About James Coote

Android developer working for Crystalline Green www.crystallinegreen.com

Perception War

The OUYA community is unwittingly participating in a perception war, and in danger of getting burned out as a result

I played Eve Online for many years. It’s a game that ostensibly, like all MMO’s, you can’t lose. Even if your ship is destroyed, you can respawn and buy another. Even if your clan loses all of its territory, you can wage guerilla warfare and make life so miserable for the new residents that they eventually give up and leave.

The only thing you can truly lose is the will to fight, to continue the struggle. In-game battles are just the ammunition for the real battle of perception. Eventually a critical mass of people on one side or the other will decide it isn’t fun any more and support will collapse.

afk cloakers(You’ll get this if you’ve ever played Eve Online)

OUYA is locked in a similar war of perception with its detractors, and to a lesser extent, rival consoles.Those who have vocally supported the OUYA now find themselves thrust into that conflict, unwittingly becoming soldiers expected to defend the line and participate in counter-attacks.

It’s incredibly draining, and very easy to end up burned out, all the fun sucked out of the experience. While there will always be a hardcore of stubborn, bitter-enders in any group or community, relying on there being enough to sustain momentum when things get tough isn’t a strategy

One effective measure is to increase communication and interaction with those on the front line. Hearing people’s cries, and being able to give them an insight or hint at the strategies needed to help ease the pressure makes those people feel special and valued. Conversely, aloofness and secrecy at this point are sure fire ways to generate a feeling that leadership are disconnected from the realities on the ground, which in turn causes people to lose faith in that leadership.

OUYA have responded the right way in this regard (though perhaps a little slow off the mark) by rebutting unfavourable reviews and clarifying rumours around the shipping taking longer than most people imagined.

That communication needs to continue (and regularly) until the bridge between the initial disappointing first impressions and teething problems and when better news turns up.

Generating good news is the other way to effectively cancel out the negativity. Obviously people aren’t stupid enough to be distracted with “Ooo shiny new!”, but delivered correctly, a series of positive news stories can help engender a feeling that actually those downsides are more just temporary bumps going against the momentum, which all points towards things being on the up

There is a risk of creating noise and devaluing the impact of communications that would otherwise have bigger marketing and PR impact later, but all that stored up power-of-message is for just these sort of situations

As for those “soldiers” reading this, I’m probably too closely involved with my own game development on OUYA to give any sort of balanced view of the console. If you’re tired of the war, don’t capitulate or take sides. Instead do what I can’t : Look at the OUYA objectively and make up your own mind

 

In Search of Art

Games need to look further afield and to other arts for inspiration

With an eclectic mix of game developers, creatives and students, I had a lot of fun demoing Executive Star and the OUYA at Gamecity Nights in Nottingham on Thursday evening. I was able to get much useful feedback about the game, and had some interesting discussions with both sceptics and supporters of the OUYA, with a couple of kickstarter backers in the room most excited to pose with a dev kit.

IMG_20130328_211548Gotta love that quality camera-phone imagery.

I also had the opportunity to meet Ollie Clarke, who I must admit, I had previously not heard of. However, after hearing his presentation and the unique and eye-catching art style of his team’s games (The Button Affair and The Cat That Got The Milk), it started me thinking about the oft cited “unique art style” that indie game developers in particular would do well to use as a differentiator for their games in the face of big budget AAA graphics, with which they cannot hope to compete.

In fact, the art style of both Ollie’s games are not in the least bit unique. They are both borrowed (one from abstract modern art, the other from 1960′s technicolour television shows). The inspiration for The Cat that Got The Milk was as simple as a day wandering around the Tate Modern Museum.

It’s drawing on the many different art movements, styles and scenes that seem to exist in strange isolation from the world of video games. Even the briefest flick through a history book will land you with exotic landscapes, colourful characters, world changing events.

We live in an age where it has never been easier to access culture. Here’s hoping that video games can go beyond their narrow range and really tap into that

 

Exhibit F

By highlighting individual products, App Stores are failing to leverage the full power of their Featured slots

Museums have been in the business of curating content for centuries, and just like the app stores of the digital world, they often have far larger collections of items than they can ever hope to display.

To get around this, they have special exhibitions that run for a limited time, highlighting more unusual or overlooked items with a proper public viewing, whilst at the same time, tying together individual, disparate content into a complete story.

museum

In the process, they add immense value, giving context to a historical situation, art movement or theme that is otherwise missing when viewing pieces in isolation.

