LOOK AT DIS

http://www.gamasutra.com/view/news/37205/Opinion_Simplifying_Behavior_Tree_Logic.php

http://www.gamasutra.com/view/news/37230/Feature_Avoiding_Too_Many_Cooks_And_Other_Game_Design_Lessons.php

http://www.gamasutra.com/view/news/36865/Opinion_Six_Elemental_Questions_To_Find_Out_Just_About_Everything.php

http://www.gamasutra.com/view/news/36833/Gamasutra_Member_Blogs_From_Bravery_To_RPGs_Irrelevance.php

http://www.gamasutra.com/view/news/36840/Opinion_The_Importance_Of_Game_Jams.php

http://www.gamasutra.com/view/news/36857/Rockin_Android_Bringing_Localized_Japanese_Indie_Titles_To_Steam.php

UK Demographics for gamers

According to numerous un/reliable sources on the internet concerning the UK's videogame culture is vast and conflicting to say the least, I did however find 3 reliable sites that offer a good start in terms of defining the market and setting down some parameters to work with.

States that the videogames and interactive entertainment industry in the UK is one of the biggest in the world, with 48 of the world's most profitable games studios being based here in the UK.
With a near flawless track record developing, publishing and distributing top quality, ground breaking games such as Tomb Raider, Grand Theft Auto, Little Big Planet and the Fable series.
The UK games industry scene is a highly skilled growing industry that boasts a projected 7.5% growth between 2009-2012, this is down to the highly talented employees, with 80% of UK based videogames workers educated to degree level, when compared to the 24% of the UK working age population it seems the most skilled go into video game development.


With the ever increasing growth of gamers and the constant changing marketplace, it gives me more than enough hope that I could do something in the games industry, especially with all the successful games companies in the UK alone, it gives my once unrealistic ambitions some flesh. I end with a fantastic quote that just hits the nail on the proverbial head.


"With one in three people now describing themselves as gamers interactive entertainment is more popular than ever before, with games being played by people of all ages at home, online, and on mobile phones. Games cover a range of genres and styles, including hardcore games, casual games, social games and MMOG (Massively Multiplayer Online Games). Games are also increasingly used in the classroom as educational aids, and as part of an active and healthy lifestyle, endorsed by the Department of Health’s Change4Life campaign."




Oh and in case you did'nt know that much about video games, or have a biased view of them as mind boggling death machines, read here to learn all you need to know in a condensed post from a reliable source.


The following is a much easier way to see the overall demographics/statistics concerning the age of gaming, click for a larger image. 




Source: Online Education

Independent Game Companies

As an aspiring game designer, I suppose the best way to start is at the bottom and work my way up. My focus was to be part of a creative team that could flesh out and help a project or idea come to fruition without the immediate need for texturing or complex programming. 
After the recent acquisition of the hugely successful Bizarre Creation's studio by Activision in January this year, Activision decided to dissolve the company, leaving many of its employees without jobs. This worked out in a favour of sorts, as many of the people who worked for the company for years have split off and started NWindies, an independent game developers community compromised of the various ex-members of the BC.


A good starting point for myself who wanted to gain experience of how to create and develop games on a basic level, since most if not all of the subcompanies have shifted their limited output capabilities to an easier sub-industry; portable media.
Although there is only evidence of one or two games on the offshoot sites from NWindies, the majority of the ex-employees from BC are in their 30s-late 40s, as are most developers. I however hope to bring some fresh ideas to the table and bring my knowledge of whats happening in terms of new interactive media and hopefully pitch some ideas that could be developed from some of my own work.

Pawprint Games

Some of the games that they had worked on prior to setting up their own business:

LEGO Pirates of the Caribbean
LEGO Star Wars 3: The Clone Wars
LEGO Star Wars: The Complete Saga
LEGO Star Wars 2: The original Trilogy
LEGO Indiana Jones 2: the Adventure Continues
LEGO Harry Potter: Years 1-4
LEGO Bionicle Heroes
Chronicles of Narnia: Prince Caspian
Transformers: The Game
F1 2005
Galleon: Islands of Mystery

Paw Print Games aims to deliver polished family friendly products that have mass market appeal, so something that is user friendly without need to produce artwork that requires much detail would be appropriate and a good place to start. I have had no problems with family friendly games before and would be a good place to start and hear about what its like in the game industry.

http://www.cleverbeans.co.uk/games

http://www.tiga.org/train2game

http://hogrocket.com/

Briefs: Positive Posters

THE BRIEF

Positive Posters provides a shared platform that encourages designers to be proactive in shaping important issues. We believe in the ability of design to inspire minds, change attitudes and spark revolutions.

