“Digital Landscaping”, and what does it entail tying into the entertainment/video game industry, it involves the evolution of online interaction, marketing, awareness and various forms of social media. Curiosity triggered, once I realized will their be a broader landscape for game consoles in the near future, or will it be brought to a halt after the PlayStation 4 and Xbox One hit the market? Numerous of questions were brought up because of all the attention these next generation consoles can conspire with current gaming technology, even though it hasn’t been the best variety of dedicated games for the next gen consoles. Rumors being said theta the game industry is shaping for analysts to start believing that there won’t ever be a PlayStation 5 or Xbox two, only time will tell. “Will there be a next generation in about eight years? It won’t be in the shape and form we know today with consoles,” said Peter Warman, CEO of research firm New zoo, revealing that current people working for the industry has there job cut out for them, to up keeping high quality standards for story, visuals and game mechanics in developing beyond our imaginative games for game enthusiasts everywhere. The digital landscape of game consoles is quite widespread, from Mobil, and free-to-play games are really setting the pace of a thriving market in the video game industry. Just for that information alone, fewer games are getting developed on major consoles, and very little room to advance for people to continually to invest in the next major console, because the forecast of another consoles release in the next fives years is quite low. Warman has mentioned, “Today’s consumer has three or four screens and the majority of gamers play across all of these screens. It used to be a 50/50 split between PC and console, but now mobile – both smartphones and tablets – and even Smart TVs, are impacting the games space.” Steam is in high demand, and purchasing games through Xbox Live or PlayStation Network, while rumors of a Steam playable console in the works, so it wouldn’t be a bad thing for any new major consoles to be on hold for awhile, and for current game developers to continue to master newer and faster game engines that current next generation game consoles can showcase visual excitement.
“Digital Landscaping”, and what does it entail tying into the entertainment/video game industry, it involves the evolution of online interaction, marketing, awareness and various forms of social media. Curiosity triggered, once I realized will their be a broader landscape for game consoles in the near future, or will it be brought to a halt after the PlayStation 4 and Xbox One hit the market? Numerous of questions were brought up because of all the attention these next generation consoles can conspire with current gaming technology, even though it hasn’t been the best variety of dedicated games for the next gen consoles. Rumors being said theta the game industry is shaping for analysts to start believing that there won’t ever be a PlayStation 5 or Xbox two, only time will tell. “Will there be a next generation in about eight years? It won’t be in the shape and form we know today with consoles,” said Peter Warman, CEO of research firm New zoo, revealing that current people working for the industry has there job cut out for them, to up keeping high quality standards for story, visuals and game mechanics in developing beyond our imaginative games for game enthusiasts everywhere. The digital landscape of game consoles is quite widespread, from Mobil, and free-to-play games are really setting the pace of a thriving market in the video game industry. Just for that information alone, fewer games are getting developed on major consoles, and very little room to advance for people to continually to invest in the next major console, because the forecast of another consoles release in the next fives years is quite low. Warman has mentioned, “Today’s consumer has three or four screens and the majority of gamers play across all of these screens. It used to be a 50/50 split between PC and console, but now mobile – both smartphones and tablets – and even Smart TVs, are impacting the games space.” Steam is in high demand, and purchasing games through Xbox Live or PlayStation Network, while rumors of a Steam playable console in the works, so it wouldn’t be a bad thing for any new major consoles to be on hold for awhile, and for current game developers to continue to master newer and faster game engines that current next generation game consoles can showcase visual excitement.
Monday, August 24, 2015
Game Publishing, and it's costs as a indie designer
Remember the days when was no copyright protection or legality when it came to game publishing , especially being an independent developer/designer and had endless exposure in the early 2000’s. In 2015, the times have changed and have closed several of doors for independent game exposRemember the days when was no copyright protection or legality when it came to game publishing , especially being an independent developer/designer and had endless exposure in the early 2000’s. In 2015, the times have changed and have closed several of doors for independent game exposure, now there are direct publishers and make ore break connections to release a game globally. Publishing is a entity of its own, because of high powered and memory induced consoles, graphic cards, proper storage to hold video game data is increasing the value of video game release because it’s a money maker if done accurately, but it also costs to bring a game to reality.
