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 ?

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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.

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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%.

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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.

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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.

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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.

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Flanders and the games industry

I’m having a meeting this afternoon at the Flemish ministry of innovation where they’ll tell my colleague developers and me how they intend to support the local games industry.

The local games industry of course is almost non-existent over here as our socio-economic climate is extremely hostile to the kind of thing we do. High labour taxes, necessary to finance a defunct and inefficient social system, together with good supportive measures for stimulating the games industry in neighboring countries, have made this place probably the worst possible to run a game development studio from.

I once calculated that my average cost per employee is the same as that of a top AAA studio in the USA, except that over there access to investment cash is a lot easier. And don’t get me started on Canada!

I’m very curious to hear what they came up with. It’s a tradition here that the high costs are compensated through subsidies, which politically I disagree with, but economically find that I must use if I want to keep on making games and compete on the global market.

The best option for Larian really would be to move out of here, but local roots are important to us, so I really hope the package they’ll present makes economical sense. There’s so much talent here and it’s a shame to see it continuously leave the country.

 

Why so many developers close their doors

This post gets a bit technical, but if you ever need to deal with a publishing agreement, you need to be aware of the stuff that follows. Not enough developers  are !

I told you about a friend developer who had a 50% royalty rate on a game that cost 2MUS$ to create and that sold over 500K units. I tried guessing how much money my friend developer received from the game. (Note that the numbers have been simplified for making my case and preventing identification of who I’m talking about, but the message stays the same.)

The game retailed at 49US$ so the price in wholesale must’ve been something around 39US$, meaning that on 100K units, 3.9MUS$ revenue would be generated.

Of those 3.9MUS$, the publisher could reasonably argue about 1.5MUS$ in costs, split over such esoteric goodies like sales cost, MDF, marketing, logistics, freight, first party royalty(it was a console title), dry goods & assembly.

That left 2,4MUS$ profit.

Since over 500K units were sold, in theory there was 12MUS$ in profit, but obviously some further price reductions needed to be taken into account, so let’s say they made 10MUS$ .

Of that 10MUS$, I guessed my developer friend should get 5MUS$, but since he signed what’s called an advance versus royalty deal, the 2MUS$ he received for development should be subtracted from the 5MUS$.

That meant he should get 3MUS$.

But he got nothing.

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