Smokedaddy's College of Videogame Knowledge

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I've had an idea for an RPG floating around my head, but I want to make a tabletop version first as a way of ironing out all the bugs in the RP system. Are there any others who have done it this way? (D&D/WH40K et al. don't count since they were tabletops decades before the fact.)
 
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Screaming Llama said:
I've had an idea for an RPG floating around my head, but I want to make a tabletop version first as a way of ironing out all the bugs in the RP system. Are there any others who have done it this way? (D&D/WH40K et al. don't count since they were tabletops decades before the fact.)
That's probably the best way to do it. It's a lot easier to work out the kinks and imbalances on paper than on the computer, and turn-based RPGs are ideal for this approach. Playing a game on the computer doesn't automatically make a bad design good, it just introduces a whole 'nother set of problems on top of the huge reeking pile you already have. Get it rock-solid and fun to play on the table and a computerized version can enhance things. Too many people start working on a game before they have a game to work on. It's like being a chef: you have to repeatedly taste every detail and make sure it's right before sending it to the oven. You can get away with that here, so go for it!

"I could be a cannibal, if only there were enough tarragon." -- James Beard
"Never trust a skinny chef." -- Unknown
 
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I just want to say that Mechwarrior 2 was a blast. I must have played that game for a year at least on MPlayer, fought with the Comguards guild in the ranked league.

Some seriously good times!
 
Sweet and Savoury said:
I just want to say that Mechwarrior 2 was a blast. I must have played that game for a year at least on MPlayer, fought with the Comguards guild in the ranked league.

Some seriously good times!
Cheers, ears!

It warms the cockles of my black heart to hear of people that had fun with it. That was kinda the point, and it was just before Activision et. al. just started chasing dollars and to hell with having fun or anything. Different world, now.

Damb, twenty years ago tonight I was probably still at work (only playing that new thing Doom instead of, like, actually working).

Soldier, click not!
 
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Smokedaddy said:
Yeah. Pretty much before the time of anyone here. Activision was about 12-15 people when I started; I was the only person on the project for the first few months.
http://img.photobucket.com/albums/v342/ ... rrior2.jpg].
I don't have any questions. I just wanted to tell you that I loved the SHIT out of that game, and to this day whenever any vehicle I'm driving or riding in starts running a little hot, I say (or at least think):

"...heat level: [CRITICAL]

...shut down procedure: [INITIATED]

...shut down procedure: [OVERRIDDEN] "



Thanks for your work on that one. It was awesome.
 
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homerbeoulve said:
Ok, Smokie, can you please explain to me why Nintendo is somewhat embargoing games from being released outside of Japan, or maybe sometimes not releasing it on the US, but it's a hit in EU(example: The Last Story, Xenoblade Chronicles and Pandora's Tower).

I'm not a developer or anyone in the industry, but here's kind of why it happens a lot.

It tends to come down to the localization and marketing as Smokedaddy tried to explain. Some games are a lot easier to market and localize than others and sometimes huge changes need to be made overall. Usually it has to do with cultural things and how well it can be translated over. For an example, Rhythm Heaven Fever's Japanese version had one minigame that ended up being replaced (because it was heavily dialogue based and the humor probably wouldn't have translated well into english) In the US version, the game got replaced with a minigame from the GBA Rhythm Heaven.

On the other end, timing can also have an effect. Mother 3 and the GBA version of Rhythm Heaven came out all the way in 2006, and by then the DS had just begun to gain some steam in the US. I guess Nintendo thought that people wouldn't buy these games if they were launching on the GBA (especially so late.) The last game I remember Nintendo ever releasing on the GBA was Pokemon Mystery Dungeon in 2007, but that's a tried and true franchise vs a niche game not many people know of and a new IP. This also ended up happening with Mother 1 on the NES, where the game translation and marketing was done, but the game wasn't released because by the time they finished with that, it was "too late" for a game like that to do well.

