PixelReview

So it seems that the PlayStation 3 having the same font as Spider-Man isn’t just a coincidence or a fluff by the designers at Sony, it actually came from way up high, from Ken Kutaragi himself.

Computer and Video Games has posted the story coming from the designer of the PS3, Teiyu Goto. It appears Kutaragi insisted on this typeface and indeed the curve of the machine was designed around this awful font.

However, Goto contradicts himself by stating that it was “wiser” to use the Spider-Man typeface because of the contours rather than create a new one with all the “risks that entails”. He then goes on to explain how President of Sony, Ken Kutaragi, wanted the typeface from the beginning, with the console being designed around it.

This really astonishes me. A company like Sony, who usually are at the front of the gaming industry when it comes to visual design and communication, basing their console and logo off of a typeface made for another franchise. Where should the brand recognition go?

This whole thing sounds more like the designer covering for the mistakes of
the overlord of the company who wouldn’t let them design their own typeface for their latest machine.

Oh how I miss the Sony from last generation.

Here is the first of my semi-regular feature called Forgotten Games, trying to remember those games that have been lost to most players and critics over the years, but deserve remembering. I’m not talking about games like Beyond Good And Evil or ICO who have reached cult status over the lack of recognition they received during their time, but those games that for some reason or another no one cares to remember anymore, never making any top 10 lists and never being heralded as a game that “should” have made it. Indeed, such games may have received just reviews in its time, may have even been popular, but as the sands of time fall, as does the game from the public’s memories.

Today, we are focusing on a game very close to my heart: Kingpin: Life of Crime.

This game isn’t special because it contained music by Cypress Hill, nor because it received and 18 rating in the UK or it’s proficient use of swearing. No, it is a great game despite all that. Let me break it down for you first. Kingpin is a first person shooter set in the underbelly of some city. You play a gangster who has crossed the boss somehow and has been left for dead because of it. Time to take revenge of course.

Sounds pretty samey for sure, but lets remember that this was running on a modified Quake 2 engine. For its time it wasn’t doing so bad. With obvious references to Pulp Fiction, this game had some early workings of friendly teamworking AI, consequences to your actions and multiple ways (albiet limited) to solve a problem. The game featured very well done cut scenes and some amazing voice work.

But I’m not here to try and convince you the game was a trend setter, that it did everything before everyone else. No, I’m here to convince you that the game was about as solid a first person shooter as it gets. The level design was intricately detailed with smatterings of smoke and dirt in every creepy corner. The world, while sparsely populated, still felt alive. The art direction was spot on, crossing modern day with the 1930s art deco gangster one might expect from The Godfather.

The weapon selection was limited, but every gun felt extremely solid, with customisations being possible to some. I also have to mention that the tommy gun is underappreciated in todays first person gaming.

While a strong single player experience was paramount way back when, multiplayer was really the proving ground of a lasting game. Kingpin had one of the most fun deathmatch modes I have ever played. The game did feature other modes in future patches, but it was for me, pure deathmatch set to real that was the definition of this game’s multiplayer experience. Long before other games were one shot killing each other, Kingpin had it all and made for some of the most satisfying kills you will ever experience. The feeling could best be described as “meaty”.

Going back and experiencing Kingpin now if you have not played it may be a bitter sweet experience. There’s no question it will still look wonderful, albeit slightly blocky, by today’s standards, but the single player may not keep the attention long enough to see it through. Since multiplayer has been dead in the game for years and Xatrix Entertainment throwing in the towel soon after the game launched meaning very few patches, there is little to keep people still playing.

It did receive critical acclaim upon it’s release, but forgotten by most it seems to be.

Kingpin: Life of Crime, deserves to be remembered and deserves to be experienced, even if it is just for the Jesus!

I was just watching this over at GameTrailers.com and it got me thinking: do Xbox 360 comparisons to PS3 games really make any difference other than allow meagre fodder for “this console is better” wars?

