One of the problems we’ve been struggling with is how to communicate what Dragon Commander is all about, given that it’s a genre-buster blending RPG, strategy and action gameplay. And suddenly, out of the blue, somebody sends me a mail that captures the feeling we’re trying to create. It was so spot on that I wanted to share it with you:
The pirate in me
I’m ambivalent about the entire crusade against pirates thing. Every now and then it’s it’s an issue that gets claimed by some publisher because of some new technology that gives them the illusion they’ll finally be able to stop it. Eventually it boomerangs in their face, and they go hush about this issue. If they care, some poor community manager is then appointed to deal with the consumer backlash, and some other publisher pops on the scene, declaring the war on pirates, and the cycle starts all over.
And now we have CD Projekt - first they make a lot of noise about the fact that their games are DRM free and that publishers that enforce DRM are idiots ( DRM stands for Digital Rights Management, a fancy word for anti-piracy measures) Now the same CD Projekt makes it back into the press because they hired one of those one-stop-shop lawfirms that promise to use the full force of the law to hunt down those that make illegal copies of their games, imposing a fine which from what I heard is approximately 40 times the revenue they’d get from an ordinary sale.
As an executive having to pay my employees every month, I understand the reasoning behind wanting to maximize revenue as it costs a lot to make these games. I also understand the business logic – if only 10% of those addressed by those lawyers pay out of fear for the court, the revenue multiplication factor of 40 makes it worthwhile. And it communicates the message to the public that is susceptible to these kinds of threats that pirating their products can bring them in trouble.
But that doesn’t mean I’m pro-DRM. You see, I wouldn’t be in this industry if it wouldn’t be for the abundance of copied games I played when I was a teenager. I built up most of my gameplay instincts playing those games, and being a slow learner, it took a lot of games, some of them being very bad.
Adios 2011, Bonjour 2012
Every year around this time we get an onslaught of X-mas cards in our mailbox, and realize that it’d be impolite not to return fire. Artists duck as I search for a volunteer and lead artists come tell me exactly how their schedule will be affected if I dare draft someone for X-mas card duty, yet each year I manage to find a new victim. This year, surprisingly, it was a Larian veteran who managed to get the job – you would think he’d know all the evasive maneuvers by now – but somehow he got cornered and was offered two options – do it or do it. Being a veteran, he did it quite fast however, and so well that I think he’ll be allowed a second term next year
This is going to be my last post for the year as I’m off for a holiday together with my family, but before going, here’s a bit of musings about how 2011 treated my studio & me.
The cost of dialogue in games
I’m sitting with an egg. That probably doesn’t mean a lot to you, but it’s a popular Flemish expression for ‘something’s bothering me’. We say – “ik zet met een ei”
The egg of it is that we’ve been making some fuzz about all the choices and consequences in Dragon Commander. Right now however, all these choices & consequences only exist as text. And now we need to find a cost-effective way of translating all that text into animated dialogue.
Obviously, we also want whatever dialogue animation we put in the game to be as good as possible, so everybody’s saying – have you seen LA Noire ? And I say, yeah I’ve seen it.
Then I think of Divinity II -the Ego Draconis part, remembering that the voice recordings, lip-synchronization and associated dialogue animations required an intense piece of work, so I ask Benoit, the producer who was responsible for that , exactly how much voice did we have ?
Politics and games – worth the risk?
For quite some time, the team @ Larian has been showing remarkable constraint in the content they put in our games. Years of working with external producers telling them that you can’t say this, you can’t do that, be careful no to offend this group etc… have conditioned them to be … nice. Which is strange, as that’s actually quite counterintuitive for them
Now don’t get me wrong, they are a nice bunch, but occasionally you will hear comments that are inflammatory enough to ignite the fires of indignation in a broad part of society. The funny thing is that it’s just their sense of humor, and they don’t mean anything bad by it, but as we’ve learnt over the course of the years, humor is very relative and you need to be careful if you’re releasing your games worldwide. At least, that’s the common doctrine.
So now we’re making Dragon Commander, and one of the things we’re trying to do with that game is putting recognizable real world situations in a fantasy context. The game contains a RPG part that’s all about choice and consequence, and the idea is that you have to decide as a ruler how you want to organize the societies in the lands you’ve captured. That means you need to make political decisions, so we figured it’d be cool if we filled the game with situations that are very similar to the things we read in our newspapers every day.
Tricks of the trade
One of the reasons I write here is to share information that can prevent developers making mistakes their colleagues made, and also to illustrate to players why developers so often look like poor farmers in a rich agriculture industry. Occasionally, whenever I remember one, I’ll try to write about a situation in which the roles were reversed, and the developer actually deserves to go to the inferno (though typically with the publisher in his slipstream
)
One such story is that of a major AAA publisher refusing to pay a minimum guarantee in a finished goods deal (i.e. they guaranteed to pay a fixed amount for a certain amount of units). Sales weren’t as good as hoped for, mainly due to poor reviews. Personally, I thought the game was a piece of @@@@ but that’s beside the point , and no, it’s not one of mine
Since sales weren’t good, the publisher refused to pay the minimum guarantee. They claimed that the product wasn’t up to scratch (where I have to admit they really had a point), citing meta-critic reviews which averaged exactly 60%.
The publisher takes all the risk and other lies
A reply to my piece about “Why so many developers close their doors” explicitly contained one of the big myths about publisher-developer relations i.e. that the publisher takes all the risk.
I’d like to argue that actually it’s the developer that takes the highest risks and that a lot of publishers happily use the “we take all the risk” argument to squeeze developers into deals they shouldn’t be signing in the first place.
This is a big topic and I can write a book or two about it, so be aware that my arguments here miss nuance.
My friday
People sometimes ask me what I do on a day – well, here’s a snapshot. I can guarantee you that if I’ll do the same on monday, it’ll be very different which is what I love about my job.
Today was very educational, literally – this morning started with our minister of innovation Ingrid Lieten announcing the G@S project to the press which stands for Gaming At School. At the same time, all parties active in the project (for which I’m acting as a project lead) were having the kick off meeting. The aim of G@S is to democratize educational games – what that means in practice you’ll see when G@S is finished but we have ambitious goals – after all, a couple of million US$ are being pumped into the project, so it might as well be ambitious.
There was an awkward moment during the G@S meeting were I burst out laughing when one of the project partners inadvertently managed to mix the words “I work on Gas” and “I work for a certain mr Balloon” in the same conversation, very seriously and completely unaware of the effect it was going to have on me. I couldn’t stop laughing and I hope I didn’t offend both him and mister Balloon. Just writing it makes me smile, and I know it’s bad of me. Mr Balloon must be sick and tired of all the jokes around his name, but in my defense, I’m a game developer, so it doesn’t take a lot to get my imagination going.
A book I need to buy
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OnLive available on mobile
http://www.next-gen.biz/news/onlive-hits-mobile-devices
I like OnLive – seriously, I really like it. If streaming of quality games really breaks through, it might be just the thing we need to make games truly mass market.
If you don’t know what OnLive is, try our game there. Pretty amazing stuff considering everything that is required to make this a reality.
http://play.onlive.com/launch/trial/divinity-ii-the-dragon-knight-saga
The risk is of course that they’re on the market too soon, and that the necessary infrastructure won’t be in place when it needs to be. Judging from my first royalty reports from OnLive for a game that wasn’t even really adapted to the platform, there’s definitely a market there.