The 2011 Positive Posters brief asks you to design a poster that highlights or exposes an issue specific
to your own country, someone else’s or one that is international. It could be social, environmental or political; anything that you believe deserves a global audience and could be better seen or understood.

This is an opportunity for you to make a positive contribution towards an issue by presenting it to a global audience. We don’t want to tell you what’s important; we’d like you to tell us what’s important to you.

Case Study — Help Japan

On Friday March 11 2011 Japan was struck by one of the largest earthquakes in recorded history causing widespread devastation to the nation and it’s people. Canadian visual artist and designer James White wanted to help. He acted quickly and his self initiated project, driven by design made a big impact.

“When I woke up on the morning after the quake struck Japan I knew immediately that I wanted to do something to help. Being a designer who already runs a well-traveled blog, I decided early on that this would be the vehicle I would use in order to generate funds to donate. Using my abilities to help.

The design came together very quickly as I wanted something simple, striking and obvious as to what it represented. The Japanese rising sun symbol with a fracture symbolized what had happened, where it happened, and that they need our help. The title “Help Japan” says it all, and is non-specific so the poster could be used for a number of fundraising and charitable events.

The image itself took on a life of it’s own after going viral and has helped many other people with their own fundraising efforts. That’s exactly what I wanted the image to represent, a call for help. I received a staggering number of emails in the days after its release from high school kids, companies, charitable organizations, magazines, etc all wanting to use the image for their own initiatives. It traveled all over the world, to places
I myself will never see.

A person in Toronto sent me a photo of a roughly printed version of the poster that ended up in a Korean grocery store. My “Help Japan” text was replaced and translated, urging people to donate. It was a beautiful example of my design being used to help, and crossed over to another language.”

James’ story is a perfect example of the kind of work we believe in and want to encourage. Use his story
as inspiration when thinking of issues that matter to you.

The ‘Help Japan’ poster has raised over $19,000 for Japanese disaster relief. You can order a copy of the poster at the Signalnoise store.

IMPORTANT DATES

July 1: Brief announced





August 1: Call for entries opens




September 30: Call for entries closes
October xx – xx: Shortlisting
October xx – xx: Judging and high res file request
October xx: Melbourne exhibition

ELIGIBILITY

Entry is free!

The annual Positive Posters competition is open to all designers worldwide, individuals (students and professionals) and collectives (e.g. studios/agencies/collaborations)

Entrants must complete all stages of the entry process outlined below

Entrants can submit as many entries as they like

All entries must be submitted online and received by:
Friday 5pm (Australian Eastern Standard Time), September 30 2011

ENTRY PROCESS

1. Design a portrait A1 (594 x 841mm), 300dpi, CMYK poster that responds to the brief
2. Upload an 842px wide by 1191px high, 72dpi, RGB version of your poster in JPEG format
3. Submit a rationale (500 character limit) describing how your entry answers the brief

PRIZES

First Place
3,500+ posters distributed in Melbourne and Sydney, Australia
$1,500 + $1,500 to a charity of your choice

Second Place
Wacom Intuos 4 Tablet

Third PlaceSafari Living Prize Pack

JUDGING PROCESS

As each entry is submitted, they are approved by our submissions coordinator and uploaded to our online gallery. We reserve the right to refuse an entry we deem to be inappropriate.

After September 30, Positive Posters will review the entries and shortlist 30 posters for inclusion in the end
of year exhibition. From this shortlist, our international judges will choose the 1st, 2nd and 3rd place winning entries.

Find out who are judges are here by clicking here.

TERMS AND CONDITIONS

The most important thing you need to know is that every entrant retains 100% ownership of their poster
or posters. To read the full terms and conditions, click here or see the link at the bottom of the page.

