Creativity, the talent myth and craft

A subject with a huge breadth of discussion, in this blog I’m sure I’ll barely scratch the surface in answering the question, What is creativity? Many sub questions follow, is being creative a talent people are born with or something people can gain throughout their lives? Creativity can be enhanced by influence, seeing something that resonates, and a lust to create something in order to feed that creative hunger. I personally feel creativity is some form of personality trait.

In this article, science has proven that creativity can be a born gift for some.

http://www.bbc.co.uk/news/science-environment-26925271?SThisFB

As everything I feel it’s a mixture of elements. The talent side behind expressing creativity, I feel is very much a natural gift. However creativity can be interpreted in so many ways, especially when it comes to  the ways in which It is portrayed. For example, there are several members of my family, including my father, that are exceptionally good at drawing and art. It seems to be an aspect of character that is inherited. Although, there are countless books, tutorials, classes all claiming to teach people ‘how to draw.’ Teaching them the processes, understanding your subject in order to transfer what you see onto paper.  

This is seen as art and people, in turn, would view it as creativity. However being taught something, is a process of implanting knowledge into people’s heads, it’s a very academic act. Therefor not the most creative, its following rules on how to get a particular outcome. Creativity is a lot more fluid something that can’t be controlled and sometimes cannot be explained. The talents and the skills we are either born with or gain through practice, are purely the tools we use to express creativity. The two seem to go hand in hand, and with more technology, the different mediums and tools we have at our disposal, make for a wider range of expressions.

Whether videos games can be seen as art or not, it’s certainly a hot topic, which is constantly being debated.

http://www.theguardian.com/technology/gamesblog/2012/dec/06/video-games-as-art

To me it’s no doubt that video games take a lot of creativity and even more so that it takes skill. From 2D design to technical 3D modelling and animation. Especially the writing that goes into video games. It’s easy to get distracted with all the flashy, incredibly detailed graphics but for a game to really work, for it to keep the player engrossed in the narrative, the writing has to be second to none. A perfect example of complex and intricate writing, for me, would have to be Final Fantasy 7. Again, I’ve mentioned this game on my blog before, but it’s a firm favourite for me. The story has so many elements and it really was a journey, referencing to the past, getting into the minds of several characters. That alone was a creative expression within itself.

The imagery created in games drives the story as well as the music, but none of this would be possible without the technological knowhow, knowledge and skill. These are referred to as the talents. Everyone from, animators, to programmers, sound editors, to motion capture and voice acting, these are all talents that pull together to express the creativity.

For me, the definition of creativity is something unique and beautiful that reaches out to a deep part of a person’s mind and soul. It’s an expression of deep lusts, thoughts and dreams that a person has to express. For as long as there’s creativity there is always a place to escape and reason for people to come together and share ideas to produce something memorable.

An introduction to the Game Industry

The games industry is being pushed further and further into the spotlight, as it becomes a high grossing media. It’s evolution throughout the years has changed the public view of the gaming world. Stigmas of nerds and geeks locked away in their rooms coding basic games using simple technology, are but a distant memory, blown out of the water by an industry driven by a mass of huge projects featuring cutting edge technologies with big name actors and veteran voice actors such as Troy Baker. It’s becoming a glitzy and glamorous world with acknowledgment from a wide range of areas. Many games of recent are rival ling high budget films, with their ever more intricate story telling with innovative play and stunning graphics.

All this work and intricacy needs a big team, full of creative, business minded, dedicated people to make these projects what they are. Sure this is rivaled by small developers such as indie game creators. But on the whole more specialist roles are required which make games. A build-up of many small cogs working toward the final goal. With a smaller team, the individual will feel more ownership then a huge triple A title, with a team of hundreds. This is where differences in games are seen. As a majority, big flashy games tend to have the visually stunning content but lack the ability to resonate with the player with lasting fond memories.

http://www.gamesindustry.biz/articles/2012-06-13-so-you-want-to-work-in-games - This page offers employment advice from a game designer working for Arkadium. It seems to state that no matter what higher education you had, it’s all about the work you produce, portfolio is key and it seems the more skills you can show you have, the more employable you are; despite an increase in more specialist jobs. For a first job, you won’t get to pick and choose it seems, you’re most likely to end up working for a smaller company, where you’re expected to handle a large workload which varies in the type of work you’d be doing. This is purely for cost effective reasons, getting as much as they can from one individual. However, proving your skills, especially when they are specialised, employers of bigger companies would want to take you on. You’d be a small part of a huge team spanning across the country, and in some cases even the world. If you’re excellent at one skill and that job is available, you have a good chance at nailing it.

The employee structure varies from company to company. Generally, the different roles for any games company would include:

- Producer

- Publisher

- Development Team

- Designer

- Artist

- Programmer

- Level Designer

- Sound Engineer

- Tester

Each of these would be made up of several people, with each section having a team leader that passes on their progress to the producer.