App stores should be using their Featured sections in exactly the same manner, adding value for both the customer and the app developer by giving context, helping consumers make choices and better discover both related content, and content they otherwise would not have known existed.

I spoke before about building an ecosystem and how, with limited space and a cautious or sceptical public, OUYA needs to make the content and community they do have really vibrant and energetic, really shine, both in its depth, but also in its variety.

A more sophisticated approach to the Featured section of the OUYA store will provide a fantastic tool to achieve that. You don’t have to go down the route of attracting people by sheer weight and volume of content. Artfully highlighting a handful of excellent games in a genre, and doing one genre a week will be far more powerful than 1 featured game per day every day

 

Wide Games

Is augmented reality gaming a dead end, or can open, hackable technology bring gaming back outdoors?

Games have their evolutionary origins in learning and practice. For hunting and gathering, war and tribal conflict, it makes sense to have a way to practice techniques, strengthen teamwork and test outcomes without the negative consequences if something goes wrong.

Sports in particular, but even the most basic of games tap into this instinct. As video games get increasingly abstracted away from that root origin, they can lose a lot of their power and meaning, and leave the experience feeling a little shallow.

augmented reality

Computers are tools to be used, whether they are for work or for helping us have fun. So understandably, attempts to augment reality have focused on taking real world situations and using various tools to add to the experience, or taking a digital experience, such as gaming or navigating a UI, and bringing real world elements into the equation.

Both these approaches are fundamentally wrong, because they aim to take something pre-existing, and modify it in an attempt to work with something for which it was not designed for.

Take for example (American) football. Players have microphones and speakers in their helmets to communicate with their coach on the side lines. It works because it doesn’t change the game, and is really just an upgrade of the existing mechanic where players go over to the coach to talk to them between plays.

Transfer that to soccer, and suddenly you have distracted players, ear pieces falling out when players get roughly tacked or head the ball, and in a fast flowing game, the whole thing rapidly breaks down. Moreover, soccer is designed to be more chaotic game, where there is confusion and quick reactions are needed, and you don’t have so much time to think. The technology makes sense on the surface, but really it goes against the underlying design principles of the game.

The key here is to design a game with the user interface as one of the core considerations. Virtual d-pads on touchscreen games that were originally designed for games with other control schemes are a classic example of how you can’t just port games across interfaces without considering the impact it has on playing the game.

So many augmented reality games fail to get that the interface with reality in which the game is being played is not through the camera and screen of a smartphone, it’s the eyes and ears and other senses of the player. The phone is just one element of that UI, and should only be used where appropriate. It goes back to the idea that you’re so immersed in your augmented reality game that you walk into a lamp post. It sounds silly, but it is legitimate poor design, because it puts too much emphasis on forcing the player to view the world through a restricted and artificial view.

A good example of a “reality” game is paintball. The game is played outside, with real paint and real air guns that make a real painful experience when they hit you. Your phone doesn’t replace any of the existing real elements. You don’t replace the gun, paintballs or the player’s eyes with the phone. Instead you add to existing mechanics by having an app that tells you how many paintballs you have left, where the flag capture point is on your map, how many of your teammates are out of the game.

New Hardware

The really exciting stuff comes however when you start to design games from the ground up considering both the environment and the hardware. Laser tag is usually played in a confined indoor space because of the limitations of the laser guns, whilst a wide game like man hunt only works because it can be played across a large field or wooded area in which there is space to run, places to hide etc. Those same balancing decision need to be made with smartphones or google glasses or whatever other hardware is being used. When is it being used, what are the physical logistics for players to use it, what advantages/disadvantages does its use confer, can its proposed use cause it to be damaged easily?

Open source hardware and software like Android, and the rise of crowdsourcing finance for hardware projects, from the OUYA to the pebble watch, gives designers more creative space to play with when considering the equipment games require, and the environments where that equipment can be used.

The Right Sentiment

A tetchy games industry is getting itchy feet

Sometimes, people need to just get all the thoughts swirling in their heads onto paper. Even if they’re not entirely coherent, it is part of the process of articulating a hard to pin down feeling, and one that others may well also be feeling, but can’t quite get the words out themselves.

That’s exactly what gamesindustry.biz did this week, musing on the relationship between game developers, gamers and games press in the light of the one year anniversary of controversy at last year’s GDC, which rocked the niche games journalism industry, and lead to much introspection.

