The document discusses the various roles involved in game development. It notes that while developers are important, game development requires a team with different specialized roles including designers, artists, producers, testers, and others to support the business operations. It emphasizes that most game development work is done by teams rather than individuals, and that many developers take on multiple roles over the course of their careers.

1. GameDev 2
Our Role in Development

2. Who’s Your Favourite Dev?
2

3. Who’s Your Favourite Dev?
3

4. Who’s Your Favourite Dev?
4

5. Who’s Your Favourite Dev?
5

6. Reality Check
6

7. Reality Check
7

8. Reality Check
• 99.9% of the industry are unloved, uncelebrated and
under appreciated.
7

9. Reality Check
• 99.9% of the industry are unloved, uncelebrated and
under appreciated.
• Geek equivalent of Hollywood in this respect.
7

10. Reality Check
• 99.9% of the industry are unloved, uncelebrated and
under appreciated.
• Geek equivalent of Hollywood in this respect.
• Welcome aboard!
7

11. What is GameDev?
8

12. What is GameDev?
• We talked last session about how we could think
about games differently in order to better define
what we wanted to make.
8

13. What is GameDev?
• We talked last session about how we could think
about games differently in order to better define
what we wanted to make.
• This session, we’re going to do the same for the
development process
8

14. GameDev Myths
9

15. GameDev Myths
• With few exceptions, game development is not a
one-man process.
9

16. GameDev Myths
• With few exceptions, game development is not a
one-man process.
• Ideas are the easy part, executing them is much
harder.
9

17. GameDev Myths
• With few exceptions, game development is not a
one-man process.
• Ideas are the easy part, executing them is much
harder.
• Nobody starts out as Will Wright.You have to work
your way up to the top.
9

18. GameDev Teams
10

19. GameDev Teams
• Games are made by teams.
10

20. GameDev Teams
• Games are made by teams.
• Different sizes of team create different types of
game
10

21. GameDev Teams
• Games are made by teams.
• Different sizes of team create different types of
game
• Small teams might work on iOS games
10

22. GameDev Teams
• Games are made by teams.
• Different sizes of team create different types of
game
• Small teams might work on iOS games
• You won’t make a AAA blockbuster without some
serious manpower to make it happen
10

23. GameDev Teams
• Games are made by teams.
• Different sizes of team create different types of
game
• Small teams might work on iOS games
• You won’t make a AAA blockbuster without some
serious manpower to make it happen
• A team has to be made of different types of people
10

24. GameDev Teams
11

25. GameDev Teams
• Broadly there are five primary classes for Game
Developers
11

26. GameDev Teams
• Broadly there are five primary classes for Game
Developers
‣ Producers
11

27. GameDev Teams
• Broadly there are five primary classes for Game
Developers
‣ Producers
‣ Designers
11

28. GameDev Teams
• Broadly there are five primary classes for Game
Developers
‣ Producers
‣ Designers
‣ Developers
11

29. GameDev Teams
• Broadly there are five primary classes for Game
Developers
‣ Producers
‣ Designers
‣ Developers
‣ Artists
11

30. GameDev Teams
• Broadly there are five primary classes for Game
Developers
‣ Producers
‣ Designers
‣ Developers
‣ Artists
‣ Quality Assurance
11

31. Developers
12

32. Developers
• The people who make the game happen
12

33. Developers
• The people who make the game happen
• These are the guys who need to be able to code
everything that is going to take place
12

34. Developers
• The people who make the game happen
• These are the guys who need to be able to code
everything that is going to take place
• Often forget that Game Development is bigger than
Game Developers
12

35. Advanced Developers
13

36. Advanced Developers
• Lots of specialisation options for developers
13

37. Advanced Developers
• Lots of specialisation options for developers
‣ AI, Graphics, Networking, Gameplay, Audio
13

38. Advanced Developers
• Lots of specialisation options for developers
‣ AI, Graphics, Networking, Gameplay, Audio
• Also a range of non-obvious specialisation
13