To run smoothly, games companies need structure and a work flow that all members of all teams can adhere to. More than ever, companies are looking for talented, creative individuals who work well as a team and are a keen people person. Unfortunately, these are things that no fancy degree can teach or show, the industry of today, asks a lot from its many thousands of hopefuls, desperate to ‘make it.’

Elements of game technology, part three: interaction design

With current technology becoming more and more sci-fi as the years, even months go by. Gaming is benefiting from new radical technologies that allow for near full player interaction. Games are becoming more and more believable with stunning visuals and high quality graphics, and use of actors for voice and motion capture. This teamed with interaction hardware such as the ‘Oculus Rift’ the virtual reality goggles, allowing the player to look around and explore a world in a fully functioning 3D experience, is becoming a more and more desirable commodity.

 The Nintendo Wii brought along the first motion controllers, which lead to a whole generation across a wide range of consoles. However for me personally, this wasn't the first form of motion controlling in games. The Eye Toy for the PS2 was a small webcam which allowed the player to play games and interaction with whatever was going on with the screen, also allowing extra’s like filming and special camera effects; those similar to the photo-booth on a mac computer. Many a day me and brother spent filming funny scenes and him fake punching me in the face, made all the more obvious with my slow reaction, shattering the illusion.

Game pads have matured over the years. With this came more intricate controls and player comfort. These can have a big impact on a console. For example, I had a friend that always played Playstation, never went near Xbox and never really wanted to. However the moment he held an Xbox controller, he said ‘it just felt right.’ It fit his hands perfectly which eased strain from intense gaming and allowed for more play-ability. The now seemingly primitive joystick, in its hay day, was a revolutionary gaming tool, again allowing for better control and boosting the popularity of arcade gaming. http://www.shortlist.com/tech/gaming/history-of-the-video-game-controller

As great as new fancier technology is, Indie games are highly popular as they tend to emulate a lot of the old classic gaming style. Simplistic gaming visuals and therefor simplistic controls as classic games allowed for minimum control by the player. This could be a sign of what a generation of gamers are yearning to have. New technologies come with fairly sizable price tags, and with indie games offering revamped nostalgia, for a much lesser price, we have a gaming community that in some ways could be divided. However these radical new controllers are creating a whole new outlook on game design. These controls are influencing the way games a being made. For example, sports games are growing in number, simply because you can perform the actual motions the sports require. These new ways are designed to make the player feel more immersed in the world of the game.

Super Meat Boy

However there are games that are relying on graphics and storytelling to drive their games. Games such as the multi-award winning The Walking Dead by Telltale Games and also The Wolf Among Us by the same creators. This is basically a point and click adventure that allows the player to make tough, seemingly game altering decisions. For me, this is the most immersive form of play, as you feel your actions have a definitive effect on the game and the outcome itself. You feel as if your moulding the morals and personality of the character as the game progresses.  

In today’s gaming world there are so many new ways of play, and a vast range of formats of which to experience them on. Like anything it’s down to a matter of choice and what people choose to play. I feel, no matter how advanced in technology we become, gaming nostalgia will still be there, and gamers of generations past will still choose the gaming they know over any technological advance that swings their way.

Task 19: Elements of Game Technology, part 2: Sounds of Games

Sound is used in many different ways in games. Background music that plays throughout levels as well as the music in the cut scenes, tend to be the musical selling point of the game. It gives a game its signature sound which is an aspect that become recognisable, drawing people to the game. Music and sound that is used throughout the level, from the sounds of the footsteps of your character, to the sounds of distant enemies. Teaming this with background music to make an incredibly atmospheric level. However, games can also understand how the absence of music and sound can also create tension and an uneasy feel. In game sound effects also need to echo the same tone as the actual score. All sounds need to link together to make a game flow.

These are a couple of links to lists of music composers that worked some very well-known titles, that really highlighted the importance of a good music score.

http://www.gamesradar.com/10-great-video-game-composers/

http://www.boyinaband.com/2008/06/top-10-video-game-music-composers-of-all-time/

Everyday I’m discovering soundtracks to games I’ve never played but love to listen to. I’m a big music fan and I listen to music pretty much every day. Game scores have this ability to completely remove you from this world and take you into theirs. As well as relaxing, a lot of game soundtracks send shivers down my spine, and the hair on my arms stand on end. The power of music shows no bounds especially when used well in games.