Also, for the type of games you mentioned, those actually take a long time to localize because they have to translate dialogue, item names, item descriptions, quests, and then make any other modifications they might need to make in order to make it more "friendly" with US audiences. Most gamers in the US tend to prefer more action/FPS games, while JP prefers RPGs. I can't really speak for EU though. But a lot of it has to do with whether or not they can be sure these games will sell to US/EU audiences.
 
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bromine said:
The last game I remember Nintendo ever releasing on the GBA was Pokemon Mystery Dungeon in 2007, but that's a tried and true franchise vs a niche game not many people know of and a new IP.

A lot of late release GBA games also had a dual release on other consoles as well. Mystery Dungeon is a good example since its "red" version was released exclusively to the GBA, and it's Blue version was released exclusively on the DS. The same went with Megaman Battle Network 5. Which had both of it's versions on the GBA plus a DS port which included both of them and let you switch between them. The first three Pheonix Wright games were originally released for the GBA in Japan, and later were re-released on the DS which was the first time they were localized.

With Nintendo they generally see new IP fail quite a lot. (There's a lot of new IP games that fail right out the door) and they want to market their huge money makers as much as possible. It's why Nintendo is seen as just a large sequel farm, which really isn't fair. They want to make new games, people just bitch and complain when it isn't like the older stuff. (A good example is Wind Waker which was criticized as being "kiddy" and not a dark gritty LoZ game).

bromine said:
Most gamers in the US tend to prefer more action/FPS games, while JP prefers RPGs. I can't really speak for EU though. But a lot of it has to do with whether or not they can be sure these games will sell to US/EU audiences.

Yes while there is a much more predominant FPS market in the West vs the RPG market in the East. There are still sizeable RPG fans in the West. Skyrim made 20 million some-odd copies worldwide and like 3 million within it's first week. Final Fantasy 13 also sold pretty well in the West and still has a very large fanbase over here.
 
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Sweet and Savoury said:
I just want to say that Mechwarrior 2 was a blast. I must have played that game for a year at least on MPlayer, fought with the Comguards guild in the ranked league.

Some seriously good times!

Chiming in to agree with this. MechWarrior 2 set the standard for the series and I love you for it. MW 2 & 3 defined my childhood.

I could sperg for paragraphs about how much I love the series, but seriously, thank you.
 
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It sucks being an Australian console gamer.

Were there any industry game-changers that were completely overlooked by the public? I'd imagine there were quite a few games that introduced new technical aspects that went on to be revolutionary but that the game-buying public didn't think was anything special.
 
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Do you have any knowledge of how Activision getting away from Vivendi will effect their released content if at all? Also, considering your connection to the Mechwarrior franchise, what are you opinions on games like Titanfall or Hawken?
 
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What is your personal opinion on ROMs/abandonware? Big companies don't like it, but that's just their lawyers talking.
 
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If one developer owns the license to a franchise, they can do whatever they want with it's games, new and old, granted they have the green light from their publisher, right? Like, Rare was bought out by Microsoft, but they still had the rights to Perfect Dark, so they ported it to the Xbox 360. So if the first hypothetical developer lost the rights and they were picked up by a new dev, could said new dev do things with the games made by the previous dev, provided they somehow got the source code for them? For example, if Activison still had the rights to James Bond, could they port a game like Goldeneye 007 or Everything or Nothing to next-gen consoles, provided they somehow got the source code from Rare or Visceral respectively?

Purely hypothetical, I'm just trying to understand copyright a little more.
 
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Shit, you're triggering my monthly "Oh god what am I doing why did I pick this degree" panic but my CS course specialising in Games tech just drops one of four first year subjects for a Game Design subject, plus focuses on teaching C++. Sounds like I made a fairly decent move.

And if you really did work on MW2 I'll have to give you my heartfelt thanks. You have no idea the joy you brought to my heart when I accidentally gave my best friend a Highlander Burial for the first time. Between the two of us we had a load of fun on MW2 and MechCommander. Do you still do stuff with that series? Favourite mech perhaps?