Game Design: IV

Des Bois

From Electronic Arts Bright Light You are part of a game development team working on a 3rd person action adventure game called Des bois. The game takes place in a forest environment and the main objective is to protect your forest. You play as a protector of the woodland, Morea. The urbanised world is very slowly moving in on your home, and you must try to keep them away. General game mechanics: Shape-shifting – Morea is able to take on the form of animals of the forest, she can only do this when being in close contact of them. It is an important ability as she uses this to overcome obstacles in the environment and to escape the urbanites and their machines.  Movement – Morea must be able to move around fluidly, from running to jumping to rolling, she needs to be able to move where she needs to fast. Combat – Morea is a peaceful character so she doesn’t really use fighting as a solution, however some animals in the forest are violent, which could then influence her when she shape-shifts. NPC follow – As well as shape-shifting into animals Morea can get animals to follow her, then allowing her to change into them at a later time, when they may be needed. Characters: Morea – She is the protagonist of the game, she only wishes to protect her home. NPCs ‘Them’ – many people are trying to destroy Morea’s forest, for means of profit and gain, they come in forms such as machines or people, and they will also be referred to as urbanites in this document. The animals – they populate the forest and are friendly with Morea, their placement in the game should be able to aid Morea. Examples of this could be exploring the environment, or to outsmart the urbanites.  The forest: The forest is a large environment that Morea is able to explore; a lush forest, full with wildlife, foliage and the tallest canopies.  USP: The selling point of the game is the dynamic change between different forms, alongside the fluid fast movement in a stylised manner. The type of play experience the user receives is determined upon how the player tries to deal with situations. From this game concept, work up the following: Develop one of the game mechanics:  Take one of the game mechanics which are outlined above and develop it further. When designing the mechanic, you need to think of all the elements needed to make it work well while keeping it true to the concept. It also has aid the game to be unique, stylistic, attractive and different from any other similar games. Example: Movement mechanic When developing this mechanic, you might need to think about: Controls – Are button presses needed, will it be mapped out easily for the player Camera system – where will the stationary camera sit in order to always be in the best position for the player Use of the environment –  What is able to be climbed/jumped or ran onto, and what aids the player in moving aroun Write a scenario walkthrough: Write the walkthrough for one of the main scenarios in the game. Scenario synopsis: after just fending off a large amount of urbanites, resting atop the forests tallest tree to survey her forest she notices a fire in the distance. She must race down in the direction of the disturbance. Using the environment to her advantage, and fending off any urbanites she encounters on the way. Walkthrough: Describe the scenario by using step-by-step descriptions. You may use any of the mechanics which are detailed above. While making sure the gameplay engages the player at all times. When writing the detailed walkthrough, you can use the following template as guideline: Location: Describe any location(s) used for the scenario. Items:  List any interactive items, or pieces of environment Characters: Are there any enemies in the scenario or destructive machines? Are there any friendly NPCs around, like animals to aid you? Wow moments of the scenario: Describe any spectacular, Wow! moments that will make an amazing experience for the player. Do certain actions set off set pieces? Do they trigger non-interactive cut scenes or do you still keep control of your character as the cut scene plays out?  Above all, games ask the player to invest their time and energy, and as such should be equally rewarded for their efforts. Although the game should silently ramp rewards throughout the game through the guise of player empowerment, it is these sections that visually spoil the player and should make the most memorable parts of the game. References: Think beautiful environments, stylistic characters. The machines and people should be easily distinguishable from the environment. The types of machines, how they move and function are completely down to how you imagine them, try to think differently from your average machine. A few examples are: Watership down Mini Ninjas Brendan and the Secret of Kells Princess Mononoke

Game Design: III

Time Thief

You work for a game developer who has received interest in a commission from the National Roman Legion Museum. As a member of the design team you are expected to start fleshing out this high concept document and producing a prototype quickly before the Museum’s interest grows cold and possible funding is lost. The Museum is looking for a game that has an educational element but also has a strong adventure theme. The game should provide accurate environments, artifacts and information but should also use artistic license when developing the story. The suggested theme for the game should be around time travel and the collection of objects. A suggestion is that the game fit around the exploits of a ‘time thief’ who, having located objects of value from an existing museum, travels back in time to steal the object from their original historical environment. Objects from the National Roman Legion Museum that could feature in the game could include the following...  A coin hoard Legionary Helmet Ivory tragic mask Religious statue Jewelry Dagger Each object or series of objects could be a level in the game. The thief would face a number of hazards including Roman soldiers. Another possible hazard could be ‘time guardians’ who would be responsible for apprehending the thief. This could also be explored as another possible player type with another set of missions in the game. This brief allows for the game design to be taken in a number of different directions by the team and the Museum encourages you to try and create a very different gaming experience. From National Roman Legion Museum.