In terms of my first memory of getting that goose bump feeling from hearing music was from the game Final Fantasy 7. I’ve mentioned this game in this blog before, purely because it was part of a huge chunk of my life and I almost feel it’s shaped my outlook on life. As well as the intricate story teamed with this soundtrack, it’s left a lasting memory that will never fade from my mind.

http://www.youtube.com/watch?v=PlfGch8mGhg

The above link is the original full FF7 soundtrack, as soon as the  music started playing the biggest smile on my face emerged. Nobuo Uematsu is responsible for the music of the whole final fantasy game series. He’s not as involved in the later, most recent releases and I can see why. I personally have become less of a fan as the series continues. Seeing as Nobuo’s input is becoming less and less, my love of the game follows the same pattern.  His staple sounds are always a loving memory to the fans of the earlier series, including myself. I stumbled upon these videos from the ‘Tour de Japon’ where by a full orchestral band play the most memorable tracks from the game, below is the video to the main theme. (just to let you know, listening to this particular piece of music makes me weep like a baby)

http://www.youtube.com/watch?v=88_PGUa69aE

Also classic Sega mega drive games are part of my earliest memories of games. These obviously come with instantly recognisable soundtracks, thanks to their simplicity. Below is just a quick list of some lasting Sega Mega-drive soundtrack memories and just gaming, childhood memories in general. 

Sonic 2, Streets of rage 2, collumns, golden axe 1&2, General Chaos and many more.

My most recent discovery of excellent use of musical score in games are The Last of Us (surprise surprise) and a beautiful game called Journey.The Last of Us has a very unique sound. The music was composed by Gustavo Santaolalla and Argentinian musician. He specialised throughout his career with instrumental music. He created a whole album, making instrumental music with an instrument called Ronroco, which features in the soundtrack for The Last of Us. The music is quite sombre and muted, but within its simplicity, its simply beautiful melodies where what created that staple sound that rung true with the genre for this game. This is the same with the game Journey. This game was purely about visuals and the look and feel drove the story, as well as the epic orchestral music, teamed with the grand scenery that features within the game. 

Video games are becoming a credible media. Cinematic cut scenes with full music scores rivals film and television. However games have the extra ability of player interaction, this can fully engulf the viewer into the virtual world of the game for a more intense experience. 

Elements of Game Technology: Part 1 – Game Engines

Game engines are where the game is brought to life. Stitching together all of the so far separate elements and making them one. Game engines are like the mixing bowl where by you throw in all your prepared ingredients to make something whole and complete. Game engines allow a game developer to enhance the creations further by adjusting lighting, placement of object and assets in contrast with each other and so much more.

The list of different game engines is endless. There is a huge number of free software for small time projects, such as indie game developers or people who just fancy having a go at game creation. There are programs that are used for commercial use that obviously produce a high quality finished project. My personal experiences of game engines only stretches as far as UDK (Unreal Editor) This is considered a freeware software. It is available to students studying game development courses and produces a professional finish. Another engine we use called Cryengine, that produces a high quality result. CryEngine 1 was used to create the whole of Ubisoft’s, Far Cry series. Unreal Engine 4, which is a newer game engine from Unreal, the company behind UDK, was also used for games such as, Mass effect, Gears of War, Bioshock Infinite and Dishonoured. This website shows a list of the considered top 14 game engines  http://www.develop-online.net/news/the-top-14-game-engines-the-list-in-full/0114330

The list also considers 2D games engines that are used to create 2D side scroller games. Obviously for 2D and 3D games, they require different elements. Considering light had very little impact on a 2D object I find the biggest main difference between the 2 modes of engine would be lighting. 3D objects occupy space, an environment, all things that the human eye needs light to see. Also as lighting can help the human eye depict different surface textures and also can create mood and feel within a game. 2D games have to consider strong imagery to get across what they’re trying to communicate. I feel that this would require some clever trickery. With 2D there is obviously less to work with which means using resources more intricately. 3D has a higher technical demand as is has to create space and extreme levels of detail.

A vast pool of easy access game engines, make any budding you g game developers chances to try out their ideas a reality. The engine GameMaker, has been around for a while creating small personal projects. However, small time production games that used this program have become highly popular. Games such as Hotline Miami, made by a small company called Cactus Games.  This link has a review on this particular game engine. http://moacube.com/blog/professional-developers-look-at-gamemaker/

The list of game engines is endless, allowing armatures to produce some high quality, professional looking work. Each and every one has different qualities to produce whatever type of game the creator desires.

Elements of game design – Part 8: Documentation

For this blog task I was asked to write up documentation for a Video game idea.

Game Specification

With this project I plan to create an epic adventure game, which resides in a vast land of origin and grandeur. A land where a small being would struggle to make a difference. I want to create a fully immersive world whereby the player becomes lost in this world of epic proportions. I plan for it to be available on all major platforms. (PS4, Xbox ONE, PC, Nintendo Wii and WiiU)

The player will be in control of the main character. Who has to travel the world in search of the truth about her past; the main protagonist is a female character. I feel that a game with a story, that unfolds along with play is such a highly praised feature in a game. To connect with the character the player must be, I feel following along on the adventure, learning as your character does, really creates an emotional bond between character and player. Making the character female, will attract a wider audience. It is common knowledge that Video games are seen mainly as a male interest. However, more and more females are picking up games controllers and getting involved. This is a growing market and I feel this project would sit perfectly well, within this growing phenomenon.

