GamingAngels: Can you tell us a little more about how your career path turned towards game design? Was it something you saw yourself doing when you were younger or did fate conspire to bring you to where you are now?

000000;">Jennifer Canada: I started playing games in college and quickly became hooked, but even so it never occurred to me that creating games was a career. I finished my undergraduate degree with two unrelated majors, neither in fields I wanted to pursue. Then, it was in the months after I graduated and I was just kind of floating around that I heard about the SMU Guildhall. Immediately level design and game design felt like a perfect fit for me. I read constantly, so I’ve always been pretty invested in narrative and telling stories, and I also love to do crafty things, both in real life and on the computer. For instance, back in college I used to spend hours playing with architecture programs building houses, basically turning a DIY planning program into a game.

000000;">GA: What do you find most rewarding about being a game designer?

000000;">Jennifer: Making a steady stream of creative choices every day is really rewarding. As a designer, you aren’t always deciding how the game ends or what happens at this or that huge moment, but even when you are just deciding if the path should turn right versus left or this object should be moved 2m, it is constantly engaging and you are always putting your stamp on the game—both with your big decisions and your small ones.

000000;">GA: What are some of the games you’ve worked on that you enjoyed the most and what made working on them fun?

000000;">Jennifer: Some projects I worked on were harder than others either in terms of hours or stress levels, but I am grateful to have enjoyed every project I’ve worked on. My favourite project at Vicious Cycle was probably Flushed Away based on the Aardman movie of the same name. I loved getting to design levels based in such a fun and unique universe, and being in the exciting position of finding out about a blockbuster movie before it played in theatres was an added bonus. One funny thing that happened on that project was early on in development we decided to use the slugs as enemies in the game because in the rough draft of the script they harassed the main characters. But when the movie came out, the slugs had transformed into cute little guys who liked to sing songs, but in our game you were still killing them! And of course, my other favourite project is what I am working on now at Insomniac Games—but I can’t talk about that one!

000000;">GA: Can game studios can get away with putting graphics first, as opposed to writing a story and then making a game around it?

000000;">Jennifer: Well, honestly, yes. A lot of bad games sell based on their graphics and a lot of good games don’t sell because of bad graphics. But in a lot of ways I think graphics are given a bad rap, in terms of taking time away from gameplay. In my experience, how something looks and the visual feedback it gives to the player can be just as intrinsic to how a moment plays out as the design behind it. And certainly with most mainstream titles, designers are asking players to feel immersed and for many players, without good graphics, they’ll never feel grounded enough in the world to become fully invested in the game.

000000;">In terms of whether a development team should start with graphics vs. story when making a new game, I’d say it’s often fairly detrimental to start with either of those focuses. In my opinion, most of the really great games out there started with a gameplay idea. It’s much easier to write a story that fits the theme of your gameplay and how you want a play experience to feel than to start with a story and try to pull gameplay out of it. That can be a recipe for either uninspired gameplay or a story and gameplay that never cohere because their themes fight each other. The graphics should probably be the final consideration in terms of planning, because they have to pull everything together in a way that, just by seeing a screenshot, players can sense how the game will play.

000000;">GA: What is your experience developing a game such as Ben 10 that spans across not just multiple consoles, but also handheld systems? Did your levels have to be completely redesigned to fit the PSP in comparison to the Nintendo Wii?

000000;">Jennifer: I was lucky in this regard, to have developed multi-platform titles at a company that is well known for its ability to release on multiple skus simultaneously. Which is not a coincidence—no levels or any assets at all had to be redone for the different platforms on Ben 10. The Vicious Engine, from Vicious Cycle Software, is browser-based so you are able to edit and play on your computer and, for the different platforms, there is a dropdown that lets you choose your platform and it converts everything behind the scenes and you’re ready to go. It’s really that easy. I am actually hoping to see more schools start using the Vicious Engine to train future developers. It’s really powerful and user-friendly and I greatly enjoyed working with it.

000000;">GA: You’ve talked a lot about making games a little more “pink”. What would you personally like to add to games to make them more “pink”?

000000;">Jennifer: I recently gave a talk at GDC and at the Triangle Game Conference called, “Paint-by-Gender: How to add ‘pink’ gameplay to your ‘blue’ title (and still keep all the boys happy)”. The content of this talk arose from my Master’s thesis for the SMU Guildhall on women’s gameplay preferences and its results. I made a level to test established theories on what game features women prefer when playing games, and what I found is that women did self-report greatly enjoying those features in my test level, but that the male players reported enjoying those features nearly as much.

000000;">Just to clarify, referring to these features as ‘pink’ in the title of my talk was my attempt at a catchy way to make it clear I was talking about girls’ preferences, but none of the features I tested actually involved making things pink! Here is a list of the features I tested:

1. 000000;">Detailed backstory
2. 000000;">Non-stereotypical female characters
3. 000000;">In-game relationships
4. 000000;">Emotional stimuli
5. 000000;">Moral complexity
6. 000000;">Non-violent action
7. 000000;">Gameplay flexibility
8. 000000;">Meaningful victory

000000;">It’s my hope and my opinion after conducting this research that developers can leverage these design features to make their games more appealing to men and women both. In the end, all of these features really come down to one idea—enabling players to connect more strongly with the overall game experience: the characters, the story, the world, and the player’s own actions in the game. Some players are satisfied with mindless action and there’s nothing wrong with that, but increasingly players are demanding a deeper connection and I think designers should try to give it to them.

000000;">If you want to read my full thesis, it’s available here: www.jennifern.net/thesis

000000;">And the slides for my Paint by Gender presentation can be found here: www.jennifern.net/PaintbyGender

000000;">GA: How might you “add a little pink” to the traditionally “blue” game genres like first-person shooters? Is it all in plot and setting, or would the actual gameplay have to change a little?