It start’s at giving the opportunity for a video game to develop, and emerge from and idea to paper to concept to brainstorm, and various of concepts for proper publishing revelation. For major consoles (Xbox 360, Ps3), from the cost it varies around $10 million investment, compared to its predecessors $3-$5 million of classic Xbox, PlayStation 2 and GameCube. Indeed that is a huge game, and quite nervous the cost for current next generation costs of the PS4, Xbox One and WiiU, I’m sure it will over the $15 million investment to publish and making those game marketable to gamers. Generally, the publisher will distribute royalty for the developers, or creators of a game, averaging 10%-20%, so starting off in STEAM, Android and Mobile will barely scratch the surface of gaining any profit.
Which leads to licensing, the intellectual property of the game to be spent publishing to a specific manufacture, and this is why it’s usually wise to start of the green lit process like STEAM and cut out a few middle man stages that require enormous cut’s of a product. Finally, like any other living video game out there, the publisher will have to market, and distribute, usually independent developers will either utilize a marketing intern, or work into overdrive marketing the game themselves to cut costs. Primary reason for a publisher, in the indie work is gearing up for distribution, and maximizing enough royalties and incentives to continue moving up the empire of the video game industry.ure, now there are direct publishers and make ore break connections to release a game globally. Publishing is a entity of its own, because of high powered and memory induced consoles, graphic cards, proper storage to hold video game data is increasing the value of video game release because it’s a money maker if done accurately, but it also costs to bring a game to reality.
It start’s at giving the opportunity for a video game to develop, and emerge from and idea to paper to concept to brainstorm, and various of concepts for proper publishing revelation. For major consoles (Xbox 360, Ps3), from the cost it varies around $10 million investment, compared to its predecessors $3-$5 million of classic Xbox, PlayStation 2 and GameCube. Indeed that is a huge game, and quite nervous the cost for current next generation costs of the PS4, Xbox One and WiiU, I’m sure it will over the $15 million investment to publish and making those game marketable to gamers. Generally, the publisher will distribute royalty for the developers, or creators of a game, averaging 10%-20%, so starting off in STEAM, Android and Mobile will barely scratch the surface of gaining any profit.
Which leads to licensing, the intellectual property of the game to be spent publishing to a specific manufacture, and this is why it’s usually wise to start of the green lit process like STEAM and cut out a few middle man stages that require enormous cut’s of a product. Finally, like any other living video game out there, the publisher will have to market, and distribute, usually independent developers will either utilize a marketing intern, or work into overdrive marketing the game themselves to cut costs. Primary reason for a publisher, in the indie work is gearing up for distribution, and maximizing enough royalties and incentives to continue moving up the empire of the video game industry.
It start’s at giving the opportunity for a video game to develop, and emerge from and idea to paper to concept to brainstorm, and various of concepts for proper publishing revelation. For major consoles (Xbox 360, Ps3), from the cost it varies around $10 million investment, compared to its predecessors $3-$5 million of classic Xbox, PlayStation 2 and GameCube. Indeed that is a huge game, and quite nervous the cost for current next generation costs of the PS4, Xbox One and WiiU, I’m sure it will over the $15 million investment to publish and making those game marketable to gamers. Generally, the publisher will distribute royalty for the developers, or creators of a game, averaging 10%-20%, so starting off in STEAM, Android and Mobile will barely scratch the surface of gaining any profit.
Which leads to licensing, the intellectual property of the game to be spent publishing to a specific manufacture, and this is why it’s usually wise to start of the green lit process like STEAM and cut out a few middle man stages that require enormous cut’s of a product. Finally, like any other living video game out there, the publisher will have to market, and distribute, usually independent developers will either utilize a marketing intern, or work into overdrive marketing the game themselves to cut costs. Primary reason for a publisher, in the indie work is gearing up for distribution, and maximizing enough royalties and incentives to continue moving up the empire of the video game industry.ure, now there are direct publishers and make ore break connections to release a game globally. Publishing is a entity of its own, because of high powered and memory induced consoles, graphic cards, proper storage to hold video game data is increasing the value of video game release because it’s a money maker if done accurately, but it also costs to bring a game to reality.