If I can tease it out without risking identifying you, what's the worst game you've worked on, or if you choose not to answer that, what was the worst managed project you worked with?
 
Shit, you're triggering my monthly "Oh god what am I doing why did I pick this degree" panic but my CS course specialising in Games tech just drops one of four first year subjects for a Game Design subject, plus focuses on teaching C++. Sounds like I made a fairly decent move.

And if you really did work on MW2 I'll have to give you my heartfelt thanks. You have no idea the joy you brought to my heart when I accidentally gave my best friend a Highlander Burial for the first time. Between the two of us we had a load of fun on MW2 and MechCommander. Do you still do stuff with that series? Favourite mech perhaps?

If I can tease it out without risking identifying you, what's the worst game you've worked on, or if you choose not to answer that, what was the worst managed project you worked with?
That is rather interesting to ask Smokedaddy what the worst game he worked on was or what worst managed project he worked with. I'm sure some of us would love to see his thoughts on such a question.
 
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Oh jeez, here goes. The worst managed project I ever worked on? Mechwarrior 2. It was unbelievable. It'd take a zillion pages to explain all the bullshit and anyone trying to read it would die of boredom, but holy shit. The producer was out to get me, and in the last year and a half of the project I never found out that a demo was due tomorrow morning until 7 PM the night before at the earliest. I zinged the fucker real good, in the end, and it finally came out, but it could have been released a year earlier and been ten times the game it was.

The punch line is that I started saying to myself "this is the worst managed project ever in the history of history." The worst. The absolute worst.

The producer's dimwitted fuckery let to me losing, oh, a hundred and fifty thousand bucks 'cause I was sort of counting on the project finishing in time for me to salvage my mortgage, but nooooo, it was more important to make me look bad. He'd set the project back three weeks every time he pulled that kind of stunt, because I'd end up working thirty hours straight hacking all sorts of bullshit into the code to please Her Highness, who had the ear of management and I didn't, and I put up with it because a) I was young and stupid and b) he made no bones about how my ass was fired if I stopped with the blowjobs.

I lost my temper one day and he was fired with extreme prejudice a few days later -- in hindsight, I should have been screaming bloody murder a year before, but I was scared and thought if I could just pull it off, all would be well. I'd just think "this is the worst managed project ever," which was true, and go back to pounding keys.

What screwed the pooch was when I found out what the BEST managed project ever was.

I'd sold my house in an emergency-kind-of avoid-foreclosure last gasp thing at a huge loss and was living with a couple of the MW2 artists in a rented house in El Segundo. I had a copy of Scientific American that I'd read through and through except for one article -- "The Best-Managed Software Project" -- which I had no interest in, seeing as I lived on the far other side of the coin. Until one night when I was bored as fuck and read it anyway.

According to the U.S. government, the best managed project ever was the Space Shuttle flight-time code, the stuff that ran on the Shuttle's computers. They could statistically predict the number of bugs in a new release, and the bugs were thousands of times less in proportion to just about any other software package ever written. New version of Word: five thousand bugs. New version of the Shuttle flight-time code: two bugs.

I sat there and thought about it for about an hour. Then I called the Shuttle software flight-time code project manager on the phone, even though it was eleven-thirty in Houston. We talked for a long time, but I didn't mention why I called, it was all about how to run a project and what you do and what you don't do. He had a bunch of great advice.

After the story hit, he got on the cover of Inc. magazine and a couple of others that I don't remember and could have basically written his own paycheck but he dug working on the Shuttle and was making good coin. He started at IBM when they were the Shuttle software contractor, then the project was bought out by Loreal and eventually someone else.

He was the younger brother of the vice-president of advanced technologies at Thiokol (now ATK propulsion), a manufacturer of solid rocket boosters. Thiokol was the biggest employer in my home town -- in elementary school, everybody's dad was an engineer who worked there -- and onceuponatime when I was far too young to remember, Robert Oppenheimer was visiting and had a family dinner at the young engineer's home, cooked by his wife with their young children at the table. Anyway, Dad's younger brother was the Space Shuttle project manager. I'm named after him.