000000;">Jennifer: Well, I’m going to talk about a third person shooter here instead, because I think there is already a great example on the market of how to adapt the shooter genre into a game that everyone, men and women alike, love. Uncharted 2 is probably the least contentious Game of the Year ever. Everyone absolutely adores it. And it utilizes nearly all of the design features I tested in my level as features that appeal to women. I am not going to run through how for each example, because if you’ve played it you know how, and if you haven’t, I don’t want to spoil it. Notably though, the only feature it really misses is flexibility in terms of affecting the story/outcome since the game is so linear, but it actually does have a bit of flexibility in terms of gameplay strategy thanks to its stealth elements.

000000;">So to get back to FPS’s, I really can’t make any claims about what settings or plot specifics are likely to help make the genre female-friendly. It really comes down to creating the circumstances that help women to become invested in the game. For many women, that means they want to see some likable female characters—even if it isn’t the main character. They want a story that is emotionally engaging in a world they care about. And they want the ability to effect the direction of the game and how they play through it.

000000;">And in terms of gameplay flexibility, i.e. ‘how they play through it’, yes, the gameplay may need to change a little if it wants to be more inclusive. But I really consider this additive. I don’t think anyone out there expects dev teams to remove guns from their shooters. But they can add stealth elements, platforming, puzzles, or guns that reward a more strategic style of play. And I think adding flexibility is a good thing for guys too; no one is going to say, “I’d like less choice here, please.” So say you add a new strategic weapon type…well some people won’t use it, or they won’t care—this goes for guys and girls—but in the end those players aren’t going to be pissed that you gave them more options and the players who choose to use the new gun will get a lot out of that feature.

000000;">GA: What are your thoughts on marketing the traditionally “blue” games towards women? Why do you think companies seem unable to break away from these practices?

000000;">Jennifer: Speaking in terms of my impressions, it seems that sometimes even though developers might try to make an inclusive game that appeals to a broad market, sometimes marketers won’t advertise it that way. I definitely think there is an impression in marketing that the hardcore market is where the reliable sales are, so it can be easier (and more straightforward, because they’ve been doing it for so long) to market a game to that audience and ignore a game’s more female-friendly aspects. And while there are many examples of totally reasonable advertising out there, there is still a fair bit of game advertising that either ignores women completely or even worse, that actively alienates women. And these bad examples, even if they aren’t the bulk of it, are a big part of why some women out there think that games, all games, aren’t for them.

000000;">In terms of why these marketing practices stick around, I feel like maybe there is a big of stagnation in the marketing world for games. For every ‘I love bees’ ARG marketing campaign, there are about a thousand marketing images of a main character glowering. For game development, innovation is essential, we are always trying to anticipate the next trend and have the latest graphics, but for marketing, maybe there is so much fixation on trying to guarantee sales that they are only willing to try approaches that feel tried and true, even if some of those approaches are alienating to women.

000000;">I really think the important thing going forward is for women in development studios and in marketing houses to speak up. If you think content is alienating towards women or any group, just say something. Even if you get overruled, at least you got the issue on the table and someone else might think about it next time. So I guess my hope for marketing and for game development too in terms of moving forward is, even though it’s easier, don’t be the person—girl or guy—who stands there silently.

000000;">GA: As a woman in the industry, have you ever run into the “boys’ club” mentality? How did you deal with it? And do you have any advice for women who do come across this?

000000;">Jennifer: I have occasionally, but more in small ways than big ones, and I feel like it barely affects my day to day work at all. Most of the guys I’ve worked with have either enjoyed having women on their team or not cared one way or another—at least I hope so! I think for a woman in the industry, you just have to be willing to try a little harder and put yourself out there a little more. For instance, if the guys are going out for lunch, invite yourself along or invite them out to lunch the next day. And if you have something to contribute in a meeting, speak up. If you let the culture of a studio move forward without you, you are setting yourself up to be on the outside looking in.

000000;">The other thing I would say is, if you do have a bad experience, realize that it isn’t the norm and most men in the industry are welcoming and do want you to be there. And then just keep doing your best every day.

000000;">GA: We couldn’t help but notice you like anime. Given the chance to bring one anime series to life as a video game, which one would you be interested in working on?

000000;">Jennifer: I admit it, I do love anime! I just finished watching Book of Bantorra, am in the middle of Katanagatari, and I will watch anything by Gainax, which is currently Hanamaru Youchien. To turn a series into a game probably the easiest thing to do is to pick a series with lots of combat and genki characters, like two of my personal favourites Soul Eater and Die Buster.

000000;">But if I really got to choose the series and pick the direction of the game—this is crucial—I think would go for Mushi-shi and make a game that lets mushi spirits float through the natural world (inspired by the game Flower) and let the main character perform complex actions to rebalance infestations of mushi, such as baiting a spirit dragon back to his mountain or collecting mushi to reinvigorate a forest or recolor a rainbow. Wow, if you haven’t seen the show, I probably sound like a crazy person! But that is the game I would want to make.

000000;">GA: What advice can you offer to young women interested in making games as a career?

000000;">Jennifer: The best advice I can give is really applicable for everyone, women and men. Try to constantly improve your skills. Most people improve fairly slowly or not at all if they rely on osmosis. It’s too passive and lacks self-awareness. You have to go out there and chase improvement down and you need to be aware of your own weaknesses so you can target those as areas to focus on. Harness your passion for game development into the desire to become a better game developer and success will follow.

Women in Gaming Weekends is an interview series with women working in various positions throughout the video game industry. These interviews are to help answer questions that female gamers interested in pursuing a career in gaming might be looking to have answered, provide helpful information and inspire healthy debate.