It start’s at giving the opportunity for a video game to develop, and emerge from and idea to paper to concept to brainstorm, and various of concepts for proper publishing revelation. For major consoles (Xbox 360, Ps3), from the cost it varies around $10 million investment, compared to its predecessors $3-$5 million of classic Xbox, PlayStation 2 and GameCube. Indeed that is a huge game, and quite nervous the cost for current next generation costs of the PS4, Xbox One and WiiU, I’m sure it will over the $15 million investment to publish and making those game marketable to gamers. Generally, the publisher will distribute royalty for the developers, or creators of a game, averaging 10%-20%, so starting off in STEAM, Android and Mobile will barely scratch the surface of gaining any profit.
Which leads to licensing, the intellectual property of the game to be spent publishing to a specific manufacture, and this is why it’s usually wise to start of the green lit process like STEAM and cut out a few middle man stages that require enormous cut’s of a product. Finally, like any other living video game out there, the publisher will have to market, and distribute, usually independent developers will either utilize a marketing intern, or work into overdrive marketing the game themselves to cut costs. Primary reason for a publisher, in the indie work is gearing up for distribution, and maximizing enough royalties and incentives to continue moving up the empire of the video game industry.
Entertainment Industry Liabilities & Legal Matters
First week introduction into Entertainment Law, and understanding different components when it comes to intellectual property and conflict in music, movies, games and any other form of entertainment. First case is the infamous lawsuit of Robin Thicke’s “Blurred Lines”, featuring T.I and Pharrell, involving copyright controversy with Marvin Graye’s familiar similarity to “Got to give” resemblance. Being a high profile case, with already having proactive lyrics and cases frown upon many woman in the US for objection of woman, and pulling infringe copyright, with the judge ruling with Gaye’s existing family. Second Case, anyone remember Growing Pains that help launch a former heartthrob Kirk Cameron, and now conversion to Christianity in his early years, leads a ministry with battling media scrutiny and controversy for his movie “Unstoppable”, which sparked Facebook blockage and YouTube censorship. What really brought the attention to the media, if Kirk Cameron was planning a student to allure followers to watch the movie, and involving absolute negligence liabilities between the actor and Facebook.
Third Case, involving a bird, application meet’s game and costing little to make “Flappy Bird” , and the game creator/developer Dong Nguyen pulling the game for legal issues dealing with resemblance to Nintendo’s Mario series. Resembling, and possible joint or class action lawsuit avoidance with Nintendo, and almost makes those rumors true for cause for pulling the game off Android and IOS market. Even those these three scenarios were triggered by different actions, all were involved with comparative negligence (making both liable of his/her percentage of fault), corroborating evidence ( Each case showcased enough evidence to confirm or strengthen a possible lawsuit/legal of action with all plaintiffs), with joint liability. Because of what was mentioned, it proves going into creation of an independent game developer company at the year-end, is doing research for patents/protection and copyright infringement. Consequently, the business wouldn’t have to go head to head with another company proving similar storytelling/artistic qualities if I’m and the company is protected, and if marketing any game to social media it won’t have to deal with loss of sales if there is a counter suit to block publishing. As well, having no fear if any game created is inspired by visual/digital and storytelling media already told, but securing grounds with inspiration and giving credit to developers/designer/storytellers will look better on by behalf.
-A.H.
One of one negotiation with a former peer
For this month, I’m embarking upon negotiation and deal-making tactics for my final year of graduate school in entertainment business. A brief interview of a former peer, mentor, and current freelance film writer/line producer located in Los Angeles CA, his name, Pete Abrahams. Time and time again, he has taught success and valued industry experience by producing independent creative management development, and in his everyday life while presently teaching at UCLA, a busy guy I utilized the sample questions from the curriculum. First start off with how he separates his clients from problems when it comes to negotiation with production funds, dealing with FILM LA and booking on-site locations during a reasonable time? A justifying response of, knowing the suitable morals from major agencies in the entertainment industry, such as Screen Actors Guild (SAG), the writers guild of America and directors guild. Having ideal standards and goals when it comes to negotiation and making sure there is no conflict at interest, separating any emotional connection with clients to finalize costs when it comes to booking a location on a client’s behalf.