Oblivion isn’t the only game subject to such debate. Armored Core 4 was recently under the microscope and it just goes to show: people are really not comfortable with their purchases. Whether you use this information as ammunition for a console debate or feel disheartened seeing such mundane differences, you really need to ask yourself the question, “Did I buy this console for the right reasons?”

With next gen games constantly losing exclusives, such comparisons are inevitable, but for someone to base their purchase on a console over such information is ludicrous. Both machines most definitely have their pluses and both have their negatives. Sony’s machine may be the more powerful of the two but the 360 has the better online capabilities. It is differences such as this that should be fueling debates, not whether one mech has an extra footguard over the other.

However, since everyone is agreed that it is software that will equal the eventual winner, and with so many titles making the jump back and forth with such little differences, is there really enough room for two behemoth machines in this generation? Will one eventually cancel the other out?

Will the Wii inherit the Earth?

I, like most people who consider themselves “true gamers” like to say that it is gameplay that counts, not graphics. To a certain extent I still hold that to be true, but lets not kid ourselves, graphics are important to the game.

It is very much like women (or indeed men) when looked at from the perspective of someone you might like to date. We all know that fundamentally it is the personality that will be the ultimate decider on whether or not you want to see that person again, but it is the initial way that person presents themselves visually that will be what catches your attention. It is the same for video games.

However, this isn’t to say that I believe the game with the most polygons is the game that makes best use of visual presentation just like the woman with the largest breasts isn’t necessarily the best looking woman around. The infamous beads of sweat in Fight Night Round 3 are all well and good from a reality standpoint, but it doesn’t take a great art director to come up with that idea. And this is quite frankly what is wrong with 90% of games that try and sell themselves initially on graphics.

Games like Fight Night or Gears of War definately try and sell you their graphics from the get go. These games are rich with infinite detail and hipoly meshes and dynamic lights casting raytraced shadows over the highly detailed landscapes. But for me this is visually in the same arena as a big summer blockbuster like Spider-Man 2 or worse, Pearl Harbour. There is simply very little creativity in the way the games are presented. While Fight Night tries and succeeds ultra realism, Gears is something very different. This will probably cause a lot of controversy, but if you take away all the ingame technicalities, the art direction you are left with is essentially the same as any other sci-fi game over the past 20 years. Nothing new is being done here other than make things shiny and glistening.

This has caused a lot of criticism being thrown towards the Xbox 360 in it’s early life, with developers relying on the hardware to do the work for them, but really, has anything changed now? Even games such as Mass Effect doesn’t feel very different artistically than something like Anarchy Online. If we as an industry ever hope to gain respect from other media industries (which really seems to be strived for many times) then art directors need to take bold approaches. Indeed, games companies need to look to other areas of design to draw their creative directions. Over the last ten years games are still being produced with the same lack of creativity in their art direction as they were when games like Contra first came out. Games are bigger and more expansive, with higher definition clouding the eyes of those looking in.

There is a real need for art directors without previous game experience, without that preconceived notion of what a game should look like, free to explore everything a game can be. More expression in the art. Wipeout was one such example that pushed the boundaries by having The Designer’s Republic art direct the game. This was a revolution in terms of visuals in artistic direction for games but all these years later other companies aren’t catching on despite Wipeout Pure pushing the limits with design companies like 123Klan designing tracks for the game.

This industry desperately needs more art directors with an original voice and publishers and developers that are willing to listen. Games don’t need to be over the top and over designed with the latest trends in order to stand out. Subltety seen in Half-Life 2 or the beautiful Shadow of the Colossus is enough when companies don’t want to take the risk of an Okami or Killer 7. Luckily, sometimes good art direction and great technical systems can come together at times with games like Bioshock on the way, but unfortunately these are still the exception. Entering into the sixth generation of gaming, this really needs to become the rule.

One question I get asked a lot is, how can you get into making video games. The answers are actually pretty simple but still people seem to think it is some impossible dream that can only be accomplished by a few lucky individuals. The truth is that the gaming industry is still growing and many companies, big and small are constantly recruiting new talented people. Here in Vancouver there are many new startup companies with big publishers (such as Ubisoft and Nintendo) always looking for good people. However, still, the questions remain. I will outline here some brief tips for all those looking to get into this most envied of industries.