Even as the recession roared on, game development didn’t really take as much of a hit as the rest of the world, it looks like. Though 2008 was a banner year for devs, with the highest salaries on record, 2009 still didn’t dip below 2007′s levels. Normally, we expect to see a steady increase, but with many studios looking to cut corners wherever possible, many developers were the ones taking the hit.

Programmers are the highest-paid talent in the game industry ($80,320), and experience pays: If you’ve got more than six years of experience in that role, your pay was likely to increase by 36% over average.

Artists and animators had a slight salary increase, bumping them up to $71,071, and designers also saw an increase to $69,266.

Producers, with their salary of just over $75,000, are the most female-friendly, with 18% of that particular workforce being female. Producers are also the most experienced, with half of them being in the industry six years or more. Sure, causation doesn’t equal correlation, but wouldn’t it be interesting if women were more likely to stay in the industry longer? Food for thought, anyway.

People in quality assurance (or, as they’re better known, game testers) had the least experience and the lowest pay, averaging $37,905. But if a tester sticks with it for more than six years, that salary doubles. (The problem in this case becomes sticking with it. Testing is a cruel mistress.)

Audio professionals, including sound designers and composers, were some of the most experienced individuals, and their average $82,085 salary reflects that. But new blood is entering the arena – 38% of audio devs had fewer than three years of experience, and only a third of them had more than six years.

Marketing’s always been pretty lucrative (you know, in general). But in gaming, marketers remain the highest-compensated group of all, with an average salary of $96,408. After all, no matter whether or not the game you’re making is awesome, if it’s not marketed correctly, you’ll never sell a thing. But marketing also had the greatest variance – your average PR employee makes $83,804, while executives almost broke $130,000. That’s a pretty big chunk of change.

A much larger, much longer, much more expensive version of this information exists at http://www.gamedevresearch.com. (At about $1,500 per copy purchased, I’m starting to think it would be way better to be a researcher.)

Hi! I’m Megan Sawyer, an environment artist for Bethesda Softworks. I create various environment pieces from shrubs to small clutter items, and in the past have done everything from tapestries that hang on the walls to tires that sit in the dirt, to houses and their interiors. I’d like to think that’s why they’ve let me stay for so long without calling security.

000000;">GA: When did you start gaming and can you recall your first game/gaming system?

MS: I believe I was 3 or 4 – my dad bought me and my twin sister a PC Jr., and he loaded up King’s Quest for us. The King’s Quest and Space Quest series were my first games, and remain some of my favorite games today.

While not my first gaming system, I do have to credit the Dreamcast for getting me into console gaming. Jet Grind Radio was some of the most awesome awesomeness.

GA: At what point did you decide that pursuing a career in this industry was the right thing for you?

MS: Oh, I was quite oblivious to the entire idea. My parents were the ones who thought of it – I played games my whole life, and had graduated college with a bachelor of fine arts, specializing in 3D/video art, but it wasn’t until my parents surprised me with an Xbox console for research purposes and said “Go make game art!” that I actually realized it could be a career for me. Go parents!

GA: What inspires you? Who have you learned from and how have they helped you better your career?

MS: I find inspiration in everything, from board games to movies to random photos I come across on flickr. I’ve learned a lot from my coworkers, and people are always sharing new tips and techniques with each other.

GA: For anyone interested in creating gaming environments, are there any programs, study aides or classes that you would recommend they look into?

MS: It can be difficult to find environment specific courses as most seem to be aimed at character artists. In general you can’t go wrong with a combination of fine art classes and technical art classes.

Also, it might sound strange, but if you get the opportunity, theater and film classes can be very useful. Learning to set up a physical stage with props really gives you a feel for setting up scenes in an editor for games. I use more things from my film and theater classes than I do from most other non-art class I took in college.

GA: Females are more common in art departments than most other development roles in game studios. What do you think is the largest obstacle for women trying to break into the creative side of gaming (any of the development departments) instead of going into human resources or public relations?

MS: One of the bigger obstacles is learning that we exist. Knowing is half the battle! Seriously though, I didn’t even know there was such a career as environment artist. The only reason I knew women were even involved with video games was because of Roberta William’s picture on the back of King’s Quest 4. I think it’s important to let young girls know about the entire gamut of careers in entertainment technology, from concept art to programming.

GA: As an environment artist, you get to work on all of the beautiful scenery we see when we play games. How do you decide what items stay or go for the player to see in the final build for a level/area?

MS: I work for both an Art Director and an Environment Lead, as well as our producers, and ultimately it’s up to them to decide what goes in the game, and how it will look. Once that’s decided, it’s handed off to an artist like myself, and I work on creating it, checking in frequently to make sure that my work is what they had in mind.

GA: What do you find is the most challenging aspect of working on gaming environments?

MS: Probably the technical limitations. While the limitations become less restrictive with each iteration of game consoles, we’re always trying to push it to the next level.

GA: Can you share with us what your average day is like?

MS: Get in, grab a cup of coffee or hot chocolate, check my work email, and load up all of the files I’m working on. I work for several hours, and then go and grab lunch with coworkers. I come back and continue whatever project I’m on, checking in frequently with my leads. Once a week we’ll have a meeting to look at our stuff in a group. But, for the most part it’s putting in many hours behind a computer, interspersed with conversations with coworkers.

GA: What would you say is the best part about working at Bethesda?

MS: The people, hands down. We have so many completely amazing people here. There’s something about this industry that seems to attract an inordinate amount of people who can hold entire conversations only using Simpsons quotes. We got to meet a bunch of our new id brethren at our holiday bash and it was like meeting our long lost, hysterically funny and awesome cousins.