From the past discussion, and learning what is positional bargaining, I was curious on his approach, “Always go for the agreement yes, don’t accept maybes, if, no’s or but’s”, profound statement from an experienced line producer. For instance, he is currently teaching strong with subtle tactics to current Line Producer students, the biggest advice he gave is know your prey, and always insist to reaching a agreement when it comes to career choices, business choices and representing who you work for confidently and assure the ground I walk on with deal-making. BATNA, happens a lot in Hollywood, especially in California because it’s extremely has grown more costly to film here than other states, and country for that matter. A motive behind a few projects done with gorilla shooting, a great risk when filming in Los Angeles, the best alternative to his is suggesting using close family/friends and connections if any given cost is greater than production financial status, or filming outside of California. Once wrapped, it did inspire my inner filmmaker part of me again, and motive to not only regain a spot in the entertainment industry through games/film, but media and music as well, let the continued journey begin.
-A.H.
From the past discussion, and learning what is positional bargaining, I was curious on his approach, “Always go for the agreement yes, don’t accept maybes, if, no’s or but’s”, profound statement from an experienced line producer. For instance, he is currently teaching strong with subtle tactics to current Line Producer students, the biggest advice he gave is know your prey, and always insist to reaching a agreement when it comes to career choices, business choices and representing who you work for confidently and assure the ground I walk on with deal-making. BATNA, happens a lot in Hollywood, especially in California because it’s extremely has grown more costly to film here than other states, and country for that matter. A motive behind a few projects done with gorilla shooting, a great risk when filming in Los Angeles, the best alternative to his is suggesting using close family/friends and connections if any given cost is greater than production financial status, or filming outside of California. Once wrapped, it did inspire my inner filmmaker part of me again, and motive to not only regain a spot in the entertainment industry through games/film, but media and music as well, let the continued journey begin.
-A.H.
Deadly sins of starting a independent video game company
Let’s get straight to the point, it’s a broad spectrum when it comes to getting a foot into door as a game design intern, lacking of fully understanding programming and still being a beginner at it. Gaining that trust for potential companies to employee you, teach you and become a chameleon overnight on whatever engine being utilizing. A choice of further investing downtime of creating, managing and overseeing a starter independent game developing company seems hasty, but having a few games outside of school under my belt to showcasing by either A) Producing more games, becoming successful B) Getting noticed for job potential C) Partnering with other starter companies. Stumbled upon an article of What NOT to do when starting as an indie game developer, and found it entertaining but awakening for having a future in the game industry. Hate to admit it, we want to impress, it’s our human nature to be better than the person standing next to us, but usually that some is ourselves. For example, whenever we depart from school, it becomes a surreal moment, what do I do now, what do I create next? Sometimes are imaginations won’t meet our expectations, because as recent students or current students still don’t have access to high end gear game engines, so may need to take a backseat to ever creating a overly complex MMORPG free to play game.
List of Deadly sins
1) Do not fall for survivorship bias (Don’t surrender to going directly to Iphone Applications because of the money, its more diverse than that)
2) Do not start with a complex idea (I.E. Mini World of Warcraft, ouch! Small the better, the more you learn from simple = greater the game mechanics and fun factor)
3) Do not make a simple idea complex (Taking a kitten and making him a jaguar, comparison clause)
4) Do not skip the prototype of phase development (The skeleton, the heart of the game, and not adding a bunch of useless trash straying away from the core of the game)
5) Don’t forget the GDD (If you haven’t mastered that, keep trying, it’s the holy grail of ideas and missteps in game development)
6) Do not underestimate the power of good planning (Most things are done with a plan, goal and more planning)
7) Do not leave marketing to the last months of development (Found this one interesting because everyone is so tense to finish, they just want the Game build over with, loose it’s passion)
8) Do not start on the Mobil maker (competition, platform problems that haven’t been learned yet, no awareness, market value and referring to Deadly Sin Uno)
9) Do not play test only by the end of the project (This is given, if you’re serious in making it in the industry)
10) Budget for everything, include events, festivals (Who knew you need money to travel and promote, make a valuable connection, obvious but sometimes overlooked)
11) Do not ignore the fact that you are part of an industry (Which means, reputation)
12) Do not wait for a diploma to start making things (Probably the biggest sin committed)
13) Do no hide those things
Goal, give it approximately 3-5years to impact with either joining a company, being independent and growing or partnering to expand the Rebel base!
