Game.Developer.2008.12.pdf
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Game Developer - December 2008
>>
POSTMORTEM
TWISTED PIXEL'S THE MAW
DECEMBER 2008
THE LEADING GAME INDUSTRY MAGAZINE
>>
INTERVIEW
YUJI NAKA TAPS
HIS CREATIVITY
>>
AURAL FIXATION
COMPRESSING SOUND
FOR THE IPHONE
>>
GAMESCAPE
A HISTORY OF BOSTON
GAME DEVELOPMENT
“ReplayDIRECTOR
rocks
. I doubt we'd have found
it otherwise. It turned out to be an occasional
array overwrite that would cause random
memory corruption…”
Meilin Wong, Developer, Crystal Dynamics
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REPLAY SOLUTIONS
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©Replay Solutions, LLC. All rights reserved. Product features, specifications, system requirements and availability are subject to change without notice. ReplayDIRECTOR and the Replay Solutions
logo are registered trademarks of Replay Solutions, LLC in the United States and/or other countries. All other trademarks contained herein are the property of their respective owners.
[
CONTENTS
]
DECEMBER 2008
VOLUME 15, NUMBER 11
FEATURES
7
WHATWENTWRONG?
Over the years, postmortems start to
echo each other. The same problems are
encountered, and fixed, or dealt with. Here,
we've compiled the 10 most common
difficulties of the last three years for your
reading (and cringing) pleasure. Just as the
Salary Survey is intended to be waved in the
face of your boss come raise time (or to hide
if you're paid more than the average), this
feature should hopefully go part of the way
toward fixing some common development
mis-steps.
By Brandon Sheffield
7
16
14
INTERVIEW: YUJI NAKA
Yuji Naka was once one of the biggest names
in Japanese game creators, as the man
behind S
ONIC
THE
H
EDGEHOG
. Since his era of
prominence, Naka has made a purposeful
shift from manager back to creator, and is
now launching a series of simple, easy-to-play
games for the Wii. In this interview, conducted
at the recent Tokyo Game Show, we discussed
his new company Prope, as well as his latest
work, L
ET
'
S
T
AP
, which doesn't even require the
players to touch the controller.
By Brandon Sheffield
14
POSTMORTEM
16
TWISTED PIXEL'S THE MAW
Twisted Pixel went from an under-construction warehouse to a
urologist's office during the development of T
HE
M
AW
, and lived to tell
the tale. Here, the author discusses the difficulty of Lua and Luabind
memory allocations and XML load times, not to mention the difficulty of
greenlighting a new project to begin with.
By Frank Wilson
DEPARTMENTS
COLUMNS
36
THE INNER PRODUCT
By Noel Llopis
2
GAME PLAN
By Brandon Sheffield
A Christmas Story
[
PROGRAMMING
]
Data Alignment Part 1
4
HEADS UP DISPLAY
38
PIXEL PUSHER
By Steve Theodore
[
ART
]
Front Line Award Finalists, Tec-Toy's new Zeebo console, the Uzebox
homebrew system, and more.
The M-Word
41
DESIGN OF THE TIMES
By Damion Schubert
[
DESIGN
]
30
GAMESCAPE
By Jeffrey Fleming
Boston, Massachusetts
Writing Better, Shorter System Docs
43
AURAL FIXATION
By Jesse Harlin
[
SOUND
]
33
TOOL BOX
By Noel Llopis and Bijan Forutanpour
Whole Tomato's Visual Assist X, and
Real Time Rendering, Third Edition
,
by Tomas Akenine-Moller, Eric Haines, and Naty Hoffman
Squashed
48
ARRESTED DEVELOPMENT
By Matthew Wasteland
[
HUMOR
]
Bug Me Not
COVER ART:
JOE MITCH
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A CHRISTMAS
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Damion Schubert
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ADVISORY BOARD
Hal Barwood
Designer-at-Large
Ellen Guon Beeman
Microsoft
Brad Bulkley
Neversoft
Clinton Keith
High Moon Studios
Ryan Lesser
Harmonix
Mark DeLoura
GreenScreen
BY NOW, YOU WILL LIKELY HAVE EITHER FINISHED
or just be finishing your holiday crunch. If you’re
not finished, well, I’m sorry for you. And if you
haven’t had to crunch at all, maybe you should
write us an article.
Our main feature this month is about common
things that have gone wrong with game
development, and most of them tie in to some
degree with crunch and schedule problems. One
of these is often the cause or the effect of the
rest. It’s easy to see how this ties in to the holiday
video game retail meat market.
YOU’LL PUT YOUR EYE OUT
Meeting a holiday schedule has its obvious
problems. Unless a game is very specifically
planned out to release at that time, there’s a
strong chance you’re going to be crunching,
rushing, or otherwise cutting corners to get it
out the door. Granted this can happen in projects
regardless, but rushing a product with the
specific intent to compete in the most difficult,
most cut-throat period of the year is not very
healthy for you or for the game.
There are only so many dollars consumers have
to spend, and the problem doesn’t just come up
during the holidays. D
EAD
S
PACE
released against
G
EARS
OF
W
AR
2, and F
AR
C
RY
2 released against
F
ALLOUT
3—but D
ARK
S
ECTOR
also released against
GTA IV, and that’s got nothing to do with holidays.
