|
Posted on 10.26.08 by Mike K @ 7:42 am
Wow, it’s been so long. The last game I did TRC for was Atomic Betty, the Gameboy Advance game I worked on before leaving Big Blue Bubble. That would have been some time during July of 2005. That finished up, and I was a free man for August 1st. By TRC I mean Technical Requirements Checklist. Every platform holder has them, though they sometimes have a different name for them. A TRC is a combination of guidelines. Terms to use do identify aspects of the target platform, or the brand. Generally speaking, it’s everything you have to do to be officially allowed on a system. The TRC process also includes requirements necessary for submission. How to package things up, naming conventions to use for files, and so on. Apple’s TRC is interesting. It’s not as explicit as saying refer to the d-pad as the directional pad, but it’s more a collection of user interface and aesthetic design guidelines. After all, it’s a system without buttons*. Apple does have separate guides for name, logo, image, and trademark usage, as well as standard submission procedures. But it’s refreshing to be met with guidelines that encourage a streamlining of the user experience. A perfect historic example, it’s a TRC requirement that every 3rd party title must display “Licensed by Nintendo” on the first screen you see. It’s the continued legacy of the so called Nintendo Seal of Quality, as well as protecting them from liability. Even though you’re greeted with is the Nintendo logo on the original Gameboy, your relationship with Nintendo still must be made explicit. Then that’s usually followed by half a dozen screens letting you know who paid for the game, what brands were licensed, and finally who made it before bringing up the title screen. Not a problem per se, but Apple strongly encourages you to do away with this time wasting legacy. Like a “google.com” of a mobile interface. Right to the point. - - - - - My point finally is the timing. TRC comes at the end of the project. It’s how you really tell the project is finally finishing. Making terminology corrections, digging through documents making sure you’re 100% to spec. Sure, it’s one more thing on a long list of things needed to finish a game. But what’s not to love about being done? Early in my “career”, I always got the impression from friends and colleagues that the TRC was some sort of painfully horrible task, and I’m sure I’ve had my moments with them as well. But seeing how long it’s been from when I thought I was nearly done to now, I’ve been chasing TRC time for weeks and months. And it’s certainly a much better product as a result. Potential sales, oh who knows. The weirdness seen watching the marketplace is topic all in itself. Might ‘break even’, might not. But I’m happy with the product. It’s everything I’d want in such a game. Outside of some final testing, all I have left is the submission material. A text blurb for the store, some screen shots, an icon, and a large promotional graphic. That actually a piece of art I still need to create. I made sketches and roughs a few weeks ago, but never got around to coloring a final image. In this age of digital downloads, it’s the closest thing to box art. A gameplay video isn’t an Apple requirement, but everybody does it anyways. You’ll have to give me a couple days for that. When that’s done, you’ll see it here first. So that’s what I’m up to. Testing, and promotional artwork. Filed under: The Business of Things and Technobabble and Smiles Comments: None |
|
Posted on 10.25.08 by Mike K @ 5:17 am
It’s late, now 5 AM Saturday morning. Release Candidate 1 is just a few hours away. Some achievement tweaks, and minor bugs and we’re good. Should go out to Apple on Monday afternoon. Then probably a week and it’ll be live in the App Store. I’d have taken a photo, but I’m currently cameraless. - - - - The dummy website for the game: Some time after it goes out, I’ll make a proper site. - - - - A couple weeks back I also updated the PuffBOMB website: http://www.puffbomb.com Nothing new per se, but a teaser image from the console remake that… well… I’ll now be porting to the iPhone. - - - - EDIT: Finished RC1 around 8:00 PM today (Saturday). As mentioned, I’m going to take the rest of the weekend to run through the game a few more times, and if everything checks out, send it off Monday Afternoon. Filed under: Stuffing and The Business of Things and PuffBOMB and Smiles Comments: 1 Comment |
|
Posted on 06.13.07 by Mike K @ 4:56 am
Hypothetical situation. Note: Try to refrain from bombard me with requests yet, ’cause I know a lot of people already like this idea. *cough*, I’m in London, Ontario, Canada. A typical game company places 10 or more people under the same roof. Office space rented out at the expense of the company. There’s a management hierarchy, one or more people responsible for business and infrastructure aspects of the company, and an arrangement of programmers, artists, designers, possibly testers and a sound guy. Not a bad way to run a game company. In fact, a very good way that has worked for a very long time, and still does. A typical indie or casual developer is a team of 2 or more people. The work is either handled entirely by the pairing/group, or some of it is contracted out. Even though it’s a team, that doesn’t mean they work under the