Know your speciality
This is the biggest mistake many make. They don’t know what they want to do, only that they want to make games. These people are usually in the game designer bracket really. This is possibly the one with the most competition and also one of the ones that seems the most mystical. Just how do you show you know how to make good games? Well being a game designer is more than just coming up with great ideas for games. The chances are anyone at entry level will not be coming up with ideas for games at all. They will be instead be stuck creating document after document fleshing out other peoples ideas.

If you’re an artist or programmer or indeed even more specialised you are going to have a much easier time. Not only are you in higher demand, you also have the ability to show off your skills in more tangible ways.

Get some experience
Of course, you are probably thinking how can one get experience when that is the very thing one is looking for. Well it’s not quite a catch 22 situation just yet. The great thing about games is that there is really no need to be a multi-billion dollar corporation in order to put out a title. With many games having the ability to be modded as well as Flash presenting a new medium for people to easily make and distribute their work, its easier than ever to get your great ideas off the ground.

Again, if you are an artist of programmer you are most likely going to want to try and join a team that is already formed so you don’t need to worry about the game design side of things. Seek out a game that looks like it is in need of your talents and apply. If you are even half decent you will probably be snapped up in an instant and you can let your creativity go. All this shows initiative, passion for the industry and gives you the much needed experience companies are looking for when hiring new talent at an entry level.

Know how to sell yourself
A portfolio is absolutely essential for artists. Whether its an animation reel, web based, or a folder full of print work, you must be able to show off your skills to your employer. This really goes without saying but the presentation of said work is really key. I personally recommend everyone to have their own website, even if it is just presenting a demoreel with your email address, employers need a reason to call you up. I also recommend having something tangible to take with you to the interview, especially something you feel you can leave behind for them to review later if necessary.

For designers it is important to put together design docs and show you can craft and idea into something that developers can use as a basis for their work. You should also be prepared to show how you understand the dynamics of gameplay as well as being able to sum up a game idea in a compelling way in 1 or 2 sentences. You need to be quick witted and show you have what it takes to make it as a game designer. Ask yourself the question, why would anyone hire me over someone else? If you can’t come up with an answer you need to put more work in before making applications.

A well formatted resume is obviously a given.

Network
It can be a nasty business or a very rewarding one depending on how you look at it, but essential it most certainly is. Networking with the right people is the absolute best way to getting your foot in the door for that sought after interview. Companies will often call those people recommended from employees inside the company before applicants posted on a job website. Indeed, many companies don’t even post their job listings as the positions can be filled so easily many times. If you don’t know anyone working in any companies you would like to work for then email someone at that company asking them to take a look at your work and perhaps some advice with what you might need to do in order to secure a position at said company. Don’t go right out and ask for a job as that is a sure fire way to get your email sent to the deleted bin. Instead get into a conversation with this person. If you are good enough they might put your name forward for any jobs that might open up.

Another way is to head to gaming expos such as the GDC and get your business card out to various developers and producers. Try talking to them, it won’t kill you. If you’re not a complete social reject you might even get the chance to go drinking with them afterwards in which case you are in. A drinking partner is a friend for life. Just don’t act desperate for a job. This is very important.

Just always remember to be prepared with your work ready before you begin networking with people within the industry. Good intentions mean nothing against actual work so make sure you remember this.

Be patient
The hardest part of all this is patience. It can take a long time before you have the skills necessary to make it to even the first rung of the ladder. Co-ops and internships are a great way to get in, but often times it will be on the back of cold hard work. Remember, this is your passion. Don’t do it by half, give it your all and it will pay off. It’s not about the money or the recognition, it is about making your dreams come true and working in an exciting, constantly expanding industry. The hard work is well worth it in the end.