Naturally it’s hard to predict a release window, but
the holiday season is a known quantity. You know
everyone will be bringing their best and brightest.
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'TIS THE SEASON TO
MAKE MONEY
Certainly the holidays are a big spending period,
so it’s no wonder that publishers, and even
developers, want to get their big titles out and in
the minds of consumers round about that time.
Shareholders, too, want to see or hear things
like “holiday blockbuster” in order to keep their
investor confidence, and I do think this is a very
large part of why we have a holiday glut.
But ultimately, is this really helpful? Consider
a game like D
EAD
S
PACE
. It’s a good one, certainly,
and its S
YSTEM
S
HOCK
-related pedigree gives
it even more street cred. But what it isn’t is a
holiday blockbuster. I want to be very careful
with my phrasing here, because I am absolutely
not saying it can’t stand toe to toe with the other
releases. But when you have a third person game
in which the primary action is shooting, it would
behoove you not to release it against G
EARS
OF
W
AR
2. People are
waiting
for G
EARS
OF
W
AR
2, and
you know that they are. They are not necessarily
waiting for D
EAD
S
PACE
.
Had D
EAD
S
PACE
come out during a softer period,
it might have had a chance to be as much of a
financial success as it was a critical success. I
don’t know the final numbers on it, but I know
it wasn’t on the charts long, which is related to
another major problem. One reason that so many
companies feel they have to release during the
holiday period is because if they don’t, it’s felt
that consumers won’t remember the game when
that holiday rolls around. And they’re kind of right,
because games don’t stay in the primary shelves
for that long, partially because so many games
are released during the holiday rush. It seems
to me that if major releases were more evenly
spaced, everyone would benefit.
THE NEW KIDS
I don’t want to sound like I’m arguing against
original IP. I could see reading this editorial in that
light, and it’s quite far from what I mean, given
my love for gameplay experimentation. Original
IP is obviously risky though, there’s no denying it.
And returning to the D
EAD
S
PACE
example, or even
to M
IRROR
’
S
E
DGE
, it does speak well of EA’s new
direction that the company deemed its original
IPs important enough to launch them against
better-understood market movers.
But I do wonder if it was worth pushing them
to meet this three-month holiday window. Even
F
AR
C
RY
2, which was a sequel, didn’t really have
the mindshare required to survive in this holiday
climate. You shouldn’t have to “survive,” but
that’s often what it amounts to when everyone is
scrambling for the same dollars at the same time.
Couldn’t the company actually make more
money by releasing these games at a different
time, all the while increasing quality? I’m far
from a financial genius, so it’s possible I’m totally
off-base here, but it seems like a less ambitious
release window for original or lesser known IP
would yield better results, so long as doing that
doesn’t relegate it to lower status within the
company. In fact, it seems to me it could even
raise its profile and importance. As per usual, I
welcome your thoughts and criticisms.
–Brandon Sheffield
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Game Developer
2
DECEMBER 2008
|
GAME DEVELOPER
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Hal Barwood
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ADVISORY BOARD
Hal Barwood
Designer-at-Large
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Microsoft
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Neversoft
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High Moon Studios
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Ubisoft
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mwest@gdmag.com
ADVISORY BOARD
Hal Barwood
Designer-at-Large
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Microsoft
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Neversoft
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PRESIDENT, CHANNEL GROUP