same roof. Thanks to the internetz, you can work with anyone anywhere. If the Indie developer is successful, it’s not uncommon to see it evolve towards the typical game company structure. Programmer/Biz guy moves up to Biz guy only, Lead programmer becomes Technical Director, new recruits are hired, and so on. They also move out of their respected basements and home offices, in to office space. This is how things typically work. Now, lets say you don’t want to grow your company, or you haven’t been successful enough to afford to. Or maybe you just have really hard time justifying office space for 2 guys. And even though you’re doing awesome work, things like the Wii Developer Qualifications loom over your head. What to do? Option #1, get some smaller developers together and start a new company together. So great! Lets start a company! Wait, what about my individuality? I don’t want to have to deal with more ownership rights! Or wait, how do I know I can trust partnering with you? Issues for sure, but lets look at it a different way. Option #2, share some office space. Lets follow this idea. Office space is acquired, and cut up. 2×4 reasonably large areas for a desk and side table, and everyone shares the conference room and kitchen. Your people include two teams of 2, a team of 3, and an individual. The rent and other facility costs (fax line, water cooler) are added up, and generally speaking that total is split 8 way to reflect the 8 spots available (or 7 ways if one’s left unused). Each of the two teams of 2 pays 25%, the 3 pay 37.5%, and the individual pays 12.5%. Easy. But this brings up a number of questions. Who owns the office? What sort of business is this then? Should a new business be formed to encapsulate the smaller developers? If that’s the case, we’re back to Option #1. However, we might not want a straight up partnership. We don’t necessarily want stakes in each other’s games, or any outside financial pressures for that matter. Still, who owns the company? That’s up to the group. Another perspective, the “plug and play” office. In other words, capable of adding, removing, or expanding to support more teams. This idea of the Indie Office is a serious business venture, where everyone involved must be able to cover the basic expenses. What if somebody leaves? He runs out of money, gives up on the idea, or the group “votes him out”. The remaining people in the group need to be prepared to make up the rent difference, or to seek a replacement. The nature of this arrangement is potentially “plug and play-able”, since you can’t be sure about everyone a year from now. If “plug and play” is encouraged, then the business can also reflect a “College Alternative”. Most of us know smart kids. Developed games on the own, lots of potential. Why waste their time in a school? So long as the group is for it, a student can come in, be generally self sufficient doing and learning what they can, working on their projects, with the resources of the group available to them. Self sufficient being the important part, but most “experts” are happy to share and give advice. They or their parents pay their cut of the rent for as long as they’re around. Alternatively, an internship. We bring in the student, and whatever teams want to share him, they cover his costs. Or along the same lines, a tester or a general “go-to” extra shared by the group. He keeps his hours, and we split the costs in some respectable way. This is the concept of the “Indie Office”. - - Is any of this even meaningful? Game development, like any part of the media industry, is a creative business. Creativity comes from a number of places, one of the most basic being conversation. The model of the Indie or Casual game developer promotes low budget small team development. Unlike film, a video game can be developed by very few people, even an individual. Going from hobby to full time, or retail to indie creates an unfortunate isolation. Not the most ideal or creative situation to be in. The “Indie Office” is a concept to bring together the freedom of being able to choose and do your own projects, and combining it with the potential found by bringing creative people together. It’s applicable to creative industries involving individuals or small teams. - - Do comment and/or cross blog post if you have thoughts on this. In subsequent posts, I’ll try to go in to further detail on needs, location, office size, arrangements, etc. Filed under: Stuffing and The Business of Things and Opinion Comments: 6 Comments |
|
Posted on 04.10.07 by Mike K @ 2:45 am
