#gcap

There were three introductions, all about How Great The Melbourne Games Scene Is and how Everyone Is Friends And Awesome.

Keynote: Steve Gaynor and Karla Zimonya from Fullbright Games: The names didn't mean much to me but then I realised THEY'RE THE PEOPLE WHO MADE GONE HOME AND TACOMA :D

The theme of GCAP this year is The Ripple Effect, and the theme of this talk was how people connect and affect each other.

Steve and Karla met as part of the team for Bioshock 2. Karla was a researcher, and Steve a level designer, and when they were in those roles they didn't interact. But they both finished their assigned tasks and asked around for other things that needed doing, which led them both to the massive task of writing all the little bits of extra dialogue around things like what enemies say when they attack, flavour text on objects, optional little stories told through random audio diaries etc. They made a great team (Steve as writer and Karla as editor) and got really into it. I think you can totally see how this grew into their later approach to games.

The company 2KMoran being willing to let them develop like this was part of them being a good company, with many ex-employees who have gone on to make interesting games.

Steve then got to design his own DLC, and went I MUST BRING IN KARLA. And after they did that, and Bioshock 2 was done, they created Fullbright and started working on Gone Home.

At some point Steve encountered some cool Bioshock fanart and became mutuals with the artist on twitter. Since she was a lesbian, he asked her if she'd be up for discussing things to help with the game. She brought along her wife for an extra point of view. The wife turned out to be a 3D artist, and both of them ended up hired to work on the game.

David Gaider: Creating a World and Making it Stick

So this was like 50% general advice and 50% morality tale about the Hubris Of The Writer Who Thinks His Worldbuilding Stands Alone.

Basically he created all the basic Thedas worldbuilding by himself, then told the rest of the team, and worked with his writers, and never checked in to make sure the game worked as a whole until it was Far Too Late.

He was trying to create a relatively grounded, dark, realistic story...and the art team was making orcs and bikini armour. He had lore about the mages being too oppressed to learn offensive spells or do anything flashy in public, while the gameplay team was implementing fireballs, and specialisations like Reaver which were not connected to the worldbuilding at all. And by the time these incompatibilities became apparent everyone was committed and refused to budge. So the final game is a hodge podge of inconsistent parts that all make sense individually but don't fit together.

Now my general notes:

He scrawled out the original Thedas map on paper the same way he would for a D&D game (his original draft looked very Middle Earth-ish in style), expecting someone who knew geography would go through and fix the rivers at some point. They did not.

One lesson he learned is that you can't just throw pages of worldbuilding at people and expect them to both read and be engaged with it. You have to have a "razor", a short description of the core of the game, and make sure everyone understands what it is. Anything that doesn't fit the razor gets cut. For example, DA2 had themes of The Price of Freedom, Family, and All Things Change. And you have to sell them on why your worldbuilding elements are interesting, and what makes them cool. Once the art team understood what darkspawn were they got invested and redesigned them to not just be orcs.

Remember to feel: Don't just come up with the history of your city: what is it like to visit, is it loud and friendly and sunny or oppressively silent?

Pick your battles: choose the parts of your worldbuilding you really value and emphasise those, be willing to let the others go, especially if it’s to follow changes that make the game more fun. The game being fun is the final aim, your worldbuilding is just a tool to get there.

He got confused by his cursor a lot :)

One good thing about the DAO worldbuilding is that he didn't know where it would be set at first, so worked out all the history for everywhere, and that added lots of depth.

Names are the devil, totally subjective so everyone argues about them and hates any new suggestion. Many names for DAO were bandied about, like "Chronicle". He has a rule to never put Shadow, Dark or Blood in a list of possible names or the publishers will go THAT ONE.

His two rules: 1) People aren't allowed to complain about a name unless they have a better suggestion. 2) Wait six months. Chances are people will be used to it and not mind any more.

When the Grey Wardens were first suggested they were supposed to be pretty minor, based off the rangers in Tolkein. So they got named the White Rangers, but that was too similar, so White Wardens, but that wasn't morally grey enough, so: Grey Wardens! Which was fine until they turned out to be important, people suggested "cooler" names like Blood Knight Brotherhood/Lords of War/Disciples of Pain (not sure if he was joking) but he waited six months and took a vote and lo, the old name stuck.

Track your changes.