Robert Faletra
PRESIDENT, CMP ENTERTAINMENT MEDIA
Tony Ke efe
PRESIDENT, BUSINESS TECHNOLOGY GROUP
Jeff Patterson
SENIOR VP, GROUP DIRECTOR, ELECTRONICS & SOFTWARE GROUPS
Paul Miller
SENIOR VP, GROUP DIRECTOR, COMMUNICATIONS GROUP,
Stephen Saunders
ADVERTISING SALES
DIRECTOR OF SALES
Steve McGill
e:
smcgill@cmp.com
t:
415.947.6217
GLOBAL SALES MANAGER, RECRUITMENT & EDUCATION
Aaron Murawski
e:
amurawski@cmp.com
t:
415.947.6227
SR. EVENTS ACCOUNT MANAGER, SOUTHWEST
Jasmin Davé
e:
jdave@cmp.com
t:
415.947.6226
SR. ACCOUNT MANAGER, EAST COAST, EUROPE & EASTERN CANADA
Cecily Herbst
e:
cherbst@cmp.com
t:
415.947.6215
MEDIA ACCOUNT MANAGER
John Watson
e:
jmwatson@cmp.com
t:
415.947.224
ADVERTISING PRODUCTION
ADVERTISING PRODUCTION MANAGER
Kevin Chanel
REPRINTS
PARS INTERNATIONAL
Joe Nunziata
t:
212.221.9595
e:
reprints@parsintl.com
MARKETING
MARKETING MANAGER
Hilary McVicker
e:
hmcvicker@cmp.com
t:
415.947.6207
CMP GAME GROUP
VP, GROUP PUBLISHER APPLIED TECHNOLOGIES
Philip Chapnick
VP, STRATEGIC MARKETING
Michele Maguire
GROUP DIRECTOR
Kathy Schoback
AUDIENCE DEVELOPMENT
GROUP DIRECTOR
Carolyn Giroux
e:
cgiroux@cmp.com
DIRECTOR
Mary Griffin
e:
mkgriffin@cmp.com
ASSISTANT MANAGER
John Slesinski
e:
jslesinski@cmp.com
LIST RENTAL
Merit Direct LLC
t:
914.368.1000
INTERNATIONAL LICENSING INFORMATION
Mario Salinas
t:
650.513.4234
f:
650.513.4482
e:
msalinas@
cmp.com
CMP TECHNOLOGY MANAGEMENT
PRESIDENT AND CEO
Steve Weitzner
EXECUTIVE VP AND CFO
Adam Marder
PRESIDENT, CHANNEL GROUP
Robert Faletra
PRESIDENT, CMP TECHNOLOGY INNOVATORS GROUP
Paul Miller
PRESIDENT, CMP BUSINESS TECHNOLOGY GROUP
To ny Upho f f
CORPORATE SENIOR VP SALES
Anne Marie Miller
SENIOR VP, CMP INTEGRATED MARKETING SOLUTIONS
Joseph
Braue
SENIOR VP, HUMAN RESOURCES
Marvlieu Jolla Hall
SENIOR VP, MANUFACTURING
Marie Myers
SENIOR VP, COMMUNICATIONS
Alexandra Raine
VP, INTERNATIONAL BUSINESS DEVELOPMENT
Patrick Brennan
ADVERTISING SALES
DIRECTOR OF SALES
Steve McGill
e:
smcgill@cmp.com
t:
415.947.6217
GLOBAL SALES MANAGER, RECRUITMENT & EDUCATION
Aaron Murawski
e:
amurawski@cmp.com
t:
415.947.6227
SR. EVENTS ACCOUNT MANAGER, SOUTHWEST
Jasmin Davé
e:
jdave@cmp.com
t:
415.947.6226
SR. ACCOUNT MANAGER, EAST COAST, EUROPE & EASTERN CANADA
Cecily Herbst
e:
cherbst@cmp.com
t:
415.947.6215
MEDIA ACCOUNT MANAGER
John Watson
e:
jmwatson@cmp.com
t:
415.947.224
ADVERTISING PRODUCTION
ADVERTISING PRODUCTION MANAGER
Kevin Chanel
REPRINTS
PARS INTERNATIONAL
Joe Nunziata
t:
212.221.9595
e:
reprints@parsintl.com
MARKETING
MARKETING MANAGER
Hilary McVicker
e:
hmcvicker@cmp.com
t:
415.947.6207
CMP GAME GROUP
VP, GROUP PUBLISHER APPLIED TECHNOLOGIES
Philip Chapnick
VP, STRATEGIC MARKETING
Michele Maguire
GROUP DIRECTOR
Kathy Schoback
AUDIENCE DEVELOPMENT
GROUP DIRECTOR
Carolyn Giroux
e:
cgiroux@cmp.com
DIRECTOR
Mary Griffin
e:
mkgriffin@cmp.com
ASSISTANT MANAGER
John Slesinski
e:
jslesinski@cmp.com
LIST RENTAL
Merit Direct LLC
t:
914.368.1000
INTERNATIONAL LICENSING INFORMATION
Mario Salinas
t:
650.513.4234
f:
650.513.4482
e:
msalinas@
cmp.com
CMP TECHNOLOGY MANAGEMENT
PRESIDENT AND CEO
Steve Weitzner
EXECUTIVE VP AND C
FO
Adam Marder
PRESIDENT, CHANNEL GROUP
Robert Faletra
PRESIDENT, CMP TECHNOLOGY INNOVATORS GROUP
Paul Miller
PRESIDENT, CMP BUSINESS TECHNOLOGY GROUP
To ny Upho f f
CORPORATE SENIOR VP SALES
Anne Marie Miller
SENIOR VP, CMP INTEGRATED MARKETING SOLUTIONS
Joseph
Braue
SENIOR VP, HUMAN RESOURCES
Marvlieu Jolla Hall
SENIOR VP, MANUFACTURING
Marie Myers
SENIOR VP, COMMUNICATIONS
Alexandra Raine
VP, INTERNATIONAL BUSINESS DEVELOPMENT
Patrick Brennan
WWW.CMPGAME.COM
WWW.CMPGAME.COM
WWW.CMPGAME.COM
WWW.CMPGAME.COM
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WWW.CMPGAME.COM
WWW.CMPGAME.COM
WWW.CMPGAME.COM
WWW.CMPGAME.COM
WWW.CMPGAME.COM
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Inne pliki z tego folderu:
Game.Developer.2010.04.pdf
(22599 KB)
Game.Developer.2010.09.pdf
(12951 KB)
Game.Developer.2010.08.pdf
(36560 KB)
Game.Developer.2010.06-07.pdf
(36249 KB)
Game.Developer.2010.05.pdf
(9771 KB)
Inne foldery tego chomika:
Game Industry&Production
UNREAL DEVELOPMENT KIT [UDK]
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