39. Advanced Developers
• Lots of specialisation options for developers
‣ AI, Graphics, Networking, Gameplay, Audio
• Also a range of non-obvious specialisation
‣ E.g. Tools developer
13

40. Designers
14

41. Designers
• Designers are broadly the people who specify how
the game is played.
14

42. Designers
• Designers are broadly the people who specify how
the game is played.
• Tend to deal more in concepts than nuts and bolts
of implementation
14

43. Designers
• Designers are broadly the people who specify how
the game is played.
• Tend to deal more in concepts than nuts and bolts
of implementation
• Designers are often not tied to a specific medium
14

44. Designers
• Designers are broadly the people who specify how
the game is played.
• Tend to deal more in concepts than nuts and bolts
of implementation
• Designers are often not tied to a specific medium
‣ A good game designer can create a board game or a
computer game
14

45. Advanced Designer
Classes
15

46. Advanced Designer
Classes
• Many different specialist options for designers
15

47. Advanced Designer
Classes
• Many different specialist options for designers
‣ Interface Designer, Narrative Designer, Level Designer,
Combat Designer etc.
15

48. Artists
16

49. Artists
• As Computer Scientists its easy to overlook the
contribution of artists.
16

50. Artists
• As Computer Scientists its easy to overlook the
contribution of artists.
‣ After all, what’s important is how A and B interact not
what they look like?
16

51. Artists
• As Computer Scientists its easy to overlook the
contribution of artists.
‣ After all, what’s important is how A and B interact not
what they look like?
• So much of the game is displayed visually to the
player that art
16

52. Artists
• As Computer Scientists its easy to overlook the
contribution of artists.
‣ After all, what’s important is how A and B interact not
what they look like?
• So much of the game is displayed visually to the
player that art
• Artists set the tone for your game
16

53. Artists
• As Computer Scientists its easy to overlook the
contribution of artists.
‣ After all, what’s important is how A and B interact not
what they look like?
• So much of the game is displayed visually to the
player that art
• Artists set the tone for your game
• Good (or stylistic) art can make or break a game
16

54. Advanced Artists
17

55. Advanced Artists
• Many many different types of artist might be
required to work on a project
17

56. Advanced Artists
• Many many different types of artist might be
required to work on a project
‣ Concept artists
17

57. Advanced Artists
• Many many different types of artist might be
required to work on a project
‣ Concept artists
‣ Texture artists
17

58. Advanced Artists
• Many many different types of artist might be
required to work on a project
‣ Concept artists
‣ Texture artists
‣ 3D Modeller
17

59. Advanced Artists
• Many many different types of artist might be
required to work on a project
‣ Concept artists
‣ Texture artists
‣ 3D Modeller
‣ Animator
17

60. Advanced Artists
• Many many different types of artist might be
required to work on a project
‣ Concept artists
‣ Texture artists
‣ 3D Modeller
‣ Animator
‣ Audio (not strictly art but related)
17

61. Advanced Artists
• Many many different types of artist might be
required to work on a project
‣ Concept artists
‣ Texture artists
‣ 3D Modeller
‣ Animator
‣ Audio (not strictly art but related)
• Very different skills required for each of these.
17

62. “Programmer Art”
18

63. “Programmer Art”
• Programmer Art is a special type of art created by
programmers
18

64. “Programmer Art”
• Programmer Art is a special type of art created by
programmers
• Generally it is used as a placeholder so that the
programmer can move things around and test code
18

65. “Programmer Art”
• Programmer Art is a special type of art created by
programmers
• Generally it is used as a placeholder so that the
programmer can move things around and test code
• Do NOT get attached to placeholder art you made
18

66. QA Testers
19

67. QA Testers
• When you have a game that is playable, it’s time to
bring in the testers to see if it actually is playable
19

68. QA Testers
• When you have a game that is playable, it’s time to
bring in the testers to see if it actually is playable
• Testers will be playing the game non-stop
19

69. QA Testers
• When you have a game that is playable, it’s time to
bring in the testers to see if it actually is playable
• Testers will be playing the game non-stop
‣ Finding issues and reporting them
19