Of course, journalists love to talk about themselves, but the underlying sentiment still rings true. There is a lot of ill feeling between gamers, developers and press at the moment, as if each is holding the other back from going in the direction they feel gaming should move.

It feels like the video games movement that has reached the stage in teenage adolescence where it is time to leave home, for better or worse.

This year will see a slew of platforms from old names and new. It may be that video games take the fresh start and the opportunity to take risks and do new things. Something unexpected might come along that takes it to places previously unimagined.

leave home

Or it might all wind up in a slide back to comfort zone, nostalgia and tired old tropes. A brief journey out into the wider world, only to decide it’s safer to return “home” for another decade or more of stagnation.

With any luck, it’ll be the former, but there is already massive change going on in the games industry, and it is causing enormous friction in the form of the mobile revolution. Bringing with it digital distribution, new monetization methods, new formats and new demographics to gaming, it is still in full flow, and its effects will be felt for years after.

OUYA will play its part in that, but the resistance to change (at least in my opinion) has caused so much hate to be aimed at a product that offers to do exactly what gamers, press and developers have been clamouring for (namely innovation).

David Cage caused much controversy for unapologetically telling the games industry to grow up. To do that, the industry needs to leave home.

 

In The Land of Cosplay and Cupcakes: Expo Post Mortem from an Indie Developer’s Perspective

What went right and wrong and what lessons I learned from exhibiting Executive Star and the OUYA at a comic convention

Last weekend, I headed on down to the MCM Comic Con in Birmingham. It’s primarily a comic book and memorabilia convention, but is chock full of everything science fiction and fantasy related. I had been toying with the idea of exhibiting my game at such a convention for some time, but this time finally got round to doing it.

Background

The convention is one of a number organised by the same company around the UK every year. I’d previously visited their London expo as a regular punter, since I’d always had an interest in comics and anime in particular, and it was within walking distance of my home at the time in London.

However, when I got there, I found there was a whole section of the exhibition hall dedicated to gaming. Whilst my game was not directly related to comic books or anime, it was the same story for many of the other stands and products on sale (everything from ninja lego sets to custom cupcakes).

So I eventually got round to booking a dealer table, hired a car and packed together everything I’d need to put on a show!

mcm exec star

Costs and Objectives

There’s no point charging off to do something like this unless you know what you want to get out of it. Ultimately, it costs time and money, so there has to be a way to measure whether it was worth it.

Costs:

  • £160 – Dealer table (stand), backing table & venue entry
  • £110 – Electricity
  • £10   – Materials for stand (table cloths)
  • £53   – Accomodation
  • £0     – Car/Van Hire (borrowed from my parents)
  • £56   – Fuel Cost
  • £??? – Opportunity Cost (3 day’s development time)

Total: £389+

Objectives:

  • Increase game sales
  • Raise company/game profile
  • Get feedback on game
  • Determine if future events are worthwhile

What went wrong?

Nothing to Sell:
I booked the event about two months beforehand. I thought at the time that I would have a far more presentable and complete product. As it transpired, I had completed the tutorial, which subsequently served as the demo, rather than something I could fully show off or even take pre-orders off. I also had no OUYA consoles to sell, since it hasn’t shipped yet.

Low Traffic Location:
My position in the hall was a low traffic location. The t-shirt sellers next to me has a particularly torrid time. The exhibition was split between two halls, with a wide central connecting corridor connecting them together (floor plan). My stand was in a block in the middle of the left hand hall (E12). I picked this spot because on the plan from the previous year, the video games exhibits had all been clustered at the back of the left hand hall, making my stand right next to them

Turns out I guessed correctly that this would be the video games area, and my stand ended up directly opposite the shiny corporate Nintendo 3DS stand. In that regard it was perfect, as gamers attracted to the other games would be attracted to that part of the exhibition.

In practice, the Nintendo stand had been set up with a waist high wall around its circumference, with entrances to the left and right, where there was more space for people to queue. That meant people who were exiting that stand did not necessarily spill straight out with my stand in front of them, but rather, with my stand out of their immediate eyeline:

mcm nintendoIt also meant there were no stands for people to look at immediately opposite. People who have just finished looking at a stand opposite yours often turn around after finishing with it to see what is next. It also gives people somewhere to go if you are currently busy / until the stand is free, and they can have a go themselves. Finally, not being the stand at the end of a T-junction made a big difference. People are already walking sideways / across the stand and have to actively look left or right, instead of straight ahead, to see the stand.