IGN recently posted a list of the top 25 Playstation 2 games of all time. These lists are always open for debate and everyone has their own opinions on who should be where with whose bucket, but there was one title that has been a cause of particular concern of mine for some time, and is particularly relevant with it’s sequel recently coming out with all the hype a mad marketing machine can muster. That game, is of course, IGN’s number 1 pick: God of War.

I have been playing through God of War over the last few days and am a substantial way through it. While the game is nearly flawless in everything it does, it baffles me how a game such as this could reach such high echelons as being regarded as the best game released on the console. The Playstation 2 has been home to some of the best games of recent memory, no doubt, with many games pushing the boundaries of what we class as a video game (especially outstanding since Sony seem reluctant to do so with their hardware). Games such as Shadow of the Colossus bringing such class, elegance and sublety, Okami with it’s vibrant style, Guitar Hero breaking new boundaries in the music genre and Rez creating an entire genre for itself and locking everyone else out. Even such stars as Katamari Damacy with its unique humour and play style, neither racing, brawling, shooting or jumping and yet it sent shockwaves throughout the industry with both game designers and fans bowing down before the mere mention of the creator, Takahashi Keita. I need not even mention a certain sandbox game by Rockstar Games.

Each of these games and countless others have opened the doors for other games to come through and explore new ways of playing games. God of War does none of these things. Indeed, God of War contains so many archaic game design choices it’s almost as if the designers are from the time period the game is itself set. For years before it games have been striving to break down boundaries and create new and diverse ways of playing in the digital arena and yet God of War seems adament to stick to game design choices such as invisible walls, constant wave of respawning enemies and magical barriers preventing advancement until said enemies are vanquished.

These are all choices that cause the player to question the world they are in and do nothing to advance the medium of video games. The hack and slash nature of the game is all well and good and executed brilliantly, but the real treat of the game, the boss battles, are so far and in between it is often forgotten that they even exist. Destroying the same few types of enemy, albeit constantly taking more damage and being swarmed by an increasing number, is a backwards step in game design.

And it is for this reason that I believe God of War should never be at the top of such a list. It blinds the player with beautiful graphics, excellent stories telling and over the top violence. While great programming, great animation and a good story all go hand in hand with great gaming, without gameplay that pushes the genre forward, how can such a game be heralded with such esteem?

Personally, I know once I finish the game I will never pick it up again. It offers no reason to want to play through the massive quest again when I know I’m basically faced with hunreds and hundreds of drones waiting for me to try out a new combination of moves on them.

This isn’t to say I dislike the game. I am having tremendous fun with it and can absolutely understand why people might class it as their favourite PS2 game (although it is far from it for myself), but to class it as the greatest shows a lack of understanding of the importance of innovation and embracing new concepts. To allow invisible walls to be given so much praise is to give designers the ability to be sloppy and lazy. Is this how we want the Playstation 2 to be remembered, or is it better to remember it for the machine that housed some of the most innovative software this industry has ever seen?

As I was walking to Safeway today to do my weekly shopping I was contemplating my use to the interwebs and my contribution to making a better place. It was in this moment that I had an epiphany as to what the world wide web needed: an area for me to regurgitate my thoughts on various topics and have them feel meaningful and thought provoking. I decided on a name for this virtual scrapbook of words and decided to call it a “blog”.

In this “blog” I will focus on only a few specific things that are dear to my heart: video games, graphic design and maybe the odd spattering of Japanese loveliness depending on it’s relevancy to the above two things. If it isn’t relevant then it has to be pretty damn cool. And so it begins…

A little background on myself? I am currently working in the video games industry as an artist at a major game developmer and publisher. In the interest of keeping my job I will not name this company, but if you think gaming giant you probably have that company guessed first. As a quick disclaimer I should mention that the views posted here are of my own and are in no way related to those of the aforementioned nameless company.

In any event, I will endeavor to keep posts interesting and dispense with anything boring such as my ordinary life.

If its blogging about the insides and outs of both video games (design and art) or graphic design (mainly motion to be honest) then you have come to the right place. Now add my RSS to your ever expanding list of RSS feeds and get reading.

Oh and tell your friends.