70. QA Testers
• When you have a game that is playable, it’s time to
bring in the testers to see if it actually is playable
• Testers will be playing the game non-stop
‣ Finding issues and reporting them
‣ Retesting when a fix is applied
19

71. QA Testers
• When you have a game that is playable, it’s time to
bring in the testers to see if it actually is playable
• Testers will be playing the game non-stop
‣ Finding issues and reporting them
‣ Retesting when a fix is applied
• Testing is a really really soul destroying gig
19

72. QA Testers
• When you have a game that is playable, it’s time to
bring in the testers to see if it actually is playable
• Testers will be playing the game non-stop
‣ Finding issues and reporting them
‣ Retesting when a fix is applied
• Testing is a really really soul destroying gig
‣ http://trenchescomic.com/
19

73. Bug-hunting vs Focus
Testing
20

74. Bug-hunting vs Focus
Testing
• You can test to try to work all the kinks out of a
game.
20

75. Bug-hunting vs Focus
Testing
• You can test to try to work all the kinks out of a
game.
‣ Try odd things, ensure it doesn’t break under certain
conditions etc
20

76. Bug-hunting vs Focus
Testing
• You can test to try to work all the kinks out of a
game.
‣ Try odd things, ensure it doesn’t break under certain
conditions etc
• You can can also test to try to get the balance right
and make sure people perceive the game the way
that you do.
20

77. Bug-hunting vs Focus
Testing
• You can test to try to work all the kinks out of a
game.
‣ Try odd things, ensure it doesn’t break under certain
conditions etc
• You can can also test to try to get the balance right
and make sure people perceive the game the way
that you do.
‣ Easy on a months/years long project to lose objectivity
20

78. QA as a Break-In Gig
21

79. QA as a Break-In Gig
• QA is often seen as a great place to start
21

80. QA as a Break-In Gig
• QA is often seen as a great place to start
• Once you’re working for the company, you’ll get
promoted to a position on the development team
21

81. QA as a Break-In Gig
• QA is often seen as a great place to start
• Once you’re working for the company, you’ll get
promoted to a position on the development team
‣ .....right?
21

82. QA as a Break-In Gig
• QA is often seen as a great place to start
• Once you’re working for the company, you’ll get
promoted to a position on the development team
‣ .....right?
• It’s not unheard of, but it’s by no means guaranteed
21

83. Producer
22

84. Producer
• Producer is a bit of a nebulous term that
encapsulates a lot of ideas
22

85. Producer
• Producer is a bit of a nebulous term that
encapsulates a lot of ideas
• Producers are not necessarily team managers, but
they do manage the team
22

86. Producer
• Producer is a bit of a nebulous term that
encapsulates a lot of ideas
• Producers are not necessarily team managers, but
they do manage the team
• Think of Producers as a combination of
22

87. Producer
• Producer is a bit of a nebulous term that
encapsulates a lot of ideas
• Producers are not necessarily team managers, but
they do manage the team
• Think of Producers as a combination of
‣ Manager
22

88. Producer
• Producer is a bit of a nebulous term that
encapsulates a lot of ideas
• Producers are not necessarily team managers, but
they do manage the team
• Think of Producers as a combination of
‣ Manager
‣ Fixer
22

89. Producer
• Producer is a bit of a nebulous term that
encapsulates a lot of ideas
• Producers are not necessarily team managers, but
they do manage the team
• Think of Producers as a combination of
‣ Manager
‣ Fixer
‣ Mum
22

90. Corporate Roles
23

91. Corporate Roles
• Lots of ancillary roles as part of a business that
aren’t strictly part of gamedev but support it
23

92. Corporate Roles
• Lots of ancillary roles as part of a business that
aren’t strictly part of gamedev but support it
‣ Not just accounting/payroll - marketing, community
management etc.
23

93. Corporate Roles
• Lots of ancillary roles as part of a business that
aren’t strictly part of gamedev but support it
‣ Not just accounting/payroll - marketing, community
management etc.
• Within a large corporate environment you don’t
need to be so aware of these
23