The best-manged software project in history, and the worst-managed one, all in one family.

I quit Activision about a week later. Bobby Kotick left messages on my answering machine that I never listened to or replied, and I feel bad about that. I'd really, really like to apologize, 'cause I like Bobby a lot (he's not the evil Satan the press would have you believe), but there's no way for pond scum like me to get through the layers and actually talk to the dude and it was a long time ago and who cares except me. The End.

Post Scriptum:

Uncle Tom went to BYU, while Dad was a Utah man. When I was a little kid, Uncle Tom always gave me BYU sweatshirts, which I wore all the time. He did it as a joke to piss Dad off, something I didn't figure out until years later.

Dad's side of the family is from Mexico. They were ranchers. The family moved to Arizona and southern Utah at exactly the wrong time, and Dad, Tom, and their older sister all died of cancer in the '90s. The gub'mint would wait until the winds were blowing away from Las Vegas and toward St. George / Kingman before conducting above-ground atomic bomb tests. A downwinder is not a good thing to be. When I was in first grade or so, we had a heavy snowfall followed by one of those beautiful clear sunny winter days that you only see at altitude, and the teacher warned us not to eat the snow because "there are germs in it." Bullshit, teacher, this is beautiful white wonderful snow and we ate all we anted. Holy shit, if she had told the truth and said there was fallout in it I would have understood even then that no, the snow is not good to eat.
 
Hey Smokedaddy, glad you have a thread I was thinking I wanted to ask some questions. I'm thinking about going on to study somewhere in the art field at university and maybe break into the games industry if possible but I don't know about its viability.

Firstly, I would love to start a career in concept art and design (lofty expectations I know), would you by any chance know what skills specifically they're looking for in someone, and where I break into the industry in this area - I noticed you mentioned test, is this the same area for the arts side of things as well as programming? Are there artistic styles you guys like/shy away from when choosing people to work on projects?

Would someone in the art department need knowledge of programming and the development stages that come after it to be successful? I am assuming I would need skills across a range of creative spectrums for games (story boarding, 3D modelling, animation and so on and so forth) but I don't know where my knowledge would begin and end and where others would take over and - importantly, what would I do to make it easiest for them?

Finally, does where you study change your viability for jobs? I'm from Australia and I have been told no-one gets hired for games work from here.

Thanks man, sorry if these questions are a bit removed from what you have been doing but I'd love to hear anything you have to say.
 
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Practically no one gets a break-in job doing concept art or design. There are exceptions, but generally you have to start out by doing grunt-work. After you get a year or two under your belt, things open up and life gets much more interesting.

I've known several Aussie game-dev types (some of them are the hardest-working mofos I've ever met) and hadn't heard that coming from there was an impediment. The schools are as good as they are anywhere else, and I don't think that'll be a problem. There are some really good dev shops Down Under, but most of it really goes on Up Here, so you might have to learn to drive on the other side but that's about it. It's all about what you can do, not where you went. My degrees are from a school nobody ever heard of.

To do game art, yes, you have to be semi-acquainted with what the programmers (etc.) are up against. There are a lot of strange rules (mostly engine-dependent) that have to be followed. An artist who knows why the triangle counts have to be such-and-such, and knows things like why it's easier to take a complex model and delete polygons vs. the other way around will be toasted in Valhalla when it hits gold master. There are arcane technical considerations in game art that don't apply to any other medium. It depends on what you want to do; the initial grunt-work will probably be cranking out 3D models or animations of what someone else came up with. It never, ever hurts to be familiar with a broad spectrum -- get a reputation as the "go-to" guy when something needs to get done, and on the next project you might be the art director.

What I look for in an artist is "can this person draw?" 3D modelers and Photoshop and such can be learned, but I want to see pencil sketches.

(Speaking of pencil sketches, this one by my buddy Mike Kim (Ren & Stimpy) adorns my refrigerator. I swear it didn't take him thirty seconds.)
mikekimsdevil.jpg
 
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