I should also note that the highest traffic volume area (the corridor between the two halls) would probably also have been inappropriate, as people need space to stand whilst they play the game

No banner:
Most exhibitors, stands and sellers had relatively cheap, pop up banners with glossy images of their products, which I didn’t have. That made the stand look a little less polished and professional, and meant people could not see what the product was from a distance (despite having the big TV screen showing the game).

Contact details:I had the two side monitors showing the game’s main splash screen / box cover art, but only one of them had, in rather small writing, the company logo, website and twitter handles. On the first day, I forgot my business cards, and a lack of flyers meant people who wanted to know more had to take a blurry photo with their phone cameras of the screen corner.

No Camera:
I forgot my digital camera (hence the lack of photos on this blog post). This was a major fail I realised, as otherwise I could use that as valuable marketing material for my game (showing people playing it, showing it in a colourful and active environment, and providing something to write about on this blog, on my development log, on other websites that might pick up on this story).

No t-shirts:
I didn’t get round to printing any t-shirts for myself to wear. Although it was probably too cold in the hall to wear just a t-shirt, it still represents a missed opportunity for additional advertising of the company/game. It looks more professional and at moments when I was wondering around the exhibit, it would be something different that may later lead people to come and visit the stand when they see it later on

No helper:
At times, I had to go get lunch or a drink or visit the toilet. As I had no helper, I had to trust those on the stands next to me to make sure no one stole the equipment (especially the wireless controllers). Plus obviously lost sales, and it doesn’t look very edifying when sat hiding behind the screen, quickly stuffing ones self with whatever lunch could quickly be got hold of

Black tablecloths:
Black might fit with the space/scifi theme of the game, but they really show up any dust, dirt or bits that get on them, especially under the harsh lights of the venue. An iron and board might have also been an idea, since the setup of the stand meant a large area of just tablecloth in front of the screens, which was a bit creased and wrinkled from the packaging in which the freshly purchased sheets were in

Music too quiet:
Music can be a great way to attract people to the stall, but generally it was too quiet. The exhibitors at the stand next to me actually commented I should turn on the music if I had it, and sticking my ear near the speakers, I realised the music had been on the whole time, and myself and everyone else had just not noticed. Obviously there is a balance between the already noisy environment, and blasting out excessively loud music, but I definitely got the balance too quiet this time

Difficult for kids / not interactive enough:
A lot of kids were naturally attracted to the game, but had difficulty understanding it was just a demo / tutorial and struggling with the abstract nature of the game. Something more interactive (for adults as well) might well have been better than something complete, but largely passive

Where to stand?
When talking to people, standing behind the screen feels a bit removed from them, and also makes it very awkward to see what people are actually seeing on screen. There was a gap between mine and the next door stand for access, but it was too small and was being used by the neighbouring stand to likewise stand to the side of the customer and the product whilst making the sales pitch. I spent a lot of time actually standing in front of the stand, making it harder to make eye contact with incoming people, whilst also confusing people as to whether I was the stand owner or another customer, and that the stand was currently being used (so no chance for them to have a go).

Hostels:
I was feeling cheap after all the accumulated costs of the event, so booked to stay in a dormitory in a youth hostel. This was great in the evenings, as it gave me people to socialise with and practice my sales pitch on

However, being woken up at 4am one night by other guests staggering in drunk, and having to wait 30 minutes for the shower to become free on the next morning (which meant I nearly didn’t get to the venue on time), was a big downside.

Electricity & Wifi:
I got passed around between various different companies when I first booked the stand/table, and it was only about a week before the event that I was able to secure electricity supply. Furthermore, there was no wifi, which was fine for this event, as the OUYA store was offline anyway, and it would prevent people from being distracted by wanting to play other games they saw on the store. However, it will be a problem in future if I want to demonstrate any features of a console that is entirely digital distribution for its games

What went right?