94. Corporate Roles
• Lots of ancillary roles as part of a business that
aren’t strictly part of gamedev but support it
‣ Not just accounting/payroll - marketing, community
management etc.
• Within a large corporate environment you don’t
need to be so aware of these
‣ Smaller teams will have to fill them from the gamedevs
23

95. Multiclassing
24

96. Multiclassing
• It’s totally valid to be a multi-class gamedev
24

97. Multiclassing
• It’s totally valid to be a multi-class gamedev
• Some specific terms exist for this already
24

98. Multiclassing
• It’s totally valid to be a multi-class gamedev
• Some specific terms exist for this already
‣ Technical Artist - Artist with programming knowledge
24

99. Multiclassing
• It’s totally valid to be a multi-class gamedev
• Some specific terms exist for this already
‣ Technical Artist - Artist with programming knowledge
• Often helps for you to have some experience in
multiple areas
24

100. Multiclassing
• It’s totally valid to be a multi-class gamedev
• Some specific terms exist for this already
‣ Technical Artist - Artist with programming knowledge
• Often helps for you to have some experience in
multiple areas
‣ Helps you understand the problems others will face
24

101. Multiclassing
• It’s totally valid to be a multi-class gamedev
• Some specific terms exist for this already
‣ Technical Artist - Artist with programming knowledge
• Often helps for you to have some experience in
multiple areas
‣ Helps you understand the problems others will face
‣ How best to structure your own work to make life easy
24

102. Multiclassing
• It’s totally valid to be a multi-class gamedev
• Some specific terms exist for this already
‣ Technical Artist - Artist with programming knowledge
• Often helps for you to have some experience in
multiple areas
‣ Helps you understand the problems others will face
‣ How best to structure your own work to make life easy
• Particularly true for Producers and corporate roles
24

103. Me
25

104. Me
• My background is in scientific AI
25

105. Me
• My background is in scientific AI
• Transitioned to games in the past few years
25

106. Me
• My background is in scientific AI
• Transitioned to games in the past few years
• Right now I’m working on several projects
25

107. Me
• My background is in scientific AI
• Transitioned to games in the past few years
• Right now I’m working on several projects
‣ Bubble - AI and Gameplay Programmer
25

108. Me
• My background is in scientific AI
• Transitioned to games in the past few years
• Right now I’m working on several projects
‣ Bubble - AI and Gameplay Programmer
‣ Robot Overlord Games - All roles
25

109. Me
• My background is in scientific AI
• Transitioned to games in the past few years
• Right now I’m working on several projects
‣ Bubble - AI and Gameplay Programmer
‣ Robot Overlord Games - All roles
• I often find myself in a Production-esque role
25

110. Me
• My background is in scientific AI
• Transitioned to games in the past few years
• Right now I’m working on several projects
‣ Bubble - AI and Gameplay Programmer
‣ Robot Overlord Games - All roles
• I often find myself in a Production-esque role
‣ Such as now, facilitating you guys
25

111. Me
• My background is in scientific AI
• Transitioned to games in the past few years
• Right now I’m working on several projects
‣ Bubble - AI and Gameplay Programmer
‣ Robot Overlord Games - All roles
• I often find myself in a Production-esque role
‣ Such as now, facilitating you guys
• Class - Programmer/Producer (hint of Design)
25

112. Will Wright
26

113. Will Wright
• First game (Raid on Bungeling Bay, 1984) contained a
relatively accurate (for the time) simulation of a city
26

114. Will Wright
• First game (Raid on Bungeling Bay, 1984) contained a
relatively accurate (for the time) simulation of a city
• Level editor for that became the basis for Sim City
26

115. Will Wright
• First game (Raid on Bungeling Bay, 1984) contained a
relatively accurate (for the time) simulation of a city
• Level editor for that became the basis for Sim City
‣ Intended as something that would appeal to urban
planners, not expected to be a smash hit
26

