I'm very fond of using: “We really are living in the future.”

Sophie Wright is the Product and Brand Evangelist for Human Interact, currently working on an unannounced VR project. 15 years of experience in an engineering leadership role led to a passion for exploring and sharing the possibilities of VR. In this reality, she enjoys gin, tinkering with her Mini Cooper, meteor showers, and having meaningful experiences with people.

Wednesday, 13 April 2016

Guest Blog - It’s Risky, That Game Development

No-one likes risk in business. Consumer surveys, consumer testing for products, pre-screening for films and other ways of delving into the customers mind are big business because no-one wants to invest flipping great wodges of cash into Batman V Superman and then find out it’s a turkey – whoops.


Risk as a greater concept however, is actually a rather wonderful thing. The experiences that really matter in life are the new ones – starting school, travelling abroad, falling in love – and they’re all full of potential danger and therefore risk. But, once completed, regardless of the result, you may feel vindicated, courageous, alive. You may have bruises (to both your body and your ego), but it was worth it for the stories you can tell afterwards. Risk is what makes life worth living, right?

I worked as a games designer for 15 years in total, on titles including LittleBigPlanet PSP, Need for Speed: Most Wanted plus lots more that never saw the light of day, because the title was seen as a risk. And that’s the bit that really sticks in my mind: ‘what if?’ What if the title had been saved/fixed/put into full production? What if it had been a hit? How can you know a game’s playability value when no-one outside the building has actually played it? I believe that there’s an ‘A’ class bug (not a feature) in the process used my large developers aiming to create epic triple A console games: risk aversion. This is understandable because of the stakes: large budgets and hard-won reputations. But surely, getting the game in front of consumers while still at the early stages of designed sheds light and clarity upon a player’s experience, right? If the only people who play the game are those who see it every day for several hours then there’s no fresh perspective. Is becoming more and more familiar with your own work really an advantage? Or does it mean your view becomes narrower and narrower?



The further any developer goes through the production process, the larger the collection of work becomes, so the more painful it is to let go of it, and the further they are along the road of committing to a particular style and set of resources. Consequently certain parts of it – and this is true for all sorts of projects from graphic design to West End productions – remain purely because so much time, money (and love) were invested in them, and NOT because they merit inclusion by contributing meaningfully to the final product. Then it comes out, gets a 7/10 on metacritic and the process starts all over again, with a determined ‘THIS time we’ll get it right’ muttered by those in charge. Repeat.

However, the lumbering giant of large developers can eaily be out-manoeuvred by the champion of Game Creation Agility*: indie devs.


Indie devs are nimble creatures. Being able to quickly test prototypes on consumers means useful feedback at a point when changes can be made easily – like at the pencil sketch stage before the painter commits to oils – because it’s only bare bones, and the work of a handful of people, not a team of 100. Plus, your test case player doesn’t expect a polished product at this early stage because, well, you’re an indie developer. No offence, but there isn’t a well-known reputation and anticipated budget associated with it.

*’GCA’ should be an industry term. It isn’t, but it should be.

The indie dev answers to no-one (until they receive investment, which is a different kettle of ball games) so is able to get vital feedback early on from potential players (the people who matter), instead of receiving feedback at the end of the production process, when tons of hours of work has been resigned to the bin, hearts broken and dreams shattered on the opinion of one or two people who probably won’t play – and certainly won’t pay for – the game as a consumer.

This is the beauty of experiencing games from the indie dev scene at events like Develop – you can play something in production that is still evolving, and created with utter love and devotion, not as the result of a several meetings about the company’s target player demographics and what the marketing strategy is for the company approaching Q3 2018.



I can’t wait to play the indie games at Develop, to talk to the people who are actually creating them, and to continue to be utterly inspired by not only their hard work, but their dedication to embracing that scariest creature of all: risk.

Jon Torrens is a communications coach and will be talking about pitching skills at the Pitching & Funding Workshop on Tuesday 12 July.