Until we meet again,
-A.H.
List of Deadly sins
1) Do not fall for survivorship bias (Don’t surrender to going directly to Iphone Applications because of the money, its more diverse than that)
2) Do not start with a complex idea (I.E. Mini World of Warcraft, ouch! Small the better, the more you learn from simple = greater the game mechanics and fun factor)
3) Do not make a simple idea complex (Taking a kitten and making him a jaguar, comparison clause)
4) Do not skip the prototype of phase development (The skeleton, the heart of the game, and not adding a bunch of useless trash straying away from the core of the game)
5) Don’t forget the GDD (If you haven’t mastered that, keep trying, it’s the holy grail of ideas and missteps in game development)
6) Do not underestimate the power of good planning (Most things are done with a plan, goal and more planning)
7) Do not leave marketing to the last months of development (Found this one interesting because everyone is so tense to finish, they just want the Game build over with, loose it’s passion)
8) Do not start on the Mobil maker (competition, platform problems that haven’t been learned yet, no awareness, market value and referring to Deadly Sin Uno)
9) Do not play test only by the end of the project (This is given, if you’re serious in making it in the industry)
10) Budget for everything, include events, festivals (Who knew you need money to travel and promote, make a valuable connection, obvious but sometimes overlooked)
11) Do not ignore the fact that you are part of an industry (Which means, reputation)
12) Do not wait for a diploma to start making things (Probably the biggest sin committed)
13) Do no hide those things
Goal, give it approximately 3-5years to impact with either joining a company, being independent and growing or partnering to expand the Rebel base!
Until we meet again,
-A.H.
Video Games compensate with games vs Virtual Reality
In 2010, a big year for Supreme Court, the reason, the attention of video game violence , and empathy for California law that prevent children from buying ultra-violent video games. Bringing up Mortal Combat to Grand theft auto, but no profound proof this triggers violence and rage, similar to tendencies of films, music and television. Stumbled upon a stimulating video, a conversation starter that the human brain doesn’t constantly trigger violent lust when it comes to gameplay, but seven ways games reward the brain , by Tom Chattfield on Ted Talk video. The emphasis at the start of the presentation is capability of learning to capture us emotionally, individuality and collecting through rewards in games. Goes into detail about how the brain reacts when engaged in two different processes, ambition (want) to complete quests + liking (affection) = engagement. For example, World of Warcraft, obtaining a flying mount sets a drive and enjoyment of being in a vast open world, and creating a powerful influence amongst people tie in that emotional connection. The reward schedule, and a way a virtual designer thinks when it comes to placement of challenges in a game, to prevent boredom to a player.
Humans evolve from generation to generation, for instance Mike Tyson’s Punch out generation of teenagers reacting to Retro gaming system, which 90’s kids would automatically recognize and know the true reward of those games, surviving the 3 life and no automatic saving. What carries on from retro games to now, the reward system, development of experience bars to show progress; multiple long and short-term aims, such as co-op and patterning with AI or other players, rewards for effort, rapid and frequent feedback (DPS damage), element of uncertainty, (example: Shadow of Mordor, hidden trophies). Triggers Dopamine part of the brain, excitement and confidence in the game, and motivate to play with other gamers. Majority of business are looking at the reward schedule/system as an example for employment, education and business. Makes it truly exciting to embark into the entertainment industry, because utilizing and understanding why our brains value reward and praise is connected to not only reality, but also the virtual world of video games!
-A.H.
Humans evolve from generation to generation, for instance Mike Tyson’s Punch out generation of teenagers reacting to Retro gaming system, which 90’s kids would automatically recognize and know the true reward of those games, surviving the 3 life and no automatic saving. What carries on from retro games to now, the reward system, development of experience bars to show progress; multiple long and short-term aims, such as co-op and patterning with AI or other players, rewards for effort, rapid and frequent feedback (DPS damage), element of uncertainty, (example: Shadow of Mordor, hidden trophies). Triggers Dopamine part of the brain, excitement and confidence in the game, and motivate to play with other gamers. Majority of business are looking at the reward schedule/system as an example for employment, education and business. Makes it truly exciting to embark into the entertainment industry, because utilizing and understanding why our brains value reward and praise is connected to not only reality, but also the virtual world of video games!