116. Will Wright
• First game (Raid on Bungeling Bay, 1984) contained a
relatively accurate (for the time) simulation of a city
• Level editor for that became the basis for Sim City
‣ Intended as something that would appeal to urban
planners, not expected to be a smash hit
• Each game draws inspiration from science and life
26

117. Will Wright
• First game (Raid on Bungeling Bay, 1984) contained a
relatively accurate (for the time) simulation of a city
• Level editor for that became the basis for Sim City
‣ Intended as something that would appeal to urban
planners, not expected to be a smash hit
• Each game draws inspiration from science and life
‣ “The world is incredibly compelling, if presented the right way”
26

118. Will Wright
• First game (Raid on Bungeling Bay, 1984) contained a
relatively accurate (for the time) simulation of a city
• Level editor for that became the basis for Sim City
‣ Intended as something that would appeal to urban
planners, not expected to be a smash hit
• Each game draws inspiration from science and life
‣ “The world is incredibly compelling, if presented the right way”
• Class - Designer (Producer/Programmer)
26

119. Peter Molyneux
27

120. Peter Molyneux
• First game bombed (Entrepreneur, 1984)
27

121. Peter Molyneux
• First game bombed (Entrepreneur, 1984)
• Left the industry to set up Taurus Impex Ltd
27

122. Peter Molyneux
• First game bombed (Entrepreneur, 1984)
• Left the industry to set up Taurus Impex Ltd
• By chance Commodore offered him free Amigas
27

123. Peter Molyneux
• First game bombed (Entrepreneur, 1984)
• Left the industry to set up Taurus Impex Ltd
• By chance Commodore offered him free Amigas
‣ Actually thought they were dealing with TORUS
27

124. Peter Molyneux
• First game bombed (Entrepreneur, 1984)
• Left the industry to set up Taurus Impex Ltd
• By chance Commodore offered him free Amigas
‣ Actually thought they were dealing with TORUS
• Went on to invent the God genre
27

125. Peter Molyneux
• First game bombed (Entrepreneur, 1984)
• Left the industry to set up Taurus Impex Ltd
• By chance Commodore offered him free Amigas
‣ Actually thought they were dealing with TORUS
• Went on to invent the God genre
• Credited as a programmer one time since 1994
27

126. Peter Molyneux
• First game bombed (Entrepreneur, 1984)
• Left the industry to set up Taurus Impex Ltd
• By chance Commodore offered him free Amigas
‣ Actually thought they were dealing with TORUS
• Went on to invent the God genre
• Credited as a programmer one time since 1994
‣ Black and White, 2001
27

127. Peter Molyneux
• First game bombed (Entrepreneur, 1984)
• Left the industry to set up Taurus Impex Ltd
• By chance Commodore offered him free Amigas
‣ Actually thought they were dealing with TORUS
• Went on to invent the God genre
• Credited as a programmer one time since 1994
‣ Black and White, 2001
• Class - Designer/Programmer
27

128. The Dark Side
28

129. The Role of the Publisher
29

130. The Role of the Publisher
• 10 years ago, publishers filled an important and
necessary role
29

131. The Role of the Publisher
• 10 years ago, publishers filled an important and
necessary role
‣ Getting your product out to people
29

132. The Role of the Publisher
• 10 years ago, publishers filled an important and
necessary role
‣ Getting your product out to people
• Essentially Publishers are investors and business
partners
29

133. The Role of the Publisher
• 10 years ago, publishers filled an important and
necessary role
‣ Getting your product out to people
• Essentially Publishers are investors and business
partners
‣ You’re selling the promise of sales in the future for
investment upfront and access to publisher resources like
marketing
29

134. Self-Publishing
30

135. Self-Publishing
• In the current climate, self-publishing is plausible
30

136. Self-Publishing
• In the current climate, self-publishing is plausible
• Mobile marketplaces, XBLIG and Steam make it easy
to distribute to target audience
30

137. Self-Publishing
• In the current climate, self-publishing is plausible
• Mobile marketplaces, XBLIG and Steam make it easy
to distribute to target audience
‣ Still require the middle-men, but much less invasive
30