New / unusual product:
Many people had heard of the OUYA, but never seen one. That was a great way of attracting people over, before going on to introduce my own game. Equally, people who had no idea what it was or had never seen one before could be drawn in by telling the story of the console (and by the fact people just wanted to know what on earth it was). Again, that made a good way to lead into my own game

Multiple sales pitch angles:
I was able to talk about the OUYA, about board games and strategy games, the state of the games industry, independent game development, or even some of the other games on show at the event (f.e. Crysis 3 was on show and made by a company based in Nottingham, where I’m from). All these things gave me multiple angles to lead into the pitch about my own game

Engaging with customers:
I felt I was really able to engage with customers, not so much being able to talk directly about all things to do with the product, but being able to answer their questions and have an open and honest discussion with them. Being able to have rebuttals to questions about both the game and OUYA in advance, and being able to spin them in an honest / ernest way helped connect with people and make them feel positive and included in the conversation, rather than just sold to

Near the Gaming Section:
Being near the other games was a big bonus, as evident by the conversations I had with most people who stopped by the stand.

Interactive:
The line “want to have a go?” worked fantastically in drawing in people who had already glanced across at the stand or who’s eye I had caught. Being able to immediately offer something of value to the customer gives a platform to build a rapport with them that will eventually lead to a sale. Seeing people already having a go drew in yet more, who were interested in just seeing what was going on.

The downside is that only one person can have a go at a time, and the experience is quite time consuming, so it is difficult not to lose customers who are interested, but can’t have a go, or who I can’t focus attention on because I’m already talking to someone. This can be solved by having the multiplayer version of the game completed (which in time / next time, it will be), and also by having more consoles and more helpers (though both of those increase cost)

Results

Since I wasn’t able to sell the game, the objectives change slightly from sales, to promoting the game, getting feedback and determining if future events are worthwhile.

Promoting Game / Company:
This is easier to measure, as you can see how many times people have tweeted about the game, followed the company on twitter or liked it on facebook. I picked up a couple more followers on twitter, which is quite clearly completely not cost effective. However, I think with the lessons learned (as per above), this can be turned round, and as a purely marketing exercise, the event can probably be made to at least break even

Feedback:
One of the really great things was the amount of encouraging feedback I got about the game. Clearly it is difficult to give valuable criticism in terms of game development, especially to the game creator’s face if that feedback is negative. However, from a morale point of view, it has been really encouraging, and hopefully will translate into increased productivity

Research:
For determining if this sort of event is a good way to promote a game, I think it definitely fulfilled that objective. It has helped in assessing the different demographics of people interested in the game, which will be useful for picking the events most worthwhile. It has helped confirm that it is possible to sell at events outside of the usual gaming oriented / dedicated conventions. Also the usefulness in terms of generating press interest and gaining industry contacts: I did meet a couple of people in the industry who took an interest and who might not have otherwise been present at traditional, gaming centric events. I also noted a distinct lack of press interest, so I can probably assume that unless it is a lack of banners and other stand presentation factors (and the fact I didn’t advertise the fact I would be at the event beforehand), it is probably safe to assume the event will not get me in any newspapers or website articles.

Finally, it was useful talking to other stall holders. Their experience of different conventions, from science fiction to board games. How this one compared in terms of stall location, visitor numbers and the makeup of those visitors (the Sunday at this event for example, had a lot of families, which makes for a very different sell)

Conclusion

Taking all the lessons learned to future events, I don’t believe in terms of raw sales, that it would ever actually do more than break even. Feedback I’d been hoping to get on the game was also thin on the ground (this is perhaps where meetups with others in the industry are more valuable). However, the additional factors, such as motivation (getting me out of the house) and raising the game/company profile tip things over into positive territory.

This is not the marketing magic bullet that will make all the difference. I won’t be doing this every weekend, but I will definitely be trying this again. If, with a finished product and these lessons learned and effectively applied, it proves more measurably successful, it will make a useful addition to the suite of tools (mostly social media) that is within the reach of the average indie developer and plays to their strengths

Start Asking Questions

OUYA needs to be the one asking the questions and firing the debate if they want to cultivate an image of market disruptor

The renegade asks the awkward, probing, difficult questions, suggests the unthinkable, goes against the stream. They provide the alternative with a wink and a smile, and if they are truly intent on starting a revolution, they will also walk the walk.

OUYA walks the walk without talking the talk. It has a very unconventional and excitingly alternative product wrapped in the shell of a generic tech-startup company. That image is failing to fire the imaginations of an industry built on creativity and engineering ingenuity, and that’s a problem when it comes to attracting content creators to the platform.

liAkA

When asked at the recent South By Southwest festival “What made you want to create the OUYA,” the vague, bland statement that came back was “Great content”. What should be the jumping off point for a deep discussion about all that is wrong with the games and media industry, (and how OUYA might solve that,) instead ends up as a sales pitch with a laundry list of features.