-A.H.
Outsmarting fellow competitors as a starting fellow game designer
To continue this venture of seeking that unbelievable internship, what is missing, more video games! A personal collection, my portfolio that reflects a persistence in constructing game play, for potential companies, peers and players to play! This week, I’m fine tuning a massive post through collective website, to find local independent game designers/developers in joining forces to build a previous game I’ve helped developed, and know for the fact it has huge potential. I wanted to talk about the research I’ve found to outsmart my fellow game designers and gamers, to play the games I want to make, as well as open doors for a game developer/level design position for a few companies I’m tremendously enthusiastic to work for.
A little article I stumbled upon about competitive game design theory, about a player who participated in a Mancala competition , to code artificial intelligence to play Mancala. Showcasing players ability to code by collecting more stones then the opposing player, the player might write a greedy code, collect as many stones as possible, or another reasonably have a theorized code to produce maximum collection of stones with the game. The competition reflective how games are more competitive if the player chooses a decent strategy, like game designers. The competition taught the player not to assume to “win big” right away, because in a competitive situation, experience players wont make those mistakes, have that edge to make those wise decisions to win the game with optimal strategy.
How much is too far, or what makes a game design competition too dangerous ? It’s only human nature to beat other human beings, manipulate our course to be better gamers. The biggest catch for game designer to constantly think about, keeping a player hooked, the challenge of the game is just a little afar our capabilities. Maybe this is why, trivia games tend to die so quickly, or difficult to keep them refreshing and challenging for players with this current generation of gamers. Series of five challenge have been identified, and found them quite charming, and helping to include on my quest to create “Big Boy Bruce” 3D arcade game.
Handicapping: evening out the competitions, balancing experienced with in-experienced players, such has Super Smash Brothers and Warcraft 3.
Expected Skill Ceiling: the expectations of causal gamers will know what they get in a game, keeping a creative feel to keep playing a game, such as rotating opposing players.
Matchmaking/Elo Systems: giving numerical actions and effects to players, such as Magic the Gathering Card Game.
Indirect competition: Create variation of play, without unraveling unequal players, from competition, such as military games, fighting games and simulation.
Adding more players: Such as raiding, online MMO’s and simply just word of mouth, if the game is good recommending it to another player so you can beat them!
Quite useful resources to think about, when implementing the fun factors and these five competitive infusion into a game.
-A.H.
A little article I stumbled upon about competitive game design theory, about a player who participated in a Mancala competition , to code artificial intelligence to play Mancala. Showcasing players ability to code by collecting more stones then the opposing player, the player might write a greedy code, collect as many stones as possible, or another reasonably have a theorized code to produce maximum collection of stones with the game. The competition reflective how games are more competitive if the player chooses a decent strategy, like game designers. The competition taught the player not to assume to “win big” right away, because in a competitive situation, experience players wont make those mistakes, have that edge to make those wise decisions to win the game with optimal strategy.
How much is too far, or what makes a game design competition too dangerous ? It’s only human nature to beat other human beings, manipulate our course to be better gamers. The biggest catch for game designer to constantly think about, keeping a player hooked, the challenge of the game is just a little afar our capabilities. Maybe this is why, trivia games tend to die so quickly, or difficult to keep them refreshing and challenging for players with this current generation of gamers. Series of five challenge have been identified, and found them quite charming, and helping to include on my quest to create “Big Boy Bruce” 3D arcade game.
Handicapping: evening out the competitions, balancing experienced with in-experienced players, such has Super Smash Brothers and Warcraft 3.
Expected Skill Ceiling: the expectations of causal gamers will know what they get in a game, keeping a creative feel to keep playing a game, such as rotating opposing players.
Matchmaking/Elo Systems: giving numerical actions and effects to players, such as Magic the Gathering Card Game.
Indirect competition: Create variation of play, without unraveling unequal players, from competition, such as military games, fighting games and simulation.
Adding more players: Such as raiding, online MMO’s and simply just word of mouth, if the game is good recommending it to another player so you can beat them!
Quite useful resources to think about, when implementing the fun factors and these five competitive infusion into a game.
-A.H.
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