GA: Everyone needs a break from gaming once in a while. What do you do that helps you refocus and relax?

MS: I love watching science fiction TV shows with my husband. I also enjoy watching horror movies, and going to concerts. My husband and I go to a ridiculous amount of concerts.

GA: Do you have any advice to share with our readers who are interested in video games as a career?

MS: Don’t give up and don’t get discouraged. It’s not the easiest career path but it can be very rewarding.

Women in Gaming Weekends is an interview series with women working in various positions throughout the video game industry. These interviews are to help answer questions that female gamers interested in pursuing a career in gaming might be looking to have answered, provide helpful information and inspire healthy debate.

The top finalist games will be chosen by a jury consisting of internationally-renowned game designers (and others in the game industry). The festival program itself also features artist presentations and talks as well as previews of new works, so even if you’re not a developer, you can have a great time at IndieCade (and maybe even learn something, too). Even better for games industry folks: A series of networking events. If you’re going (or entering!) let us know in the comments!

IndieCade 2010 Events:

IndieCade Europe, Gamecity UK, October 26-31, 2010

Call for Submissions:

IndieCade invites independent game artists, creators, and designers from around the world to submit interactive media of all types – from art to commercial, ARG to abstract, mind-bending to mobile, serious to shooter – for consideration.. Work-in-progress is encouraged.

A diverse jury of industry leaders will select entries for top prizes at the IndieCade 2010 Festival. All entries for the Festival will also receive consideration for presentation at the other 2010 IndieCade international exhibitions including E3 and IndieCade Europe.

Submissions Deadline: June 1, 2010 at Midnight PST.

For more information and to enter: www.IndieCade.com.

People in attendance were able to attend multiple lectures, the Independent Games Festival, the Game Developers Choice Awards, and even tutorials and roundtables. Another attraction was likely the keynote speech by Sid Meier.

This comes on the heels of the announcement that GDC will be in the Moscone Center again next year, starting February 28.

A new publisher is joining the gaming industry and this one is concentrating on just us! While my stance is that companies don’t have to just make games for one gender, it is nice to see what companies come up with when they do.

Stone Creek Entertainment is taking on the women and teen audience and will be focusing on video games for that market. The company already has games in pre-production and hopefully we’ll get an interview with them to inform you on what they have in store.

In the meantime, Stone Creek will be publishing the games under their “Karizmac” brand.

“Our Karizmac line will provide deeper, more emotionally and intellectually engaging experiences than ‘girl’s games’ currently offer,” said Sharon Wood, CEO of Stone Creek Entertainment. “We’ve put a lot of experience and expertise in these games, and we’re confident we’ll be able to provide young women and women with gaming experiences that go far beyond their current choices. We believe Karizmac will become their brand of choice, and that we’ll create a uniquely trusted relationship with this very important demographic.”

I love that the CEO is female and can’t wait to see what Stone Creek and Karizmac have in store. Currently their website showcases the first two iPhone/iPod touch titles that will be released this month.

“We are extremely pleased that the January 2010 cohort has a higher ratio of women in the mix,” said Peter Raad, founder and executive director of The Guildhall at SMU. “There has been a disparity between the number of men versus women in the video game industry far too long and we believe this increase represents a growing trend of more women seeking a career in game development.”

Not only is it important to change the status quo, but games themselves will ultimately be better with more women in the mix. “At their core, video games are a form of storytelling. To create games that are compelling and games that appeal to an ever-expanding market of gamers, diversity must be cultivated within the development community, as well as within the individual teams that develop a single game.”

The Guildhall offers graduate-level concentrations in art, level design and programming. A dual degree plan is available which enables students to obtain a bachelor’s degree in computer science and a master’s in interactive technology in five years.

“Typically, the increased level of a team’s diversity translates into more interesting gameplay,” noted Raad. “Our living laboratory of 120 full-time resident students proves that every day.”

More women in the video game industry is, of course, a good thing. If participation in game-related studies increases like this….well, it looks like we’ll be adding a lot more names to our list of influential women in gaming.

Fugazo is still a young company – How did it get its start?

I think to answer this question properly I need to get into my background a little bit. My first real job in the games industry was at Sandlot Games back in 2004. I started in QA but quickly became a Designer and Producer. In 2006, I was the Lead Designer on Cake Mania which went on to become the best selling casual game of 2006. I decided to take a break from casual games and joined a company called Handheld Games where I produced DS and TV Plug N Play games. I had a great time building games for kids but missed working on casual games. So in late 2007 I partnered with my computer programmer friend Jonah to start making casual games again.

What kind of games do you make?

We’ve made all sorts of games at Fugazo. Here are a few examples: Cooking Academy 1 and 2 (Cooking Simulation), Flower Paradise (3 Match), Fashion Fits, (Clothing Time Management), and World Mosaics 1 and 2 (Logic Puzzle). We’ve tried to experiment making casual games in as many genres as possible.

What kind of impact does the current economic climate make on a business like yours?

To be honest, I think casual games are mostly unaffected by the recession. I think the low price point makes them even more attractive in bad economic times. For example, it’s cheaper to buy a casual game then go out to see a movie.

Coming from an area so thick with game developers (Seattle), do you see it as a hinderance or help to your own company?

I think it’s been quite helpful. It’s nice to be able to get other developer’s feedback on our games and it also makes it easier to find new hires when we’re looking.

 
Do you have plans to move from PC games onto other platforms, like consoles?

Actually, we’ve already started working on our first console game: Frobot for WiiWare! It’s a cross between the Legend of Zelda and Wii Play’s Tanks with a funky 70s robot theme thrown in for good measure. The game should be released on WiiWare in the first half of 2010. You can learn more about the game or try the PC demo on our site. 