OUYA needs to start fleshing out its marketing story. It needs characters with a history, with motivations, it needs an overarching narrative, it needs battles won and lost, and a rallying cry to bring people to the cause and fight under its banner.

And OUYA has those things: A games industry ruled by corporate greed of big publishers slowly being ripped apart by a flood of crappy mobile games. A renegade group of industry veterans, tired of the same old same old, unsatisfied with the status quo and looking to mix things up. A plucky upstart console that reached out to the silent disaffected majority and offered to give them a voice and fight their corner!

OUYA doesn’t have to offer all the solutions if it is the one asking the questions of the big gaming companies. What if EA and small indie dev were sat side by side in the app store? What if anyone could rip open the console and do what they liked with the hardware? What if there were no NDA’s or no secret handshakes to get a featured slot?

When answering why make the OUYA, the answer should be “To ask the questions the industry refuses to ask!”

 

Managing Expectations

Revolutions are dramatic, but real change takes time. Managing the interim period is crucial for OUYA’s survival.

There is a horrible moment after the initial euphoria of revolution when you realise that what you’ve been fighting for is just potential. Making reality match that is the real hard work. When OUYA launches at the end of March, it will mark a revolution in the games industry in a number of ways.

However, most of the changes it will usher in won’t be seen for some considerable time later, and OUYA needs to manage expectations until it becomes clear to all that those changes are concrete and real.

For example, the games that OUYA will launch with won’t instantly set the world alight. Even great games often take time to organically build awareness and recognition of their uniqueness and qualities.

There will be features that gamers have come to expect as standard, such as social networking / friend finding, that OUYA has simply had to defer until later due to time constraints.

And inevitably, in a rarefied environment of information paucity, people will have built up unrealistic pictures of what the OUYA will be like. For some, it will be better than expected, but for just as many, it will be worse.

Jean-Leon_Gerome_Pollice_Verso

Simply slapping the “Beta” label on the whole project and claiming it is still being worked on isn’t going to cut it in the internet world of instant judgement. OUYA can though, still do a lot to pre-empt the negative reactions:

Game Quality
OUYA won’t be without high production quality games when it launches, but there will inevitably be a lot of less than stellar games (and will continue to be), due to the nature of an open platform. Some people will understand that, but trying to explain why the principles that will supposedly make gaming better in the long term are right now appearing to do the opposite simply won’t get through to some people.

As much as it goes against the egalitarian instincts, the best way to deal with this is to simply manually pick the best games and give them a temporary unfair advantage on the OUYA Store. Ideally, the ranking algorithms will rapidly degrade that advantage (for example, you could simply every day half the bonus the specially picked games get, rapidly making the advantage nominal,) but the first impressions will remain good.

Furthermore, being open and willing to explain about such things will largely mitigate any backlash from those who feel this is unfair

Missing Features
This one can be spun a number of ways, but the most obvious is to directly deflect the question back.

“Why doesn’t OUYA have this?”
“Because we want to hear from you about it first”

Giving people the opportunity to basically talk about themselves and their ideas suddenly makes them feel valued and the centre of attention. It’s a cheap, well know trick, but OUYA have been preaching community and fan involvement from the start, so can hardly be accused of inconsistency

Old/Out of Date
The accusation that OUYA is already old and out of date is going to be the hardest to address. OUYA have already tried, by (re)announcing the yearly upgrade cycle, but this in turn created some misguided expectations and generated a whole lot of debate over what before was probably a minority concern.

Again, putting the feelings of the complainant over any personal feelings is key. OUYA need to not deny this, and so avoid directly contradicting people (the customer is always right). At the same time, they need to emphasise what the OUYA has that more high powered and cutting edge tech doesn’t have. That could be games themselves, or a more general experience (such as variety of games and how much more varied those games are with each other, compared say, to an endless parade of very shiny but bland and indistinct console shooters).

To a certain extent, OUYA have already been putting out these kinds of messages. The Killscreen Create jam has been largely about giving OUYA some games they can point to. However, it’s always going to be a tough sell when saying “come back in a year’s time when you’re bored of PlayStation 4″, and it hardly helps sales in the meantime.