For the modelling of my assets and characters I shall be using 3ds Max and Zbrush. Then plan to import these into Unreal Editor UDK To model, light and animate the game itself. Below are individual specifications as to the main components.

Lead Character

A young female character who’s strong willed and prepared for anything her journey will throw at her. She has been on her own for as long as she can remember, raised by a distant relative after her parent mysteriously vanished. Below is a quick mood board of female protagonists to help gauge the look I’m aiming for.

The tri limit for my character (modelled in Zbrush and in 3dsMax) will be 10,000 tri’s. I will allow for 3 texture sheets, two 1024x1024 and one 512x512 targa file. (diffuse, normal and specular) The character will have full rigging for realistic animation when it comes to in game footage and cut scenes.

NPC
This character will be a side kick to my main character. I plan for it a to be a creature who’s species is native to the main characters homeland. This creature can help with in game puzzles and other tight spots. I want it to be a constant companion throughout the game, to help bring the player closer to the relationship between the 2 characters. Below is a mood board showing different ideas of inspiration.

The tri limit for this character will be 6000 tri’s. I think 2 texture sheets, one 1024x1024 and one 512x512 targa file. (diffuse, normal and specular) This should be enough for this character.

Vehicle

For the vehicle I want it to be compact and big enough for just the 1 person. It needs to be portable and light, but so it cannot be used whenever the player need to get out of a tight spot. I feel having to require fuel for the object will make the player weary of when best to use it. Below is a mood board of images of existing idea’s.

The tri limit for the vehicle will be 5000 tri’s. The texture budget shall be one 1024x1024 targa file. (diffuse, normal and specular)

Environment/Props Scenery

Environments, Props and Scenery will vary as the game goes on and as the character explores the world around them. Below is a variety of images of different environments and props that I’d consider trying to create for the different environments throughout the game.  

For the environments that are mainly vast land, they would be made using the available tools and assets in Unreal Editor UDK. Any buildings/man made structures would be made in 3dsMax, however these would vary from building to building, in terms of tri count and texture budget.

Elements of Game Design: Part 7 – Level Design

Level design is a much more intricate aspect of game design then first thought. It’s creating a world, and essentially playing god. Particulaly when designing natural environments. These must have flow, that of which would be believable and something people could relate to in nature and the world around them. But also enhance the experience for the player.

Level design can easily get caught up in being about visuals, how the world and environments look. However it is much more then that. Granted a designer must create an atmosphere or a mood to add to the eventual gaming experience. But building the structure and machanics of a level is a much more technical trait, one that will eventually have to intergrate with visuals and composition.

Some companies allow untextured levels to be played in order to test and explore the work so far. This helps remove all distractions that comes with textures and effects in order to only judge and critique the flow of the level design as a structure. A level should also be accustomed to the desired gameplay, for instance, explorative games need to be quite broad and not too confined, whereas a first person shooter game, would benefiit from corners, internal and intricate structures to add to gameplay.

http://www.rockpapershotgun.com/2013/09/20/untold-riches-an-analysis-of-portals-expressive-level-design/

This blog post discuss’ and explores the level design of the game Portal. A very heavily puzzle based level design, that engages the player to use their full capability in order to work out how to progress in the game.

From past to present, level design has always been the main focus of games and over time has developed into a much more spectacular aspect of a game. In the early days of such games like Mario, simple side scroller level design was used.  As simple as it looks, a lot of clever and carefully thought out choices were made in order to create increasing levels of difficulty within the game flow as the player progressed. Same as for Sonic the Hedgehog. This however always seems quite manic to me, in the later levels I found myself going backwards and getting lost, confused as to where I had to go next.

But obviously looking at games such as The Last of Us (again, I’m sorry but I damn well love this game!!) Shadow of the Colossus, Assassins Creed, Dark Sous etc. Level design has become a lot broader but still all the more intricate. There are bigger worlds to be explored allowing for broader gameplay. In games such as Skyrim and World of Warcraft, there is so much vast and barren landscape, that wouldn’t require a lot of intricacy, but still need to be controlled. However, the textures and effects created in the game engine, would be what would sell the level design and indeed, the game itself. This is why further understanding of utilising 3D space is so crucial in modern game. So much knowledge and understanding of game mechanics is required in order to make a successful level. Fundamentals are key before dressing up a level with textures can even be considered; functionality of the world comes first and is the responsibility of a level designer.