Game Design: V

Cryptozoology

From Blitz Games Studios Game Overview Cryptozoology is a third person action game targeted at XBOX 360 / PS3 / PC. Combat is a mix of gun and hand to hand combat. Progression is a standard linear, single player experience across ten levels. The game has a steady reveal of mechanics, story and enemy types - right up to the final boss fight. The story of the game follows a modern day Van Helsing wannabe, a hunter of mythological creatures called Christopher / Christine (gender is up to you). After hearing word of increased supernatural activity in several hotspots around the world, our protagonist goes on a globetrotting quest to stop evil, get the girl/boy and fire off some fun little quips. They’ll do so armed with a range of monster killing weapons and whichever martial art style is currently fashionable. Not the most original set up in the world, but then a lot of game briefs aren’t. Your calibre as a designer relies on your ability to develop levels and gameplay based within a brief, often laid down by people outside the studio you work at. I’ve intentionally left the brief for the specific gameplay section you’ll be working on vague enough to allow greater creativity in regards to story and setting – this is not necessarily representative of the control given to a level designer in actual development. Your level Level 7 of 10 – A fallen ally Level setting: Intentionally left open. Pick somewhere which suits the gameplay, the enemies, the mechanics etc. Don’t pick anywhere unless you’d be able to justify that choice using the aforementioned reasons. Level run through: Arriving in a new area, our hero receives a call from a fallen ally nearby, s/he must get to them, avoiding hazards in the way. The nature of these hazards is up to you, the player. Mechanics learnt: At this point in the game, the player knows pretty much everything they’re going to have to know. There are a couple of cool weapons later on, and they may not have unlocked every combat move, but we can rely on a high moderate understanding of all core mechanics. At this point we may want to add some cool environmentally specific mechanic, or perhaps theme the level around a new weapon or combat technique. Mechanics to teach: Up to you for the purposes of this brief. Using the very loose description, think of something for the player to do on their way to saving a friend. Maybe the mechanic is directly tied into saving the friend. Enemies: Could be many, could be none. Think about how enemies will function within the context of the level’s core mechanics, and if they don’t, then come up with other ways of handling the gameplay and experiences they provide in the rest of the level (danger / humour / tactics). Notes: Don’t stretch too far. We don’t want this level to feel like a completely different game (and the budget likely won’t support massive additions). Often a small new item, or gameplay addition can have a massive and cool knock on feel. An example would be Half Life 2’s super-charged gravity gun. A new texture and some tweaked weapon values led to one of the most memorable levels. Don’t just write a story, and don’t focus too much on the whos and whys of the characters. If a story point or character nuance informs gameplay, great. This is the 7th level of a 10 level game. Allow that to inform your decisions. Design the layout and action of the level. Specify where key actions and objectives take place. Try to avoid designing a level that the player can largely ignore by simply running to the exit or final objective.

Game Design: II

The Secret

Game Name "The Secret" - targeting an M rating Game Description  'The Secret' is a mature action game set in modern Europe. It tells the story of a lab technician who uncovers a terrible conspiracy while working late one night. Energon Ltd have invented a whole new weapon technology set to change the face of warfare forever. Stealing the prototype and running for the door, you'll need to survive in a chase across Europe, pursued at every turn by your ex employers. Fight to survive, fight to escape, and fight to keep untold power out of their hands. Level Description  "Learning lessons" - level 2 of 11 This level begins at the moment your character first wields the 'weapon'. The first level of the game has already taught the player to move and look around via a HalfLife style 'walk around the lab'. It therefore falls to this level to teach the mechanics surrounding the weapon, and hint at some of the possibilities ahead while picking up the pace. Story-wise, this level is about an escape. The player is fleeing the lab, with ever present 'security' chasing them. Up until this point the game has been entirely set in the lab interior, there's a fantastic opportunity here to make a big deal of the moment the player emerges from the laboratory. Mechanics already learnt before this level: Movement  Looking around  Simple context interactions  Mechanics to be taught in this level: Usage of 'The Weapon'  Avoiding threats Ideas  The following are some thoughts / notes on the level. These are not instructions, just some things to think about. There are two potentially conflicting goals here: Tell an exciting story about an escape, while introducing a new mechanic. Threat should be implied, rather than bullying the player through a series of hoops. A balance must be found between teaching and entertainment. The weapon can be anything - projectile or melee, violent or enabling. Paint and portals are taken, but there are plenty of different abilities which could be used. Think about the player's key goals, be they avoiding attack, moving to goals or achieving environmental objectives. Let the mechanic come from achieving that goal. Enemy presence can be implied without the literal involvement of AI NPCs. A sound file or texture might be just at successful at providing framing narrative, and free up important development time. Labs don’t need to be all white cement. Take some creative license, enjoy the quirks of the setting and create something players won’t be expecting. From Blitz.