Have an elevator pitch (not the same as the razor) If you can't come up with one your concept needs work.

Question your biases. He was originally inspired by Middle Earth and D&D, and his own ideas of Medieval Europe...all of which are way too white. Some of this could be fixed in later games, but the world he created closed off a lot of possibilities (he didn't say any examples but I guess he meant, like, Africa and Asia equivalents)

When he took inspiration from Jews and Romani for the elves he thought he was being very clever, and only later realised that this created all sorts of unfortunate implications, since now anything that happens to elves seems like a statement about those cultures.

He was happily surprised to be able to include bi characters in DAO.

The writers were all pretty happy with how they'd handled gender in DAI, then the Voice Over person was like "why are the vast majority of our lines for men?" and they realised they'd all made most of their background characters men for no reason.

At the start it's hard to walk the line between a long, boring, exposition heavy intro, and players getting confused by lack of explanation. (It felt like he wished players would just be smarter lol) He said "If DAO had started at Ostagar then the PC's backstory would have felt irrelevant" which made me think "So like DAI?".

Players have to know why to care about an event before it happens, or the emotional reaction will fall flat.

When you introduce the first member of a group, they should be fairly typical so the player gets a feel for the default. For example, Sten is a pretty typical Qunari. Only after that can you introduce outliers like The Iron Bull.

Every main character the player interacts with (for a RPG, the party members) should represent a different interesting facet of the worldbuilding.

They didn't think DAO would get sequels, and thus had those wildly differing epilogues. He isn't sure he'd change letting the player died, since it was a cool moment. But it was certainly inconvenient to deal with later.

They had a rough idea of how the history of Thedas would continue after DAO "but no plan survives contact with the enemy, in this case I guess that's EA" loll

Having player decisions affect so much has been a bit of a nightmare.

Card tricks in the dark: if you do something clever and the player doesn't notice, it doesn't matter.

If the enemies drink potions and it's not obvious they're doing it, it just looks like the AI is cheating. If a choice affects the plot but this fact isn't made clear, players will just think that's how the plot always goes. Need to heavily lampshade that this is the consequence of that choice. And keeping track of all the possibilities gets ridiculous with characters like Alistair, who can be any one of dead/king/a drunk etc.

The players who DO pay attention to these changes tend to want way more reactivity than is practical. So nobody is impressed. And most new players found the save game editors confusing and off putting. He thinks perhaps it would be better to have a smaller number of major choices.

He's not going to judge other writers but the HUGE changes at the end of the Mass Effect trilogy mean they can now no longer set anything in that galaxy again.

Question time!

Something about the process leading to Krem being written. He talked about the bad stuff previously, and them realising they'd screwed up. A trans fan on the forums said "Could we have a trans character who isn't a sex worker or the butt of a joke?". They got jumped on, but the team read it and went "Oh."

Gaider wrote Maevaris in the comics, talked to a trans woman friend about it. One of the other writers was working on Kress...*audience shouts KREM* and he seemed a bit boring so he got made trans, since it added some interest and fitted in well with the worldbuilding about the Qun etc.It would have been better with a trans voice actor but they couldn’t find one.

What program is best for explaining stuff to the art team etc early on: Biowre had a sort of Grey Box level for playing through choices, but something like twine is good, just to test pacing. (not sure this actually answers the question asked)

Are there any genres you would like to work on but haven't: Yes :D :D But he can't tell us about it yet :D :D

He got sick of high fantasy after ten years. Would look longingly at Mass Effect sometimes just for a change but then they would implode and he'd think"Actually I'm fine".

Off the top of his head: Victorian London, finding husbands for your girlfriends while fighting zombies and also it's a Western?

Misc other things: I didn't make it to any more talks because Wheelchair, but met some cool people, and played some of the student games on display. My favourite was a time travel murder mystery called Lacuna where you have to connect clues. Apparently I was way better at it than most people :D I also actually enjoyed one of the puzzle platformers (I forget the name but it's about a little grumpy blue hexagon), which is a pretty big achievement.

GCAP is the fist half of Melbourne International Games Week where a bunch of game developers all come to Melbourne to talk about games and give conferences on all areas of game development and share their knowledge and experience with other game developers.

despite having some serious imposter syndrome I went in with my business cards in one hand and my note book in the other determined to make the most of the experience. 2 days later and I walk out with a note book full of notes, lots of ideas to work on and a bunch of contacts in the industry.

the theme of this years GCAP was the ‘ripple effect’ and how one thing will lead to another and another. I can already feel the effects of GCAP as I’m now more inspired then ever to make games and work hard so next year ill have something to show off. maybe even do a talk myself in a few years.