Fugazo seems boast several cooking games – Will they make me a better chef? 

Sadly, probably not. While the cooking games have very accurate ingredients and preparation steps they still can’t replace real cooking. However, you might get a few ideas for some recipes you’ve never tried before.

Do you have any advice for anyone looking to start their own gaming company?

 
Start small, be quick, and remain independent! I’m happy to say that Fugazo has never taken a dollar of outside funding and that has allowed us to remain independent and work on what really motivates us.
 

What can we look forward to from Fugazo?

We started working on our first Hidden Object Adventure game last October. Look for it to arrive onto major casual game portals in March 2010!

Fugazo Inc., based in Seattle, Washington, is an independent developer and publisher of casual and indie games. Fugazo’s portfolio includes popular game titles such as the Cooking Academy series, the World Mosaics series, and Kitchen Brigade. Fugazo reaches millions of game players worldwide through multiple distribution channels including Online, PC, Mac, and Retail. In 2010 Fugazo, will release its first console title Frobot for WiiWare, PC, and Mac. For more information about Fugazo visit www.fugazo.com

Fugazo Giveaway!

As I mentioned earlier, the company sent me home with a bunch of games to give away to my wonderful readers. If you’re looking to snatch one up, just play one of the many free games on their site and e-mail me a quick comment about it. Super easy! Send your submissions to zoe@gamingangels.com . Games are limited to the first few people who send me a message, so act quick!

#10: Rise of Downloadable Content

More often than not, content needs to be cut out of games due to budget and time constraints. It’s rare for these cuts to ever see the light of day, unless some publishers are motivated enough to re-release the title. While PC gamers often enjoy expansion packs with the click of a button, their console brethren are not so lucky. That all changed when Xbox LIVE and PlayStation Network started to offer downloadable content (DLC).

Of course, DLC is now becoming a profitable enterprise itself. For example, the Call of Duty franchise profited greatly with map expansion packs. For the most part, DLC is welcome to the gaming community – it adds to the gaming experience. What’s disconcerting is when companies deliberately cut out certain parts of the game to release as DLC on a later date, or even announcing DLC right at the heels of a title’s release, prompting gamers to wonder about the status of a true, complete game. DLC is becoming ubiquitous in this industry, but there is growing fear that companies are charging consumers more for content that should have been free and included with the game anyway (I’m looking at you Lumines Live!). However, there are companies that do recognize rewarding their loyal fan base with free DLC. Naughty Dog released some free DLC for Uncharted 2 and Harmonix unveiled a few free tracks for Rock Band 2. While consumers fear that developers won’t look kindly to tight wallets, it’s up to companies to decide whether content should be priced or free.

#9: End of Console Exclusive Arrangements

Squaresoft splashed major headlines in the gaming community when they broke off ties with Nintendo to partner up with Sony back when the cartridge vs. disc war was brewing. At the time, console exclusivity was the norm. You’d never see Mario and Luigi on the Sega Genesis or Sonic the Hedgehog on the Nintendo 64. It simply wasn’t done.

Nowadays, most games developed by third-party publishers are multiplatform – the Nintendo Wii is the exception due to its limited capacity. Tecmo’s Ninja Gaiden, Namco Bandai’s Tales of Vesperia and 2K’s BioShock were all re-released on the PlayStation 3 at a later date. On the other hand, Capcom’s Devil May Cry 4, Square Enix’s Final Fantasy XIII and Rockstar Games’ Grand Theft Auto IV all went multiplatform. While these moves may grate on the nerves of mono-console enthusiasts, it’s a welcome change for the general gaming community. Timed exclusives will still exist, with whichever console offering up the highest bid, but third-party companies are realizing that going multiplatform makes business sense. Who can blame them for breaking off exclusivity for the sake of better profit margins?

#8: Unreal Engine and Its Successors

Game engines are tools that provide a reusable platform to aid in the creation of games while significantly reducing costs since development teams don’t have to start from scratch. Prior to game engines, titles were designed from the ground up to optimize a system’s hardware, but couldn’t be reused between games. That all changed in the 1990s with developers licensing portions of software but adding in custom game assets. There are numerous game engines out on the market, but few have left as large an impact on the gaming community than Epic Games’ Unreal Engine. Some folks might decry that developers are cutting corners by tweaking an engine to suit their purposes, but it’s quite an accomplishment when most of the industry has accepted the Unreal Engine as one of the standards for running a title.

While Unreal Engine 1 and 2 were mostly featured in first-person shooters, Unreal Engine 3 demonstrated its versatility. Not too many people will recognize that Epic Games’ latest incarnation was employed in 2K’s BioShock, Gearbox Software’s Borderlands or Rocksteady Studios’ Batman: Arkham Asylum (mere coincidence that all these titles start with a “B”). While Unreal Engine 2 has more than 70 titles under its belt, Unreal Engine 3 can easily boast that it not only has more gaming licenses, but is utilized in other capacities including construction design, driving simulation and film storyboards. With Unreal Engine 3’s versatility, it’ll be interesting to see how developing companies will utilize and push the engine for upcoming titles.

#7: Digital Distribution

Piracy has been rampant within the PC community, nearly crippling it. Recent sales figures reveal that the console market is the dominant segment, so it isn’t surprising that most publishers cater to them, leaving PC gamers in the dust. Admittedly, PC gaming will never really die with Blizzard Entertainment carrying the torch.