Game Design: I

Sparks

You are part of a development team working on a third person survival game called Sparks. The game takes place in the rundown village of Cog and its surrounding landscape. The natural world has long since turned its back on mechanised industry and is slowly but surely cleansing the land of its presence. You play as Sparks a teenage robot struggling to come to terms with natures hate of the industrialised world, each day Sparks' village is attacked by natural creatures. By day you help defend the village from attacks, by night you explore the surrounding areas and gather resources to aid both Sparks' and the Village’s development.   General game mechanics Resource collection: Sparks is able to collect a range of different resources. These resources can be used in many different scenarios in the game for example to defend, power lights, build better resources, collect tools, mend robots, create  companions (robot dog) and for individual quest missions. Over using particular resources will affect the environment surrounding the village and further gathering of that particular resource would becomes more difficult, therefore resource gathering becomes a balancing act between robot need and robot greed. (This mechanic maybe too complex for the brief.) Combat: Sparks, the other robots and the creatures have a range of different attacks that develop over the course of the game. Sparks upgrades: Through collecting rare resources sparks can upgrade his abilities. Movement: Even though Sparks and the others are robots they will need to have a smooth animation well thought secondary animation that compliments their design.     Characters Even though Sparks and those in his village are robots, they all have very identifiably human characteristics. Sparks is the protagonist, he is a teenage robot struggling to come to terms with natures hate of the industrialised world, he appreciates the beauty of nature but doesn't understand it's hate. NPCs "Naturists" are trying to destroy the village of Cog, these could come in many forms such as  humans, animals or plants. They are referred to as Natural Creatures in this document. The Robots are the friendly NPC, they will help you defend the village, ask quests of you and help you gather resources.  The Environment: Village of Cog- is a rundown village containing a tired race of robots. The village features dilapidated huts, shelters, old industrial works etc... Nature plays its part inside the village, adding flourishes of colour in the form of flowers and other plants creeping through the cracks. Surrounding Landscape- The landscape around Cog is varied, featuring dense forests to open plains. Piercing through the trees are elements of destroyed industrial works. During the night the forest comes alive with luminous industrial waste and monuments to industrial times past. Nature adds beauty to Cog and Industry adds beauty to the Landscape.         USP Exploration of combining resources to form upgrades. The ability to shape Sparks’ character and Village through collecting and building. Further Development Take one of the mechanics described and develop if further. Think logically about what is  feasible within your group’s constraints and what will yield the most effective results. The developed mechanic needs to stay true to the core concepts and further the games ideas. Quests Develop a step-by-step walkthrough of one of Sparks’ main quests as well as the following day defence mission. You'll need a clear understanding of the basic mechanics before this can be further developed. Below is a list of some of the things that will need to be considered:  How far through the game is the quest?  What ability does Sparks have?  How developed has the town become?  Has the surrounding landscape changed?  What items are needed?  Will there be dialogue?  Can sparks build other items or not?  What resources are used and how?  How will the camera be positioned?  What landmarks will be used to guide the player through the games space?  What locations will Sparks go through?  What will be attacking Sparks? Develop an exciting cut scene for the end of this mission.    References  Think contrasting beauty and stylistic character design. Both industry and nature can be ugly in their own ways, but together with they can complement each other. When designing the robot characters think about what they might have done before, what their previously work role might have been and how that has informed their design and personality. Also, when anthropomorphising the characters think about their mannerisms, movements and the mirroring of human/robot needs. For example food, warmth, family, shelter, companionship etc... Enslaved: Odyssey to the West Machinarium Death spank Ashley wood (Sparrow, Robot art work) Avatar (illuminated forests)

Promotional Poster: National Student Survey

Can you create an eye catching poster for the National Student Survey (NSS) that will be seen in every university in the UK? This year’s NSS poster competition is your opportunity to showcase your creative skills and have your design included in its high profile national marketing campaign.

Entries must be entirely your own original work and must not breach any copyright or third party rights. All entries must be suitable for public viewing and must not include any defamatory, offensive or unlawful content.

All entries will be judged on the following criteria:
• inspires participation in the survey
• is dynamic
• can be reproduced easily on print/online

Competition entrants may submit up to three different designs. Each design must be A4 size (210 x 297 mms).

Eligibility

The competition is open to all students on a current programme of study (as of May 2011) at a higher education or further education institution in the UK.

Prize

The winner will receive:

• National recognition as the winning poster is used to advertise the NSS across every university in the country and is targeted at the over 300,000 students eligible to complete the survey.

• A day working with the firm responsible for running the NSS, Ipsos MORI, to further develop and adapt the poster, getting it ready for use in the promotional campaign.

• A one week work placement with leading London design firm hat-trick.