 

Of course, these are just some of the criticisms that have been levelled at OUYA already. There will be more than right now, probably no one has thought of, which just goes to illustrate how difficult it is to pre-empt criticism. But just the process of thinking through these things usually brings up something that few have considered before, and even if it never comes to pass, it never hurts to have all your answers ready for when it does

“Android” – The Dirty Word of Gaming

Android might be great for game and app developers, but for the ordinary consumer, it has many bad connotations. OUYA needs to disassociate itself with the “dirty word” of gaming

I’m a big fan of Android, don’t get me wrong. As a developer, I love that I can poke around with the source code or use the platform on anything from fridges to tablets to cars. However, I’ve never bought an Android game or app.

Not because there aren’t any quality apps on Android. But trying to find those needles in the gigantic haystack of poor quality, badly conceived or just down right rubbish apps is too much effort.

Add to that the effort to enter my credit-card details when most apps are free anyway, and it is no wonder mobile app developers choose to target the more profitable iOS App Store first. Quality apps come to Android second, long after initial release on iOS, or in many cases, not at all.

Finally, to make money in a world where everything is free, game developers have turned to in-app purchases, which in turn has lead to games designed as glorified slot machines, or situations where players have to pay to win.

In short, to most consumers, Android games = poor quality and/or money grabbing experiences.

OUYA initially took a massive risk by making a games console without even knowing what games might be on it. They now have a big enough developer community to ensure a good crop of launch titles and continued releases after that.

Developers who want to make OUYA games will find out by themselves that actually the behind the scenes platform is Android, making their lives easier

However, the Android connection is now hurting OUYA’s image, and I think it is time that OUYA publicly disassociate themselves with it

GameCity Roundup

Had a good time meeting gaming enthusiasts and other developers from around the UK this week at the Game City festival in Nottingham. It’s still on until the weekend, if you have time to get down there. Sadly today was the last day I could make it, so here is a roundup of some of the events I attended

Big Tent
Loads of indie games companies displayed their apps, pads and demos in the big tent, as well as exhibits from various other groups, including game jam entries from the local university, and a minecraft server complete with laptops for all the kids, big and small to have a go (above). Each day had different exhibitors and things going on, which is a nice change to many conventions, where things start to get a bit samey after two or three days

Board Games
Quinten Smith enthused about the booming board game scene, making a compelling case for why developers of all shades and colours should pay attention to this exciting entertainment medium. In particular, design patterns that video game developers would do well to emulate:

  • Auctioning – A one off chance to grab a valuable resource, but players must out-bid each other to gain exclusive use
  • Rule Evolution – Allowing customised game rules and options or players to change the dynamics of a game for preventing the same set of winning strategies dominating multiplayer games

He also highlighted the benefits of combining US/UK storytelling and aesthetic with considered and balanced German/continental design

Writing Advice
Thomas Was Alone maker, Mike Bithell got some advice from two comic book and video game writers, Kieron Gillen and Antony Johnston, on writing (narrative) for video games. Pointers included:

  • The title of the game is a part of the writing. It is how players identify the game, and so identify with it
  • Writing style can have influences from others’ styles, and take techniques and tools from a variety of sources, but ultimately, the writer must find their own unique voice
  • Always follow up on foreshadowing or drop it altogether. The dark pixel cloud in Thomas Was Alone being cited as one such example
  • Story does not need to be complex, as long as it is well paced and has completion
  • Story in games is ultimately about player motivation

There was also debate about the voiceless / empty vessel character, and the moments where game design ensures failure is unavoidable.

Between talks, there was plenty of stuff to do. I contributed to the animal shadows board (above), with my winged triffid-demon creature, though disturbingly, it was not actually the strangest animal to appear out of the festival crowd’s collective imagination

From Comics To Consoles
Antony Johnston compared and contrasted writing for comic books and video games, giving insights into where his background in comics had highlighted underlying principles common to the two media. key points were:

  • Audiences can choose the pace at which they consume the content. This means games and comics must both emphasise brevity and constantly create action to keep the interaction flowing. Comic readers can spend hours pouring over the detailed art work in a single panel, or flick through at speed to the next page, just as a game player may linger in a room, or speed through the environment, eager to achieve their goals
  • Unlike film or literature, the world is created though abstract imagery and iconography. The reality of the world is not absolute
  • The world is given shape by the context as much as the dialogue, characters or events that happen in the story. In comics, through the art, and in games through the environment

On world building specifically, two guides Antony mentioned struck me as especially valuable to consider when reviewing how the world meshes with the story:

  • The world must be able to support more stories than just the one being told.
  • The story being told can only work in that world

And finally, the message that ultimately all games and comics have limitations, but to enjoy the constraints rather than fight against them