Steam, developed by Valve Corporation, changed the way games are being distributed in the market to revamp and revitalize PC gaming. With the traditional consumer packaged goods model no longer considered cost effective, more companies are looking to the future of digital distribution. Major publishers are seeing the benefits of going digital with Steam paving the way. Besides cost, another major gripe about getting games is that there isn’t easy access to titles. Walk into a local GameStop, Best Buy or other major retailer and compare what they have in stock for consoles to the barren shelves of PC titles. While piracy is still a major problem, Steam has helped to curb it somewhat because their services are so accessible and streamlined. Steam offers secure downloads, generous sales discounts (to the point where I question how they make profit) and integrated services to create a burgeoning PC community.

#6: PlayStation 2 Fulfills 10-Year Cycle

Credit goes to Sony for creating a console that truly stands the test of time. The PlayStation 2 (PS2), a sixth-generation console, had a rather rocky start with poor design leading to performance failures. But with improved versions released year after year, getting slimmer and more aesthetically pleasing, it had a way of worming into households worldwide to become the best-selling console to date. Throw in an expansive library of notable gems and the console becomes a worthy addition.

While the PS2 wasn’t the first console to utilize discs or online gaming, Sony pioneered the use of DVDs. Utilizing this format provided more content to be loaded onto discs, pushing the PS2’s capabilities to even provide competition with early releases of seventh-generation consoles. Moreover, the PS2 laid the groundwork to make a console more than just a hub for gaming, but rather, an interactive entertainment center. And if that wasn’t enough, it has the distinction of being the first console involved in a nuclear weapons conspiracy; speculations that the PS2 could be adapted as a guidance system for long-range missiles cropped up in December 2000. Take note that the PS2 isn’t done just yet, having licensed games for 2010; it’ll take quite some time to discontinue the bugger.

#5: Video Games Beat Hollywood Soundly in 2007

In 1999, SEGA confirmed that the Shenmue project cost approximately 70 million US dollars over the course of its 7-year production. Back then, that kind of figure was absolutely unheard of! In fact, that figure still boggles the mind – think of how much Shenmue’s real value is if you factor in modern day inflation! Nowadays, it’s commonly accepted that Triple-A games have production budgets that rival Hollywood films, with matching marketing campaigns. Infinity Ward’s Call of Duty: Modern Warfare 2 cost between 40 and 50 million US dollars to produce; now add that to a marketing launch budget of 200 million US dollars! With budgets like that, it was only a matter of time before video games would have the gross sales to match that kind of spending power.*

2007 was the year for video games. Blockbuster heavyweights like Bungie’s Halo 3, Infinity Ward’s Call of Duty 4: Modern Warfare and Nintendo’s Super Mario Galaxy were released in tandem. They went public alongside risky, new IPs like Ubisoft’s Assassin’s Creed, Naughty Dog’s Uncharted: Drake’s Fortune, 2K’s BioShock and BioWare’s Mass Effect. Those are just games that I’m listing right off the top of my head – I know there are tons of noteworthy gems that I didn’t add. This was the debutante party for video games, demonstrating that it had the consumer clout to trump other entertainment industries by the billions. Sure, Hollywood could boast about 9.68 billion US dollars in domestic revenue, but by the same token, the video game industry had already raked in 17.9 billion US green ones.** Based on the quality of titles released and the significant sales figures, 2007 marks the year this industry could no longer be regarded as an up and comer – it heralded video games as a legitimate powerhouse.

*Figures taken from http://most-expensive.net/video-game

**Figures taken from http://blogs.pcworld.com/gameon/archives/006324.html and http://cbs2.com/entertainment/Movie.Revenue.Hollywood.2.1360123.html

#4: Penny Arcade and its Influence

Penny Arcade started out as a webcomic series on video games and gaming culture, fostered by the dedication of its creators: Jerry Holkins and Mike Krahulik. The real kicker is what Holkins and Krahulik enacted following their success. They gave the gaming masses two fantastic movements worth supporting: Penny Arcade Expo (PAX) and Child’s Play. If you’re deeply entrenched in the video game community, surely you will have heard of at least one of these two gems. Why are Penny Arcade’s contributions so significant? Quite simply, it revealed the communal and humane qualities of the gaming community.

What PAX set out to do was unify all gamers (tabletop, console and computer) in celebration of this growing culture. Created in 2004, PAX has grown in leaps and bounds; PAX 2009 took over the Washington State Convention and Trade Center to accommodate attendees – a grand total of 60,750 people! And this year marks the first time PAX will be held outside Washington with the advent of PAX East 2010. Conventions aren’t your thing? Penny Arcade has something that may fit your charity needs of helping out fellow gamers and generally raking in good karma with Child’s Play. Founded in 2003, Child’s Play sets out to improve the lives of sick children through donations of toys and games to hospitals worldwide. It’s a shame this charity doesn’t get nearly as much coverage in the gaming community considering what it has done to refute mainstream media’s tendencies to vilify the industry. Since its inception, Child’s Play has raised more than 6.7 million US dollars! Who wouldn’t want to get behind that? Scrooges, disgruntled folk and embittered souls need not apply. Considering all the good Penny Arcade has done for the gaming community, it deserves a nod of respect (and appreciation).

#3: Nintendo’s Rebirth

By 2002, Nintendo was “The Sick Man of Video Games,” even facing heavy antitrust fines by the European Commission. However, instead of going down the lane of has-beens, the company completely revamped itself to eventually dominate the industry. While the casual market has always been there, video games were not quite as accessible (or interesting) to the broader audience. Nintendo changed all that when they introduced both DS and Wii to the masses. The company outdid Microsoft and Sony, with the Wii selling more units than the Xbox 360 and the PlayStation 3 (combined) within the first half of 2007!