It’s not secret Sony doesn’t yet have the same market penetration as the 360. So as a developer looking at ones options, Sony’s Bluray+Cell monster isn’t quite the most attractive choice yet. And what we consider a Live Arcade title as far as complexity, is a retail game on the Wii or DS. There’s a number of technical reasons why cross developing for Wii and DS is a headache (memory, ridiculously different polygon limits, gba graphics hardware, interfaces, …). But the PSP is to the PS3 what on board video is to a modern NVidia or ATI card. It’s usable. You’ll have to lower details everywhere to fit within your 2MB+32MB restrictions, but there’s enough commonalities you can safely cross develop. And it’s already happening. Lemmings, the classic Psygnosis game. Available in both the PS3 marketplace, and for the PSP. Grip Shift, a great stunt racing game. Available in both the PS3 marketplace, and for the PSP. Oh by the way, #1 baby! Of course, without NPD numbers, I have no clue if this strategy has worked for the above games. For that matter, I’m not even sure budget PSP games sell well (Platypus?). I found GripShift in the equivalent of the bargain bin at a grocery store for $15, and have the sneaky suspicion it hit the market as a PSP game long before the PS3 marketplace. Technically speaking, if you’re coding with the PSP in mind, then porting or cross developing for the PS3 should be straight forward (compared to Wii + DS). In theory, a 3GHz PPC should be able to handle the workload of a 200-333mhz MIPS. You still have your standard issues of developer + publisher + royalties relationship to consider for the PSP side. But what makes this interesting is that you can have an alternate revenue source for your game. And if you self fund, there’s more power to you as far as royalties. So as long as you’re not silly enough to still be playing the revolutionary graphics game, you can pull a Lemmings. One of the more unfortunate aspects for developers going downloadable is the lack of boxed game, to mount and show off. I know, it’s a novelty, but there’s something really positive about holding the CD, box or cart in your hand. Microsoft has code cards where you pull a tab back, and enter it in to redemption box in the marketplace. The only problem is I’ve only seen these included with the Arcade Joystick (it’s crap, don’t buy it). As well, they have Live Arcade game compilations every so often, but with the marketplace filling up, your chances of making the next compilation are becoming slimmer and slimmer. Going PS3+PSP gets you something. So is that a selling feature to go Sony? Perhaps, perhaps not. I’m just rambling. Filed under: Stuffing and The Business of Things and Technobabble Comments: None |
|
Posted on 03.27.07 by Mike K @ 10:54 am
Lets try a little experiment. (Try to) read this. Sykhronics Entertainment Anyone that’s followed my work probably won’t be miffed by that mean looking first word. But if you stuck around, you stuck around for my work, not my clever name. You probably have your own pronunciation of it too. I’ve certainly heard some interesting ones from telemarketers that whois’d my domains for a phone number. Lets see if we are thinking the same thing. Here’s me saying it. How did we do? Drop me a comment. That crazy invented word “Sykhronics” is something I came up with some 9 years ago, in 1998 I believe. At the time, Gamma Flare Games just didn’t seem cool anymore. It’s been a branding for personal productions, and when I started my own company, it became my company name. Having worked under the branding for so many years, I never really thought about it twice. I simply saw that registering it as a business was the next logical step. Oh, and it has a silent “H”. Whodathunk. To me, the name sounds (sounded?) cool. Kinda like a bastardization of Psi or psyche and electronics. Brain or mind technology, or something. Growing up a nerd, you tend not to be the cool kid, so you invent your own cool. But you see, I was generally oblivious to the idea that difficult names are hard to say. You see, I have another difficult name to deal with. My own last name. Kasprzak. Spell check likes to tell me that I spelled Kasparov wrong. Here’s how my family says it. I’m sure the Polish have their own pronunciation, but this is the Canadianese bastardization my family and I use. There are pluses to obscure names. If it’s not too similar to anything people have heard before, then it becomes memorable. But that’s the trick. Lets take a fictional company, Muttant Games. Without a dog for a logo, you might miss the “Mutt” aspect. If you have any sort of comic or cartoon background, you probably see it as Mutant Games. But in fact, you were being clever, so your logo is a deformed dog thing. This is a pretty tame case. But lets hop over a more obscure. Xanyatkiera Industries. WTF!? It’s nearly as bad as one of those ridiculously bad sci-fi names with all the apostrophes (Nak’tyla’i of Zya’ka’dal’ee). If anything, I’m just trying to encourage people stay away from the obscure. That goes for character names too, not just companies. There’s something to be said for the clarity of phonetically consistent names. I don’t know about most people, but if I come across an Apostrophe Name, I tend to glare away and make something up that matches the apostrophe pattern. That’s bad for storytelling, as it’s a strike against your immersion. My apologies to the lizard people and aliens that do have them in their names, but you can find an adaptation that’ll please everyone if you try. Spaces, extra e’s, whatever. Back to companies, picking a name that’s available in .com form is ideal, since it’ll only cost you $8 to claim your professionalism. Obviously the more obscure you get, the better the chances it’s available. There’s a reason catfish.com is taken, but fishycat.com isn’t (*yoink*). Names are important. Just a few a things things to consider, before you end up beginning every business meeting with the pronunciation game. Filed under: Stuffing and The Business of Things and Technobabble Comments: None |
| « newer posts | previous posts » |