As a whole i managed to get around and meet some really cool people, and the talks were so inspirational. I’ll do my best to go through summaries of the talks that i went to over two days as a way for me to decompress my thoughts and take away’s from each. 

(A quick disclaimer, my notes were a bit haphazard in places so if i miss crediting anyone for a talk please let me know and i will update it) 

Opening Keynote  

After registration was the opening keynote got underway with Steve Gaynor and Karla Zimonja started us off a talk getting us thinking about this years theme, the ripple effect. The basic premise of which was about the connections you make in your life as a dev and how over time those connections turn into a network as those people scatter to the winds with their connection to you with them. 

Main take away’s

Make connections so that you can make connections that make connections.

Apply for jobs even if you think you aren't qualified as you never know where they can lead.

Nobody can do this by themselves, get help from your peers.

Design Hindsight's From Long Running Games

This was the first of the many design talks i was planning on going to in GCAP. Emilie Poissenot gave a fantastic speech about long running games or games as service as another way of putting it. It covered things like how documenting everything is ten times as important in games that you need to keep working on for five plus years and how the industry changes so quickly that it is impossible to plan for it, so plan that your plans won’t work.

Main take away’s

Plan for mistakes due to industry changes.

Readjust to those changes by making informed decisions with as much current relevant data as possible.

Creating A World And Making It Stick

Following on from one design talk to another this time with David Gaider talking about the creation of the Dragon Age universe and the pitfalls that it fell into. The talk was a very interesting look at what kind of diverging paths your team can naturally go down if you don’t touch base and make sure that your team is working on the same product. Again this talk went into the importance of documentation and how even if you have written an encyclopedia full of information, if you don’t have the cliff notes somewhere no one will read it.

Main take away’s

Don’t work in a bubble making assumptions about the work of others.

The lore and gameplay should serve into each other, they are not entirely separate things.

You are writing a guide for your team, not an encyclopedia.

You don’t get to decide what statements your decisions make. analyse what statements you could potentially be saying and ask yourself if you are okay with that.

Designing Ethical Interfaces

Onto a talk very close to my heart, accessibility. Alayna Cole and John Kane were fantastic in getting into the nitty gritty of the issues to do with not only what we traditionally think of as accessibility such as colourblind options, subtitles etc. But also the kind of accessibility options that not having push people away from your game such as representation of queer people in your media that when done poorly puts those people off of your game. It went in depth into how all of these things you should be talking to people that the options are for so as to make informed decisions on how they are implemented.

Main take away’s

There is no excuse for not thinking about accessibility for your game

Act early, with language especially as there are many design impacts that easy to implement early but hard to put in after the fact.

Consult with people whenever possible, get a wide range of perspectives for you game.

If you offend someone use it as a learning opportunity.

Tackling The Fear

Moving away from design talks for a bit and onto some business, Producing. Emre Deniz from OPX talked a lot about pitching your idea and how getting funding for your studio is not straight forward as it took 5 months of iterating on how the game presented before the idea was sold. It also touched on the idea of planning for failure and having contingencies in place that helped OPX adapt to the declining VR market. In amongst this were the themes of cultivating a healthy and rewarding company culture.

Main take away’s

Pitch a business that you would invest in

Pay people properly so they can focus on the work and deliver a better product in the end.

Think about how your going to defend your idea.

Stress is corrosive not explosive, avoid burnout by taking healthy breaks from your project if needed.

Positioning - How To Discover And Amplify What Is Remarkable About Your Game

This talk AKA “why should anyone give a F###”, was one of the most applicable talks i went to as an aspiring indie/solo dev. Marla Fitzsimmons, Felix Kramer, and Chris Wright talked about how to position your game for widespread appeal by mainly standing apart from the crowd and understanding what makes your game special.

Main take away’s

Think about your potential competitors and how you stand out from them.

Elevator pitches should:

What is it about

What makes it special

Described in easy to understand terms

Should create intrigue that leads to deeper questions about your game

Do as much research as possible to find out what is remarkable about your game and how you can push that.

Day 1 - Final Thoughts