While Nintendo’s products are certainly not for everyone, even facing derision from some segments of the gaming community, no one can deny what a powerful effect the company has had in the past decade. It not only managed to successfully grab the elusive market of casual gamers, both the Wii and the DS became some of the biggest products to ever hit the public. Nintendo truly understood how to pull in groups that are outside what most consider the core gaming market, from female audiences to more senior segments. Essentially, Nintendo opened the public’s eyes to make video games more socially acceptable with entire families playing together as opposed to sitting on the couch to watch a movie. In addition, Nintendo expanded its products to become more lifestyle oriented, introducing Wii Fit. Instead of facing strict competition from Sony and Microsoft, Nintendo carved its own niche to sit comfortably on its throne as overlord of the casual gaming populace.

#2: World of Warcraft … ‘Nuff Said

Do I really need to explain why Blizzard’s World of Warcraft deserves a place on this list? Almost everyone must have heard of this game by now! And if you haven’t, I’ll presume you’re living under a rock … in Antarctica. More than half of the world’s MMO subscribers play World of Warcraft, boasting about 11.5 million subscriptions a month!* Blizzard commands a massively loyal following, able to host their standalone annual convention, BlizzCon, to a sell out crowd.

Blizzard created quite a stir with Starcraft, but it never transcended the video game community quite like World of Warcraft did. Cue commercials featuring Verne Troyer, William Shatner, Mr. T and Ozzy Ozbourne. How about the inspired South Park episode, “Make Love, Not Warcraft,” receiving an Emmy nod? Felicia Day’s The Guild, a popular web series inspired by her addiction to World of Warcraft, has quite a cult following. For many, it’s more than just a game, but an engaging community that spans across the globe. The mere fact World of Warcraft trumps the GDPs of most developing countries in the world is a testament to its power. The scary thing is it’s only going to get bigger.

*Figures taken from http://www.wired.com/gamelife/2008/12/world-of-warc-1

#1: Xbox LIVE

PC gamers, PlayStation 3 enthusiasts, Wii fans … before you decry my choice, I will proceed to explain. No, the Xbox 360 doesn’t get a spot because of its absolutely atrocious history of faulty hardware. Rather, I’m bestowing the top spot to Xbox LIVE, the online component, because it really has changed the way gamers interact. Microsoft may have released awfully manufactured consoles, but it got the community aspect down pat. Everything about the online service is clearly streamlined, tapping into online resources that provide an experience that’s more than just about gaming.

At first, I was skeptical about Microsoft’s mission to make Xbox LIVE an integral part of a gamer lifestyle. Midway through the decade, I was a convert. Gamertag profiles are really an integral part of the experience, from customizable avatars to gamerscores for bragging rights. Earning game achievements was a real breakthrough, inspiring competitors to provide similar features. While the online gaming experience is not nearly as awe-inspiring compared to PC counterparts, Xbox LIVE has over 17 million subscribers, creating a strong community. With the addition of Netflix, social media applications (such as Facebook and Twitter) and Zune programming, Xbox LIVE has robust interactive elements. The allure of Microsoft’s online service is how it incorporates a diverse range of features to become more than just a gaming console, but an entertainment and lifestyle hub.

Will Wright Says “Bye-Bye”…Kinda.

Will Wright busted his hump at Electronic Arts, having found vidja-game company Maxis and birthing the most successful PC game on the planet, The Sims. The Sims is likely a game I could conjure-up while sitting on the toilet, but the point is I didn’t and Mr. Wright did; people went crazy because they were eager to live their stressful lives in a more light-hearted and charming way. He let us experience what it’s like to be a mayor, a spouse, a movie star, a slacker, a frugal college student crashing wild dorm parties. Will Wright made us enjoy life a little bit more, that is, until I used the “motherlode” money cheat-code and inevitably drowned my Sims and killed their children as a result of boredom–Er, yeah. I’ve since made peace with my virtual family however, when Wright announced his departure from Electronic Arts, I panicked thinking the apocalypse was nigh. Never fear, Wright still periodically pays a visit to his homeland, continuing progress on future versions of Spore. Wright is also a shareholder of “Stupid Fun Club” along with EA, an entertainment development studio aimed at providing ideas for the video-game industry and beyond. Wright has already been immortalized as a “Game God” in numerous publications as well as the Academy of Interactive Arts and Sciences’ Hall of Fame. GG, Sir William!

More Mainstream Than Ever.

By the way of the UK, Hollywood has taken a backseat to video-games. Dave Rosenberg of CNET reported that the amount of consumers purchasing video-game titles far outweighed the amount of money spent on films, including trips to the theatre and DVD sales—a whopping 30% more to be precise. Not too long ago, I had an unpleasant conversation with my best friend, also referred to as the now “video-game skeptic.” Yes, “Mr.VGS” and I have shared many late-night PC gaming stints, lasting into the mega-early A.M. During these years, we would speak intensely, but only in gamer acronyms exclusively familiar to Final Fantasy XI players. We built a steady linkshell of fantastic people, spent two summers hunting  “NMs,” “HNMs,” and gathering a sixty-some party of players from all over the world in order to crush the mighty beastlords of “Dynamis.” For over two hours, he remained adamant on convincing me that video-games will never be a part of “mainstream” media. On these memories alone, popping in a DVD will never substitute the experiences I’ve gained through playing video-games. Second, the numbers don’t lie—eight out of ten UK homes own a console and this is strictly counting “next-gen” systems. Though not “recession proof” as often noted, the industry is a multi-billion dollar one with over $823 million spent on just getting us gamers excited a.k.a. advertisements. While it’s likely that Amazon UK chart topper Modern Warfare 2 contributed to this financial boom, video-games are no longer looked upon as the gender-biased underdog with little to offer ‘sides sex and violence. Now women make-up more than 43% of gamers and numerous Wii titles along with the DS are breaking the age barrier. Even casual games such as Facebook’s “Farmville” are raking-in 11 million players daily. The definition of a “gamer” may vary from person to person, but the fact of the matter is this: games are being played and numbers are steadily rising.