138. Self-Publishing
• In the current climate, self-publishing is plausible
• Mobile marketplaces, XBLIG and Steam make it easy
to distribute to target audience
‣ Still require the middle-men, but much less invasive
• Minecraft proved it’s still possible to distribute
without middle-men, just a website
30

139. Self-Publishing
• In the current climate, self-publishing is plausible
• Mobile marketplaces, XBLIG and Steam make it easy
to distribute to target audience
‣ Still require the middle-men, but much less invasive
• Minecraft proved it’s still possible to distribute
without middle-men, just a website
‣ Probably the exception not the rule
30

140. Funding
31

141. Funding
• If you’re self-publishing you lose upfront investment
31

142. Funding
• If you’re self-publishing you lose upfront investment
• Can you support development of the game?
31

143. Funding
• If you’re self-publishing you lose upfront investment
• Can you support development of the game?
‣ Do you need to, or is it just a part-time effort?
31

144. Funding
• If you’re self-publishing you lose upfront investment
• Can you support development of the game?
‣ Do you need to, or is it just a part-time effort?
• New options becoming available
31

145. Funding
• If you’re self-publishing you lose upfront investment
• Can you support development of the game?
‣ Do you need to, or is it just a part-time effort?
• New options becoming available
‣ Crowdsourced funding e.g. Doublefine Adventure
31

146. Funding
• If you’re self-publishing you lose upfront investment
• Can you support development of the game?
‣ Do you need to, or is it just a part-time effort?
• New options becoming available
‣ Crowdsourced funding e.g. Doublefine Adventure
- Need reputation or something to generate confidence
31

147. Funding
• If you’re self-publishing you lose upfront investment
• Can you support development of the game?
‣ Do you need to, or is it just a part-time effort?
• New options becoming available
‣ Crowdsourced funding e.g. Doublefine Adventure
- Need reputation or something to generate confidence
‣ Paid beta e.g. Minecraft
31

148. Funding
• If you’re self-publishing you lose upfront investment
• Can you support development of the game?
‣ Do you need to, or is it just a part-time effort?
• New options becoming available
‣ Crowdsourced funding e.g. Doublefine Adventure
- Need reputation or something to generate confidence
‣ Paid beta e.g. Minecraft
- Confidence still an issue
31

149. Summary (Today)
32

150. Summary (Today)
• Today we’ve talked more about where you as an
individual fit into the development process
32

151. Summary (Today)
• Today we’ve talked more about where you as an
individual fit into the development process
• We’ve discussed the kinds of roles that you will end
up working with and what they bring to the table
32

152. Summary (Today)
• Today we’ve talked more about where you as an
individual fit into the development process
• We’ve discussed the kinds of roles that you will end
up working with and what they bring to the table
• Talked about blending roles, mixing skillsets to
create “multiclass” Game Developers
32

153. Summary (Today)
• Today we’ve talked more about where you as an
individual fit into the development process
• We’ve discussed the kinds of roles that you will end
up working with and what they bring to the table
• Talked about blending roles, mixing skillsets to
create “multiclass” Game Developers
• Touched briefly on the role of publishers
32

154. Summary (So Far)
33

155. Summary (So Far)
• We now can talk about what kinds of games we are
going to be making
33

156. Summary (So Far)
• We now can talk about what kinds of games we are
going to be making
• We can also talk about what kinds of roles we’d like
to take on
33

157. Summary (So Far)
• We now can talk about what kinds of games we are
going to be making
• We can also talk about what kinds of roles we’d like
to take on
• We’re better equipped to start thinking about
making games and dealing with the issues that will
come up
33

158. Admin
34

159. Admin
• No meeting for at least 2 weeks due to GDC
34

160. Admin
• No meeting for at least 2 weeks due to GDC
• Provisionally, next meeting 19th March
34

161. Admin
• No meeting for at least 2 weeks due to GDC
• Provisionally, next meeting 19th March
• Hopefully that one will finally be hands-on!
34