OnLive: Death To Console?

OnLive is presumably digital delivery at it’s finest and before watching CEO Steve Perlman conduct a fifty minute presentation at Columbia University, you could imagine I suffered from doubt. This doubt however, has since turned my perception of this product into a feasible possibility. If OnLive can effectively live up to it’s claim of being able to stream high-end games at full-settings on virtually any console sans the lag, where the hell has it been all my life? The premise of OnLive may leave you with more questions than answers, but Perlman has supposedly resolved one of the biggest crisis’ in gaming: platform transitions. According to the fine executive team behind this monster, the need to purchase multiple consoles will cease to exist because it’s essentially gaming “on-demand.” This would not only make it easier on consumers, but it would also save the publisher the trouble of porting; ultimately, the OnLive may also impact the “used game” market and cancel piracy. I don’t know about you, but any plan that could halt business at Poopstop has me at full attention. OnLive strikes me as an obvious financial win for both parties. While it’s true that OnLive will require it’s own controllers to reduce latency, I’d unquestionably opt for a controller over a console. In retrospect, I often drown myself in the fond memories of being a PC gamer. I never dreamed of “in a land far, far away when PCs updated themselves” would be a concept on the horizon. Maybe it hasn’t reached that point quite yet, but if frequently updated servers can allow me to rid of expensive hardware and give me a little piece of my past back, then I’m totes on board for this “Process of Invention” thing. How will OnLive equip motion-control that Nintendo has grown to be successful for? Furthermore, how will this product implement voice-control, facial recognition, or motion sensing where inventions like Project Natal are concerned? You can view Perlman’s full presentation here.

(Not) The Year Of The PS3

Final Fantasy XIII has dropped a wicked 1.8 million units to Japanese retailers and has already boosted PS3 sales considerably. Its no secret Final Fantasy is probably the Star Wars of video-games with over 92 million units sold world-wide. Seriously Final Fantasy Fanatics? GTFO. Perhaps “Year Of The (Please Be) Better PS3 Titles” is more fitting. I can’t say 2009 disappointed the gamer in me with titles like Demon’s Souls, Uncharted 2: Among Thieves, and Infamous along with a few, solid PSN downloads. The question remains, when will the “Year Of The PS3” make it’s arrival? These past years have rightfully deflated the heads of Sony devs who were still high off of the PS2’s success. Yes, the Playstation 2 is probably one of the greatest consoles of all time with an incredible library of gaming titles to prove this claim, but I’d like to inquire as of why I purchased a $500 doorstop. Well, 2010 may earn my Playstation 3 a rightful place on my Entertainment Center with exclusive titles drying-up my tears. Titles like MMORPG Final Fantasy XIV, White Knight Chronicles, MAG, and (especially) Heavy Rain are steadily lowering my disappointment meter. In any case, Sony clearly isn’t a fan of priorities. I’ve never seen PS3 as a strong multi-player console albeit a strong single-player one, but when Sony decided to focus their finances on creating an entertainment powerhouse instead of a sensible gaming console, it automatically lost by default to the 360 and Wii’s “family game night” status. On a side-note, PS3 is also on-board for “true 3D viewing,” although PS3 owners will more than likely have to upgrade to a TV that can handle such a momentous task. While it looks to be a more solid year for the PS3 now at a more consumer bearable pricetag, if they don’t top announcements for things like a PS3 motion controller or PS3 Home (which is still in Beta, by the way), it’s going in a storage box until someone convinces me why we really had to make the transition from DVD to Blu-Ray.

Superheroes Don’t Suck.

2009 proved that Super-Hero games did not have to suck Donkey’s you-know-what. Where was this applauded Batman adaption all my life? Amid the strong, artistic value and the clutter of cleverly concocted criminals, a superb and visionary Batman game had been waiting to fall into my lap only to be failed, excused, or mediocre. In 2009 I had my long-awaited appointment with “Arkham Asylum” and have since been freed from the waiting room. Is there really a convincing rationale for why we lost so much of our valuable time that shall never be returned!? Arkham Asylum is easily one of my favorite titles among the 360 and PS3 and I adamantly demanded it should’ve snagged “Game of the Year,”  because I feel it’s superior enough to run with the sequel’d big dogs like Assassin’s Creed 2, Uncharted 2, and Modern Warfare 2 (Jeebus). Arkham Asylum has broken the Guinness World Record of being the Most Critically Acclaimed Superhero Game Ever and took home a Golden Game Award as well as a Spike Video Game Award. Above all, I’m happy I didn’t empty my wallet for another “Big Screen” rehash of ultimate doodoo. Films and books are two mediums that crumble under the pressure of the dreaded video-game adaption, but Rocksteady had the actual dudes responsible for the comic book on-board, including Paul Dini, who worked as a writer, producer, and editor for Batman: The Animated Series. The Result? A well-balanced mixture of Batman and video-game; a plethora of puzzles, satisfying combat and smart gameplay, not to mention perfect storytelling all while keeping the spirit of this cultural icon alive. The only thing better than Arkham Asylum will soon be the sequel, with even more villainous goodness to continue causing mischief in Arkham.

Alright, so maybe this article should’ve been called “Most Memorable Gaming Moments Of 2009,” because this list is extremely condensed and extremely 09. I didn’t want to call it that however, because I felt that 2009 really shaped the decade for the future of gaming, so much in fact, that it was overwhelming. Bring on 2010!